Lee Morgan
Text in englischer Sprache verfügbarA cornerstone of the Blue Note label roster prior to his tragic demise, Lee Morgan was one of hard bop's greatest trumpeters, and indeed one of the finest players of the '60s. An all-around master of his instrument modeled after Clifford Brown, Morgan boasted an effortless, virtuosic technique and a full, supple, muscular tone that was just as powerful in the high register. His playing was always emotionally charged, regardless of the specific mood: cocky and exuberant on uptempo groovers, blistering on bop-oriented technical showcases, sweet and sensitive on ballads. In his early days as a teen prodigy, Morgan was a busy soloist with a taste for long, graceful lines, and honed his personal style while serving an apprenticeship in both Dizzy Gillespie's big band and Art Blakey's Jazz Messengers. As his original compositions began to take in elements of blues and R&B, he made greater use of space and developed an infectiously funky rhythmic sense. He also found ways to mimic human vocal inflections by stuttering, slurring his articulations, and employing half-valved sound effects. Morgan led his first Blue Note session in 1956 and he would record his first two classic albums for the label during 1957 and 1958: The Cooker and Candy. He broke through to a wider audience with his classic 1963 album Sidewinder, whose club-friendly title track introduced the soulful, boogaloo jazz sound. Toward the end of his career, Morgan was increasingly moving into modal music and free bop, hinting at the avant-garde but remaining grounded in tradition; a sound showcased on his 1970 concert album Live at the Lighthouse. He had already overcome a severe drug addiction, but sadly, he would not live to continue his musical growth; he was shot to death by his common-law wife in 1972. Edward Lee Morgan was born in Philadelphia on July 10, 1938. He grew up a jazz lover, and his sister apparently gave him his first trumpet at age 14. He took private lessons, developing rapidly, and continued his studies at Mastbaum High School. By the time he was 15, he was already performing professionally on the weekends, co-leading a group with bassist Spanky DeBrest. Morgan also participated in weekly workshops that gave him the chance to meet the likes of Miles Davis, Dizzy Gillespie, and his idol Clifford Brown. After graduating from high school in 1956, Morgan -- along with DeBrest -- got the chance to perform with Art Blakey's Jazz Messengers when they swung through Philadelphia. Not long after, Dizzy Gillespie hired Morgan to replace Joe Gordon in his big band, and afforded the talented youngster plenty of opportunities to solo, often spotlighting him on the Gillespie signature piece "A Night in Tunisia." Clifford Brown's death in a car crash in June 1956 sparked a search for his heir apparent, and the precocious Morgan seemed a likely candidate to many; accordingly, he soon found himself in great demand as a recording artist. His first session as a leader was cut for Blue Note in November 1956, and over the next few months he recorded for Savoy and Specialty as well, often working closely with Hank Mobley or Benny Golson. Later in 1957, he performed as a sideman on John Coltrane's classic Blue Train, as well as with Jimmy Smith. Morgan's early sessions showed him to be a gifted technician who had his influences down pat, but subsequent dates found him coming into his own as a distinctive, original stylist. That was most apparent on the Blue Note classic Candy, a warm standards album completed in 1958 and released to great acclaim. Still only 19, Morgan's playing was imbued with youthful enthusiasm, but he was also synthesizing his influences into an original sound of his own. Also in 1958, Gillespie's big band broke up, and Morgan soon joined the third version of Art Blakey's Jazz Messengers, which debuted on the classic Moanin' album later that year. As a leader, Morgan recorded a pair of albums for Vee Jay in 1960, Here's Lee Morgan and Expoobident, and cut another for Blue Note that year, Lee-Way, with backing by many of the Jazz Messengers. None managed to measure up to Candy, and Morgan, grappling with heroin addiction, wound up leaving the Jazz Messengers in 1961. He returned to his hometown of Philadelphia to kick the habit, and spent most of the next two years away from music, working occasionally with saxophonist Jimmy Heath on a local basis. His replacement in the Jazz Messengers was Freddie Hubbard, who would also become one of the top hard bop trumpeters of the '60s. Morgan returned to New York in late 1963, and recorded with Blue Note avant-gardist Grachan Moncur on the trombonist's debut Evolution. He then recorded a comeback LP for Blue Note called The Sidewinder, prominently featuring the up-and-coming Joe Henderson. The Morgan-composed title track was a funky, danceable groover that drew from soul-jazz, Latin boogaloo, blues, and R&B in addition to Morgan's trademark hard bop. It was rather unlike anything else he'd cut, and it became a left-field hit in 1964; edited down to a 45 RPM single, it inched into the lower reaches of the pop charts and was licensed for use in a high-profile automobile ad campaign. Its success helped push The Sidewinder into the Top 25 of the pop LP charts, and the Top Ten on the R&B listing. Sales were brisk enough to revive the financially struggling Blue Note label, and likely kept it from bankruptcy; it also led to numerous "Sidewinder"-style grooves popping up on other Blue Note artists' albums. By the time "The Sidewinder" became a phenomenon, Morgan had rejoined the Jazz Messengers, where he would remain until 1965; there he solidified a long-standing partnership with saxophonist Wayne Shorter. Morgan followed the most crucial recording of his career with the excellent, more abstract Search for the New Land, which was cut in early 1964, before "The Sidewinder" hit. An advanced modal bop session called Tom Cat was also recorded shortly thereafter, but both were shelved in hopes of scoring another "Sidewinder." Accordingly, Morgan re-entered the studio in early 1965 to cut The Rumproller, whose Andrew Hill-penned title cut worked territory that was highly similar to Morgan's breakout hit. Commercial lightning didn't strike twice, but Morgan continued to record prolifically through 1965, cutting excellent sessions like The Gigolo, Cornbread, and the unissued Infinity. The Gigolo introduced one of Morgan's best-known originals, the bluesy "Speedball," while the classic Cornbread featured his ballad masterpiece "Ceora." Search for the New Land was finally issued in 1966, and it achieved highly respectable sales, reaching the Top 20 of the R&B album charts; both Cornbread and The Gigolo would sell well among jazz audiences when they were released in 1967 and 1968, respectively. By the time Morgan completed those albums, he had left the Jazz Messengers to begin leading his own groups outside the studio. He was also appearing frequently as a sideman on other Blue Note releases, working most often with tenorman Hank Mobley. Morgan was extraordinarily prolific between 1966 and 1968, cutting around eight albums' worth of material (though not all of it was released at the time). Highlights included Delightfulee, The Procrastinator, and the decent-selling Caramba!, which nearly made the Top 40 of the R&B album chart. His compositions were increasingly modal and free-form, stretching the boundaries of hard bop; however, his funkier instincts were still evident as well, shifting gradually from boogaloo to early electrified fusion. Morgan's recording pace tailed off at the end of the '60s, but he continued to tour with a regular working group that prominently featured saxophonist Bennie Maupin. This band's lengthy modal explorations were documented on the double-LP Live at the Lighthouse, recorded in Los Angeles in July 1970; it was reissued in 2021 as The Complete Live at the Lighthouse. Morgan led what turned out to be the last session of his life in September 1971. On February 19, 1972, he was performing at the New York club Slug's when he was shot and killed by his common-law wife, Helen More (aka Helen Morgan). Accounts of exactly what happened vary; whether they argued over drugs or Morgan's fidelity, whether she shot him outside the club or up on the bandstand in front of the audience, jazz lost a major talent. The events of the night and More's relationship with Morgan were later the subject of Kasper Collin's acclaimed 2016 documentary film I Called Him Morgan. Despite his extensive recorded legacy, Morgan was only 33 years old. While The Last Session arrived posthumously in 1972, many of the trumpeter's unreleased Blue Note sessions began to appear in the early '80s, and his critical standing has hardly diminished a whit.
© Steve Huey /TiVo Mehr lesen
A cornerstone of the Blue Note label roster prior to his tragic demise, Lee Morgan was one of hard bop's greatest trumpeters, and indeed one of the finest players of the '60s. An all-around master of his instrument modeled after Clifford Brown, Morgan boasted an effortless, virtuosic technique and a full, supple, muscular tone that was just as powerful in the high register. His playing was always emotionally charged, regardless of the specific mood: cocky and exuberant on uptempo groovers, blistering on bop-oriented technical showcases, sweet and sensitive on ballads. In his early days as a teen prodigy, Morgan was a busy soloist with a taste for long, graceful lines, and honed his personal style while serving an apprenticeship in both Dizzy Gillespie's big band and Art Blakey's Jazz Messengers. As his original compositions began to take in elements of blues and R&B, he made greater use of space and developed an infectiously funky rhythmic sense. He also found ways to mimic human vocal inflections by stuttering, slurring his articulations, and employing half-valved sound effects. Morgan led his first Blue Note session in 1956 and he would record his first two classic albums for the label during 1957 and 1958: The Cooker and Candy. He broke through to a wider audience with his classic 1963 album Sidewinder, whose club-friendly title track introduced the soulful, boogaloo jazz sound. Toward the end of his career, Morgan was increasingly moving into modal music and free bop, hinting at the avant-garde but remaining grounded in tradition; a sound showcased on his 1970 concert album Live at the Lighthouse. He had already overcome a severe drug addiction, but sadly, he would not live to continue his musical growth; he was shot to death by his common-law wife in 1972.
Edward Lee Morgan was born in Philadelphia on July 10, 1938. He grew up a jazz lover, and his sister apparently gave him his first trumpet at age 14. He took private lessons, developing rapidly, and continued his studies at Mastbaum High School. By the time he was 15, he was already performing professionally on the weekends, co-leading a group with bassist Spanky DeBrest. Morgan also participated in weekly workshops that gave him the chance to meet the likes of Miles Davis, Dizzy Gillespie, and his idol Clifford Brown. After graduating from high school in 1956, Morgan -- along with DeBrest -- got the chance to perform with Art Blakey's Jazz Messengers when they swung through Philadelphia. Not long after, Dizzy Gillespie hired Morgan to replace Joe Gordon in his big band, and afforded the talented youngster plenty of opportunities to solo, often spotlighting him on the Gillespie signature piece "A Night in Tunisia." Clifford Brown's death in a car crash in June 1956 sparked a search for his heir apparent, and the precocious Morgan seemed a likely candidate to many; accordingly, he soon found himself in great demand as a recording artist. His first session as a leader was cut for Blue Note in November 1956, and over the next few months he recorded for Savoy and Specialty as well, often working closely with Hank Mobley or Benny Golson. Later in 1957, he performed as a sideman on John Coltrane's classic Blue Train, as well as with Jimmy Smith.
Morgan's early sessions showed him to be a gifted technician who had his influences down pat, but subsequent dates found him coming into his own as a distinctive, original stylist. That was most apparent on the Blue Note classic Candy, a warm standards album completed in 1958 and released to great acclaim. Still only 19, Morgan's playing was imbued with youthful enthusiasm, but he was also synthesizing his influences into an original sound of his own. Also in 1958, Gillespie's big band broke up, and Morgan soon joined the third version of Art Blakey's Jazz Messengers, which debuted on the classic Moanin' album later that year. As a leader, Morgan recorded a pair of albums for Vee Jay in 1960, Here's Lee Morgan and Expoobident, and cut another for Blue Note that year, Lee-Way, with backing by many of the Jazz Messengers. None managed to measure up to Candy, and Morgan, grappling with heroin addiction, wound up leaving the Jazz Messengers in 1961. He returned to his hometown of Philadelphia to kick the habit, and spent most of the next two years away from music, working occasionally with saxophonist Jimmy Heath on a local basis. His replacement in the Jazz Messengers was Freddie Hubbard, who would also become one of the top hard bop trumpeters of the '60s.
Morgan returned to New York in late 1963, and recorded with Blue Note avant-gardist Grachan Moncur on the trombonist's debut Evolution. He then recorded a comeback LP for Blue Note called The Sidewinder, prominently featuring the up-and-coming Joe Henderson. The Morgan-composed title track was a funky, danceable groover that drew from soul-jazz, Latin boogaloo, blues, and R&B in addition to Morgan's trademark hard bop. It was rather unlike anything else he'd cut, and it became a left-field hit in 1964; edited down to a 45 RPM single, it inched into the lower reaches of the pop charts and was licensed for use in a high-profile automobile ad campaign. Its success helped push The Sidewinder into the Top 25 of the pop LP charts, and the Top Ten on the R&B listing. Sales were brisk enough to revive the financially struggling Blue Note label, and likely kept it from bankruptcy; it also led to numerous "Sidewinder"-style grooves popping up on other Blue Note artists' albums. By the time "The Sidewinder" became a phenomenon, Morgan had rejoined the Jazz Messengers, where he would remain until 1965; there he solidified a long-standing partnership with saxophonist Wayne Shorter.
Morgan followed the most crucial recording of his career with the excellent, more abstract Search for the New Land, which was cut in early 1964, before "The Sidewinder" hit. An advanced modal bop session called Tom Cat was also recorded shortly thereafter, but both were shelved in hopes of scoring another "Sidewinder." Accordingly, Morgan re-entered the studio in early 1965 to cut The Rumproller, whose Andrew Hill-penned title cut worked territory that was highly similar to Morgan's breakout hit. Commercial lightning didn't strike twice, but Morgan continued to record prolifically through 1965, cutting excellent sessions like The Gigolo, Cornbread, and the unissued Infinity. The Gigolo introduced one of Morgan's best-known originals, the bluesy "Speedball," while the classic Cornbread featured his ballad masterpiece "Ceora." Search for the New Land was finally issued in 1966, and it achieved highly respectable sales, reaching the Top 20 of the R&B album charts; both Cornbread and The Gigolo would sell well among jazz audiences when they were released in 1967 and 1968, respectively.
By the time Morgan completed those albums, he had left the Jazz Messengers to begin leading his own groups outside the studio. He was also appearing frequently as a sideman on other Blue Note releases, working most often with tenorman Hank Mobley. Morgan was extraordinarily prolific between 1966 and 1968, cutting around eight albums' worth of material (though not all of it was released at the time). Highlights included Delightfulee, The Procrastinator, and the decent-selling Caramba!, which nearly made the Top 40 of the R&B album chart. His compositions were increasingly modal and free-form, stretching the boundaries of hard bop; however, his funkier instincts were still evident as well, shifting gradually from boogaloo to early electrified fusion. Morgan's recording pace tailed off at the end of the '60s, but he continued to tour with a regular working group that prominently featured saxophonist Bennie Maupin. This band's lengthy modal explorations were documented on the double-LP Live at the Lighthouse, recorded in Los Angeles in July 1970; it was reissued in 2021 as The Complete Live at the Lighthouse.
Morgan led what turned out to be the last session of his life in September 1971. On February 19, 1972, he was performing at the New York club Slug's when he was shot and killed by his common-law wife, Helen More (aka Helen Morgan). Accounts of exactly what happened vary; whether they argued over drugs or Morgan's fidelity, whether she shot him outside the club or up on the bandstand in front of the audience, jazz lost a major talent. The events of the night and More's relationship with Morgan were later the subject of Kasper Collin's acclaimed 2016 documentary film I Called Him Morgan. Despite his extensive recorded legacy, Morgan was only 33 years old. While The Last Session arrived posthumously in 1972, many of the trumpeter's unreleased Blue Note sessions began to appear in the early '80s, and his critical standing has hardly diminished a whit.
© Steve Huey /TiVo
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The Sidewinder (2012 Remaster)
Lee Morgan
Jazz - Erschienen bei Blue Note am 01.07.1964
Discothèque Idéale Qobuz24-Bit 192.0 kHz - Stereo -
The Complete Live At The Lighthouse, Hermosa Beach California (Live)
Lee Morgan
Jazz - Erschienen bei Blue Note am 20.08.2021
Je mehr Zeit vergeht, desto besser scheint es für Lee Morgan. Die regelmäßig erfolgten Neuausgaben seiner rund zwanzig, bei Blue Note erschienenen Alb ...
24-Bit 192.0 kHz - Stereo -
Search For The New Land
Lee Morgan
Jazz - Erschienen bei Blue Note Records am 01.01.2013
Discothèque Idéale QobuzIm Sommer 1964 veröffentlichte Lee Morgan das Album The Sidewinder, das zu den meistverkauftesten Alben in der Geschichte von Blue Note zählt. Fünf Mo ...
24-Bit 192.0 kHz - Stereo -
The Complete Live At The Lighthouse, Hermosa Beach California
Lee Morgan
Jazz - Erschienen bei Blue Note am 20.08.2021
Je mehr Zeit vergeht, desto besser scheint es für Lee Morgan. Die regelmäßig erfolgten Neuausgaben seiner rund zwanzig, bei Blue Note erschienenen Alb ...
24-Bit 96.0 kHz - Stereo -
Cornbread
Lee Morgan
Jazz - Erschienen bei Blue Note (BLU) am 01.01.1965
Discothèque Idéale QobuzHi-Res AudioThis session (reissued on CD by Blue Note) is best known for introducing Lee Morgan's beautiful ballad "Ceora," but actually all five selections (whic ...
24-Bit 96.0 kHz - Stereo -
The Rajah
Lee Morgan
Jazz - Erschienen bei CM BLUE NOTE (A92) am 29.11.1966
This long-lost Lee Morgan session was not released for the first time until it was discovered in the Blue Note vaults by Michael Cuscuna in 1984; it h ...
16-Bit CD Quality 44.1 kHz - Stereo -
The Complete Recordings: 1956-1962
Lee Morgan
Jazz - Erschienen bei Playtime am 03.03.2014
16-Bit CD Quality 44.1 kHz - Stereo -
Caramba
Lee Morgan
Jazz - Erschienen bei Blue Note Records am 03.05.1968
Until its 1996 reissue, this was one of the most obscure of all Lee Morgan Blue Note albums. A transitional effort that finds the trumpeter gradually ...
16-Bit CD Quality 44.1 kHz - Stereo -
Live At The Lighthouse
Lee Morgan
Jazz - Erschienen bei Blue Note Records am 01.07.1970
This three-CD set from Blue Note expands trumpeter Lee Morgan's original two-LP set from four selections to 12. Morgan's music had become much more mo ...
16-Bit CD Quality 44.1 kHz - Stereo -
Sonic Boom
Lee Morgan
Jazz - Erschienen bei Blue Note Records am 14.04.1967
Sonic Boom was not released until 1979 and then remained in print only for a brief time before eventually being reissued years later. In addition to t ...
16-Bit CD Quality 44.1 kHz - Stereo -
Charisma
Lee Morgan
Jazz - Erschienen bei Blue Note Records am 29.09.1966
This set (reissued on CD in 1997) was one of trumpeter Lee Morgan's lesser-known Blue Note recordings but it is quite rewarding. The notable sextet (w ...
16-Bit CD Quality 44.1 kHz - Stereo -
The Sidewinder (The Rudy Van Gelder Edition)
Lee Morgan
Jazz - Erschienen bei Blue Note Records am 21.12.1963
Discothèque Idéale QobuzCarried by its almost impossibly infectious eponymous opening track, The Sidewinder helped foreshadow the sounds of boogaloo and soul-jazz with its he ...
16-Bit CD Quality 44.1 kHz - Stereo -
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The Cooker
Lee Morgan
Jazz - Erschienen bei Blue Note Records am 01.01.2000
The trumpeter, then just 19, teams up with baritonist Pepper Adams, pianist Bobby Timmons, bassist Paul Chambers and drummer Philly Joe Jones for a pa ...
24-Bit 96.0 kHz - Stereo -
Candy
Lee Morgan
Jazz - Erschienen bei Blue Note Records am 16.09.2019
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 ...
24-Bit 96.0 kHz - Stereo -
The Sidewinder (2012 Remaster)
Lee Morgan
Jazz - Erschienen bei CM BLUE NOTE (A92) am 01.07.1964
24-Bit 96.0 kHz - Stereo -
The Sixth Sense
Lee Morgan
Jazz - Erschienen bei Blue Note Records am 10.11.1967
From late 1967 through 1968, Lee Morgan fronted a fine sextet with alto saxophonist Jackie McLean and the less-heralded tenor saxophonist Frank Mitche ...
16-Bit CD Quality 44.1 kHz - Stereo -
The Complete Live At The Lighthouse
Lee Morgan
Jazz - Erschienen bei CM BLUE NOTE (A92) am 20.08.2021
Je mehr Zeit vergeht, desto besser scheint es für Lee Morgan. Die regelmäßig erfolgten Neuausgaben seiner rund zwanzig, bei Blue Note ...
16-Bit CD Quality 44.1 kHz - Stereo -
Volume 3
Lee Morgan
Jazz - Erschienen bei Blue Note Records am 24.03.1957
16-Bit CD Quality 44.1 kHz - Stereo -
Infinity
Lee Morgan
Jazz - Erschienen bei Blue Note Records am 16.11.1965
Although recorded in 1965, this excellent Lee Morgan Quintet session (which features the trumpeter with altoist Jackie McLean, pianist Larry Willis, b ...
16-Bit CD Quality 44.1 kHz - Stereo -
The Rumproller
Lee Morgan
Jazz - Erschienen bei EMI Music Japan Inc. am 01.01.1965
To follow up on his unexpected boogaloo hit "The Sidewinder," Lee Morgan recorded Andrew Hill's somewhat similar "The Rumproller" but this time the co ...
24-Bit 96.0 kHz - Stereo