Marcyiiena Morgan

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.

Carried by its almost impossibly infectious eponymous opening track, The Sidewinder helped foreshadow the sounds of boogaloo and soul-jazz with its healthy R&B influence and Latin tinge. While the rest of the album retreats to a more conventional hard bop sound, Morgan's compositions are forward-thinking and universally solid. Only 25 at the time of its release, Morgan was accomplished (and perhaps cocky) enough to speak of mentoring the great Joe Henderson, who at 26 was just beginning to play dates with Blue Note after getting out of the military. Henderson makes a major contribution to the album, especially on "Totem Pole," where his solos showed off his singular style, threatening to upstage Morgan, who is also fairly impressive here. Barry Harris, Bob Cranshaw, and Billy Higgins are all in good form throughout the album as well, and the group works together seamlessly to create an album that crackles with energy while maintaining a stylish flow.

Mike Morgan is back with a few surprises up his sleeve. "Texas Man" is the first CD where you will find the Dallas native as both guitarist and lead vocalist. The self-produced album not only features Mike singing for the first time, but fans can hear him backed by some of the best in the business. Fellow Texans Anson Funderburgh and Johnny Moeller lay down the rhythm guitar tracks and top-notch harp man, Gary Primich, lends his talents as well. On "Texas Man," Mike has managed to mix together the styles of Hound Dog Taylor, Earl Hooker and Elmore James and make it his own.

Morgan's seventh album for the Black Top imprint brings some new and welcome twists to the mix. First is the production chores being handled by label head Hammond Scott. Second is the return of harmonica ace/vocalist Lee McBee after a three-year hiatus from the lineup to pursue a solo career. The third notable feature is the abundance of fine original material. Rather than a set of bandstand ready-mades, you can tell some time and work went into the production of this album. McBee's harp work is as strident as ever, and Morgan's guitar still maintains its blazing Texas fury, but framing it with a horn section here and there, Riley Osborne on piano and Hammond B-3 organ and Rhandy Simmons subbing on bass for six of the 11 tracks keeps this album from ever getting samey or predictable. Particularly noteworthy are "Bad Luck and Trouble," "You're Gonna Miss Me" and the title track.

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…

Charles Lloyd has long been a free spirit, master musician, and visionary. For more than 6 decades the legendary saxophonist and composer has loomed large over the music world, and at 84 years old he remains at the height of his powers and as prolific as ever. As a sound seeker, Lloyd’s restless creativity has perhaps found no greater manifestation than on his latest masterwork Trio of Trios, an expansive project that encompasses three albums, each a deft change of musical context that presents him in a different trio setting.

Although all eight selections on this CD have been played many times before (the only song not a boppish warhorse is John Lewis' "Milano"), altoist Frank Morgan makes each of the pieces sound fresh. As producer John Snyder is quoted in the liner notes, this is bop without cliches. Morgan, who is assisted by pianist Rodney Kendrick, drummer Leroy Williams and either Curtis Lundy or Ray Drummond on bass, digs into such songs as "Well You Needn't," "A Night In Tunisia" and an 11 ½ minute version of "Half Nelson," coming up with some surprising twists and plenty of viable ideas. A fine effort.