1.
"Ca-Lee-So" - 5:34 is a fun, funky and cute track, especially the piano lines. The title, presumably a reference to calypso music, can be heard in the bassline, the head, and the rhythms. Joe Henderson’s well-placed, Caribbean-esque and joyous, upbeat solos are another plus. Definitely an adorable little ditty here, and a highlight on the album. Morever, it’s nice to hear McCoy Tyner’s piano on this Calypso-inflected tune, which can also be clearly seen as a playful tune with the pun (an allusion to Lee’s Christian name) because he is usually associated with the “serious” or spiritual work of Coltrane. Tyner retains his characteristic left hand block chords and right trigger fingers, until the song repeats the joyful theme.
2.
"Zambia" - 6:33, despite the title’s allusion to an independent African nation, does not sound very “African.” Thus, though trying to be “Afrocentric” and assert a connection to Africa, something Lee has done with “Mr. Kenyatta” or “Afreaka,” “Zambia,” though featuring some “Latin” influences in Billy Higgins’ drumming, is too standard or stereotypically Morgan. Henderson, however, really flies high on his solo and hints at the post-bop world of the mid-1960s. Higgins also lays down the up-tempo swing hard on this, while Morgan and him play call-and-response for a while. Unfortunately, it sounds too much like “Calling Ms. Khadijah,” a number penned by Morgan for Art Blakey and the Jazz Messengers or even his “Kozo’s Waltz,” also recorded with Blakey.
3.
"Yesterday" (Lennon, McCartney) - 5:49 is the worst track on the album, with Morgan and a big band orchestrated by Oliver Nelson endeavoring to do justice to a classic song by the Beatles. Adding a light samba rhythm, the band plays the melody faithfully, but it just does not add up right. It sounds pathetic, almost Churchlike (as in an hymn) and the horn arrangements do not represent the song’s light, earnest hope as well as a very simple, sparse arrangement would. It was a nice attempt, though, and I admire Oliver Nelson’s work, especially The Blues and the Abstract Truth’s “Stolen Moments.”
4.
"Sunrise, Sunset" (Bock, Harnick) - 6:17 continues the big band recordings, doing an interesting version of a song from Fiddler on the Roof, which, when compared to “Yesterday,” works well and surpasses the original music. The saxophone solo (sounds like Wayne Shorter?) uniquely carries the song, as well as McCoy Tyner’s lilting, dark-edged piano’s sinister sound. Higgins on the drum carries it well, and Tyner’s piano, once again, and the full band joins in at times where it sounds very much like the arrangements for John Coltrane’s larger band ensembles in Africa/Brass or Ole Coltrane. Perhaps the presence of Tyner and his unique piano stamp of approval is what truly reminds me of Coltrane’s larger ensemble work, though, especially since his solo contains his left hand block chords and soulful, piercing, right. Indeed, this song, actually sounds like a song from Africa/Brass, such as “Greensleeves” or “Song of the Underground Railroad.”
5.
"Nite Flite" - 7:38 features the old quintet again, and is a speeding train of jazz. Morgan blows away while Higgins plays a thundering, lightning-fast rhythm that reminds one of Max Roach’s “Freedom Day.” Higgins, however, keeps it from getting boring by adding Latinish touches while Henderson’s solo, appropriately fast and post-bop, adds some soul and hints at his later avant-garde, free jazz work. Tyner’s contemplative, spirited solo, so typical of his beautiful, one in a kind style, adds a complex layer of soul to the composition. He keeps it from getting old by throwing multitextured arpeggios and sounds with strong, hectic rhythms supplied by Higgins. As the title suggests, night is indeed flying by in this interesting, post-bop Morgan tune.
6.
"The Delightful Deggie" - 6:38, the last of the quintet recordings on this release, is a deep, mid-tempo number recalling a once delightful, merry time. Henderson once again steals the show, with his solo, at one point sounding like “Haitian Fight Song,” plays around the waltz-like atmosphere of good times once had. Tyner brings in the blues, just as he so ardently accomplished with in various spellbinding renditions of Coltrane’s “Spiritual,” also a somber piece reflecting sadness, inner resolve, and spirit. Thus, despite leaning toward modal and avant-garde, Tyner never loses his grasp the blues, showing off his experience and talent by infusing the somber track with a touch of the blues. The number ends on a high note, with repetition of the deep theme of
7.
"Need I?" - 7:11 Bonus track on CD is very boppish, recorded with the big band, although lacking the complexity and depth of the previous track, so it’s not a very smooth transition. It’s nice though, especially with Shorter on saxophone playing in the hard bop style he perfected under the tutelage of Art Blakey’s Jazz Messengers. Though never cooking as much as he did in, say, “Dat Dere,” him and Morgan keep things going with unnecessary accompaniment from the large ensemble’s additional horns. In my humble opinion, this would be one song better left out of the album or just recorded with the quintet. Philly Joe Jones does get some momentary shine for his drumming solos, though, as well as Tyner, going on a bluesy, beautiful romp.
8. "Filet of Soul (aka Hoppin' John)" - 8:30, another bonus track, sounds too much like an Oliver Nelson song with an additional slice of soul. In some ways, it’s very characteristic of Morgan’s work, since Blue Note was always pressuring him to compose funky soul-jazz and bop numbers that could be another hit after the amazing success of “The Sidewinder.” Shorter, per usual, slows things down and, with his introspective solo, retains the blues, adding in some short-lived howls and retained notes for the necessary bluesy element. The drummer, Jones, like Blakey does on similar recordings, keeps things flowing well, especially while Morgan takes over for his soulful solo. This minor blues theme, exemplified by Tyner’s accompaniment, sounds similar to some of Morgan’s blues-oriented outings with the Jazz Messengers until Tyner improvises pensive, reflective riffs layered with age or depth suggesting ancient sources. Alas, the big band arrangement detracts from what could have been a great song, with flutes and other horns until the bassist’s solo, which is middling, until the song ends, sounding somewhat, once again, like an Oliver Nelson number from The Blues and the Abstract Truth.
9. "Zambia" [Big Band Version] - 8:01 tries and succeeds to emulate the post-bop, “Kozo’s Waltz”-like delight of “Zambia.” Though the horns bring more textural layers of sound, and Shorter’s saxophone voice differs significantly from Henderson, using honking, almost atonal moments to express a post-bop soul, Morgan’s soloing phenomenal, and Tyner thoughtful. Jones, whose well-executed rhythmic fits of fancy, are well-placed, though hardly “Zambian” or “African” in sound, except for the Afro-Latin solo, actually make the song more stereotypically “African” than the quintet recording. It ends well though, with the additional horns providing a nice call-and-response to the soloists' exploration of the them, which is, in a sense, very African.
10. "The Delightful Deggie" [Big Band Version], the final track, sounds much like the quintet version with annoying additional horn arrangements that, for me, distract from the melancholic tone poem. Tyner, who solos first, fortunately saves us, as well as Morgan. The drumming seems too loud, however, with Jones using too much forceful swing whereas Higgins, who could cook and swing just as hard, was better able to temper himself and let go. Once again, with Tyner, things turn out okay and Shorter makes everything okay in the end. Nevertheless, the big-band recording, like most of the other big-band renditions, pale in comparison to the quintet recordings, although none as much as “Yesterday.”
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