Gigolo

Lee Morgan - The Gigolo (1965) {Blue Note Japan SHM-CD UCCQ-5048 rel 2014} (24-192 remaster)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 345 Mb | MP3 @320 -> 111 Mb
Full Artwork @ 600 dpi (png) -> 225 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1965, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | UCCQ-5048
Jazz / Hard Bop / Trumpet

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Tremendous work by Lee Morgan – easily one of his greatest albums, and a soaring session of modal energy that easily rivals the best work of the Impulse era! The album's got a slightly different feel than usual for Blue Note – a sense of freedom, joy, and soaring energy that's totally great – explored by a crack group that features Morgan on trumpet, Wayne Shorter on tenor, Harold Mabern on piano, Bob Cranshaw on bass, and Billy Higgins on drums – all coming together with a unique sense of creativity!

Lee Morgan was the leading trumpeter in hard bop during the 1960s and he recorded quite a few classic albums for Blue Note. This is one of them. The CD reissue (which adds an alternate take of the title cut to the original five-song program) features Morgan at his best, whether playing his memorable blues "Speed Ball," an explorative ballad version of "You Go to My Head," a lengthy "The Gigolo," or his other two originals ("Yes I Can, No You Can't" and "Trapped"). There are no weak selections on this set and the playing by the leader, Wayne Shorter on tenor, pianist Harold Mabern, bassist Bob Cranshaw, and drummer Billy Higgins is beyond any serious criticism.

While this soundtrack is arguably most notable for introducing Middle America to Blondie, there is also some interesting incidental music written by legendary producer Giorgio Moroder and performed by Harold Faltermeyer and Keith Forsey – the latter of which may be familiar to some as percussionist for the German prog/art rock collective Amon Düül. There is likewise a vocal contribution from actress/vocalist Cheryl Barnes on "Love and Passion." The album's pervading heavily manufactured and synthetically generated atmosphere is convincing in its aural depiction of the shallow decadence portrayed on the screen. It took almost two decades before American Gigolo was issued on CD in North America. The primary impetus for the release was the "extended version" of Blondie's "Call Me," which was unavailable on any Blondie album and was too long – at over eight minutes – to fit onto a single. The song was co-composed by Debbie Harry and Moroder specifically for this project, becoming the second chart-topper for the band, ultimately staying at number one for six weeks in March of 1980.

A six-song EP released while fans waited (and waited) for the Gigolo Aunts to follow up Flippin' Out, Learn to Play Guitar features some of the band's finest work. The unforgettable lead track, "Kinda Girl," is guitar-driven power-pop at its best, featuring clever lyrics and infectious hooks, while "Wishing You the Worst" is a resentful and melancholy ballad reminiscent of Grand Prix-era Teenage Fanclub.

The Gigolo is an album by jazz trumpeter Lee Morgan released on the Blue Note label in 1965. It was recorded on June 25 & July 1, 1965 and features performances by Morgan with a quintet featuring Wayne Shorter, Harold Mabern, Bob Cranshaw and Billy Higgins. The Allmusic review by Scott Yanow awarded the album 4½ stars stating "There are no weak selections on this set and the playing by the leader, Wayne Shorter on tenor, pianist Harold Mabern, bassist Bob Cranshaw, and drummer Billy Higgins is beyond any serious criticism."

Lee Morgan was the leading trumpeter in hard bop during the 1960s and he recorded quite a few classic albums for Blue Note. This is one of them. The CD reissue (which adds an alternate take of the title cut to the original five-song program) features Morgan at his best, whether playing his memorable blues "Speed Ball," an explorative ballad version of "You Go to My Head," a lengthy "The Gigolo," or his other two originals ("Yes I Can, No You Can't" and "Trapped"). There are no weak selections on this set and the playing by the leader, Wayne Shorter on tenor, pianist Harold Mabern, bassist Bob Cranshaw, and drummer Billy Higgins is beyond any serious criticism.