Lee Morgan

Trumpeter Lee Morgan unleashes his all-time classic 1964 album The Sidewinder plus two further Blue Note landmarks: 1957's City Lights featuring the Miles Davis rhythm section of Paul Chambers and Art Taylor; and 1969's Charisma featuring Jackie McLean, Cedar Walton and Billy Higgins.

Trumpeter Lee Morgan performs two funky boogaloos, a ballad, and three complex group originals on this album whose music was first released in 1980. This is a transitional date with the hard bop stylist leaning in the direction of modal music and even anticipating aspects of fusion. His sextet (which includes Bennie Maupin on tenor, guitarist George Benson, pianist John Hicks, bassist Reggie Workman, and drummer Billy Higgins) is quite advanced for the period and inspires Morgan to some fiery and explorative playing.

At last the legendary Vee Jay recordings are being released on CD with the best possible sound. During recent years these classic jazz albums have appeared on CD in different countries, in compilations that mixed mono and stereo masters, with errors in the titles and a variable sound. Now, this present edition has been carefully chosen from the best sources, and each track has been digitally remastered in 24-Bit high resolution. These CDs represent a real treasure for jazz fans all over the world, and we feel certain that they will enjoy them.

Recorded when he was only 19, Candy was one of the first albums (along with The Cooker, recorded the same year) where Lee Morgan showed his own unique style. His prodigal technical virtuosity had already been proven at this time in the Dizzy Gilliespie band, but Morgan's first solo ventures had been remarkable only because of his young age. Here, the influence of some of Morgan's mentors can be seen, but instead of just emulating the style of older trumpeters like Clifford Brown, he has begun absorbing bits and pieces of the phrasing and style of a wide range of musicians, from Gillespie to Miles Davis, then using them to forge his own sound. Morgan places himself front and center here - there are no other horns to carry the melodic lines, leaving him quite exposed, but he manages to perform beautifully…

This digitally remastered set features two classic Lee Morgan albums: "The Cooker" (1958) and "Lee-Way" (1961).
The Cooker (1958). The trumpeter, then just 19, teams up with baritonist Pepper Adams, pianist Bobby Timmons, bassist Paul Chambers and drummer Philly Joe Jones for a particularly strong set that is highlighted by a lengthy and fiery "Night in Tunisia," "Lover Man" and a rapid rendition of "Just One of Those Things." Morgan plays remarkably well for his age (already ranking just below Dizzy Gillespie and Miles Davis), making this an essential acquisition…

Recorded early in the trumpeter's career, this fine release originally issued by Vee-Jay Records has been given new life over the years through at least a couple of reissues. This one includes four previously released alternate takes from the seven tracks, each of which features a strong hard bop quintet, with Art Blakey on drums, Eddie Higgins on piano, Art Davis on bass, and Clifford Jordan on tenor saxophone. The set is a tad more laid-back than the later classic Blue Note sessions. Nonetheless, this one offers its rewards, including a rare chance to hear Eddie Higgins in full force, a late of Blakey as a sideman, and a stunning front line with unsung giant Clifford Jordan. Morgan is in good form, swinging and blowing passionately, and his interpretations of "Easy Living" and "Just in Time" are among his best.

This 1959 concert in Paris by Art Blakey's Jazz Messengers has been sporadically available on various labels, but this reissue in Verve's Jazz in Paris series is the best sounding and best packaged of the lot. Blakey's group of this period (Lee Morgan, Wayne Shorter, Jymie Merritt, and Walter Davis, Jr.) is in great form during an extended workout of Morgan's intense blues "The Midget," and Dizzy Gillespie's timeless "A Night in Tunisia" is kicked off by Blakey's an electrifying solo. But it is the addition of some special guests for the first two numbers that proves to be extra special. Bud Powell, sitting in for Davis, and French saxophonist Barney Wilen, on alto rather than his normal tenor sax, are both added to the band for inspired versions of Powell's "Dance of the Infidels" and "Bouncing with Bud." Morgan's trumpet playing is outstanding throughout the concert. This is one of the essential live dates in Art Blakey's rather extensive discography.

The trumpeter, then just 19, teams up with baritonist Pepper Adams, pianist Bobby Timmons, bassist Paul Chambers and drummer Philly Joe Jones for a particularly strong set that is highlighted by a lengthy and fiery "Night in Tunisia," "Lover Man" and a rapid rendition of "Just One of Those Things." Morgan plays remarkably well for his age (already ranking just below Dizzy Gillespie and Miles Davis), making this an essential acquisition.

This set is one of the finest Lee Morgan records. The great trumpeter contributes five challenging compositions ("Search for the New Land," "The Joker," "Mr. Kenyatta," "Melancholee," and "Morgan the Pirate") that deserve to be revived. Morgan, tenor saxophonist Wayne Shorter, guitarist Grant Green, pianist Herbie Hancock, bassist Reggie Workman, and drummer Billy Higgins are all in particularly creative form on the fresh material, and they stretch the boundaries of hard bop (the modern mainstream jazz of the period). The result is a consistently stimulating set that rewards repeated listenings.