The Rajah

Somehow, we have forgotten about Lee Morgan's "The Rajah." Although somewhat typical for him as a funky piece of hard-bop with a Latin beat, it features the immediately recognizable Billy Higgins on drums. Hank Mobley is also perfect for this song's funky character.

Ceora

"Ceora" is a classic penned by Lee Morgan. Unlike his usually boisterous and fiery self, "Ceora" is a restrained and cool Latin number with an excellent introduction by Herbie Hancock. Morgan's solo is so breezy and soulful that it is difficult not to get lost in its gentle, undulating waves. Hancock's solo is also perfect for the composition. 

Blue Lace

Another delightful and introspective jazz-waltz, penned by the inimitable Lee Morgan. It's amazing how varied and complex the waltz time pieces of Morgan can be. 

Kozo's Waltz

As a fan of the jazz waltz, Lee Morgan's "Kozo's Waltz" has long been a personal favorite. Blakey manages to insert a seamless drum solo into a song in waltz time. That inimitable vamp, so clearly a product of the funky Morgan, features Morgan as well as another personal favorite horn player, Wayne Shorter. 

I Called Him Morgan

I've finally watched I Called Him Morgan. It goes without saying that this is a superior documentary to the recent Coltrane documentary because it tells a lesser known story while actually disseminating new information to a general public that likely knows less about Morgan than Coltrane. Anyway, focusing on Lee Morgan through the perspective of Helen Morgan, his wife who fatally shot him at Slug's in 1972, was a brilliant move that humanizes Helen while providing a look at Lee Morgan through a completely different lens. We learn about Helen's roots in North Carolina, her struggle to make it on her own terms in an era when opportunities for black women in New York were extremely limited, and just how important her role was in resuscitating Lee, both musically and morally. Unfortunately, I would have liked to learn a bit more about Lee's music and his own Philadelphia roots, but interviews with Jymie Merritt, Wayne Shorter, Bennie Maupin, and others helped fill the gap. Extensive use of photographs of recording sessions for Blue Note were excellently matched with the oral testimonies of interviewees who either recorded with Morgan or knew both Helen and Lee intimately. Nonetheless, it was shocking that "The Sidewinder" was not referenced at all in this film, particularly since it shaped Lee's subsequent recordings with Blue Note and the "soul-jazz" phenomenon of the 1960s. Nor was there specific mention of Morgan's later work's new directions, including some in the vein of jazz fusion and funkier aesthetics, except for a song composed in honor of Angela Davis by Merritt. In spite of these shortcomings, and the rather somber tone of the film, there is a rich sense of humor throughout. Helen, from a recorded interview in the 1990s before her death, describes her first meeting with Miles Davis, who calls her a bitch with a quick mouth. Wayne Shorter's recollections about the food and drink at Blue Note recording sessions was amusing and light-hearted. Seeing Shorter remember is musical comrade from their days in the Jazz Messengers was quite endearing. Next on the list is Kasper Collin's Albert Ayler documentary!

Waltz For Ruth

A beautiful ballad featuring John Gilmore, Lee Morgan, and Curtis Fuller from 1965. Written by pianist John Hicks, this sentimental waltz embodies all of my favorite attributes of a jazz waltz: syncopated valse rhythm, playful and sweet melodies, delicate piano solos, and even a boisterous but not too out of way trombone solo! Grachan Moncur III is still my go-to trombonist in jazz, but Fuller always knew how to blend into any ensemble or group. 

Grass Roots

Lovably funky number from the ever-quirky Andrew Hill, a Chicago-born jazz pianist who bizarrely claimed to be born in Haiti. I have always appreciated Hill for his ability to bridge the gap between more 'out there' jazz and bop, a feat that I also admire in the work of Eric Dolphy. As a sideman, Hill has proven how talented he is as a composer for other artists, such as Bobby Hutcherson. Lee Morgan and Ron Carter round things out on this funky number, particularly Carter's walking bass. 

Lee Morgan + Wayne Shorter + Art Blakey = The Best of the Jazz Messengers

Any incarnation of Art Blakey and the Jazz Messengers featuring Lee Morgan and Wayne Shorter represents the epitome of the Jazz Messengers and hard bop. They take you to church on jams such as "This Here" while also combining Morgan's fiery passion and funk with Shorter's more elegant, 'refined' approach and composing talent. They complemented each other perfectly as well as composed and 'blew' some of the best solos Art Blakey's Jazz Messengers ever played. If I rememeber correctly, Lee Morgan actually brought Shorter into the Jazz Messengers by recommending him to Blakey. 

Enjoy some great jazz below!

http://www.youtube.com/watch?v=RDwy3-B02Us
http://www.youtube.com/watch?v=EfGDTGBHM9M
http://www.youtube.com/watch?v=WV5EXrfs_Aw
http://www.youtube.com/watch?v=cyLY7FSd3WA
http://www.youtube.com/watch?v=jU2pITrtwMs
http://www.youtube.com/watch?v=qTp8UxEsvSk
http://www.youtube.com/watch?v=YXL6FDt5L5k
http://www.youtube.com/watch?v=EPI3xMd9liM
http://www.youtube.com/watch?v=16ITj7KR5rk

Lee Morgan's Search For the New Land

"Search For the New Land" begins this brilliant album with a long, suite-like jazz composition of a spiritual tone, divided into different sections for each soloist. It sounds like something Coltrane already did with A Love Supreme but somehow unique, largely because of Grant Green's ethereal guitar. The simple, but powerful bassline keeps the song while Billy Higgins, one of my favorite jazz percussionists, keeps it soulful and, although sounding a lot like Elvin Jones, remains truly Higgins. Wayne Shorter begins the first round of solos, soaring above the sweet melody while Herbie Hancock does what he does best, playing in a modal fashion and sounding very Coltranesque. Morgan's solo is also of note, so different from his usual bluesy funk but retaining his fiery spirit, expertly accompanied by Hancock again. Morgan is all over the place but still in control, showing his prowess with modal and avant garde jazz, indicating his successful search for the new land of progressive, post-bop jazz. By far, the best soloist, however, is Hancock, whose dark, exploratory soloing perfectly captures the spirit of modal jazz and captures the spirit of the song title, sounding a little like Tyner. Grant Green's guitar, while useful for effect, is not as memorable. Throughout the entire contemplative piece that is a testament to Morgan's composing genius, Cranshaw's bass foundation holds it together. It's akin to an archipelago of islands, with each soloist on their own but connected by the rhythm and melody, which again fits well into the searching, maritime themes on other tracks of the album, particularly "Morgan the Pirate."

Unfortunately, the proceeding track, "The Joker," as its name would suggest, is too lighthearted and weakens the listener's experience of the album because its so jarring to switch immediately from a darker, pensive piece to a rather simple, bluesy ditty. But "Mr. Kenyatta," a tribute to Kenya's Jomo Kenyatta, and "Melancholee," an olbligatory pun title Morgan was so proud of ("Morgan the Pirate" is another example on this album) save the remainder of the album. "Mr. Kenyatta," which was adeptly sampled by MF Doom's previous group, KMD, for their "Contact Blitt," fusing Wayne Shorter's solo into a hip-hop context. Like "Search For the New Land," "Mr. Kenyatta," another instance of Morgan's pan-African consciousness and internationalism, is built on a simple head and, like good modal jazz, features strong soloing from Morgan, Shorter, and Hancock. Shorter especially blows everyone away, playing in a style one may associate more with stereotypical Morgan style, while indicating he can still blow, as he did with the Jazz Messengers. He shrieks, screams, honks, flies across the keys of the saxophone and, accompanied by Hancock's playing, suggestive of an emergency, provides the perfect frame for his invigorating playing. Grant Green, per usual, is "nice" to hear, but not essential to the song. His guitar, so clean and smooth, is pleasant, but negligible compared to Morgan, Shorter, and Hancock. Morgan ends the round of solos, playing more alongside his usual style, almost topping his playing on Joe Henderson's "Caribbean Fire Dance" with trumpet wails. As a nod to Kenya's independence and political leader, it also, like the title of the album, alludes to a changing world and new political (and musical) possibilities in 1964.

"Melancholee," an obvious pun, is a beautiful, ballad where Green's guitar is actually appreciated. The melancholic mood is enhanced by his sweet, simple guitar lines, and the horns accentuate the melody perfectly. This must be one of Morgan's best ballads, as well as Hancock's moving solo, suggestive of a sad, contemplative mood, while still sounding like his balladry while with Blakey. "Morgan the Pirate" concludes things on a higher note with the ongoing theme of adventure, the seas, and search for new boundaries. The song should also be seen, perhaps, as a reference to Henry Morgan, the infamous pirate who sacked and raided Spanish colonial cities in the Americas. Though named after a horrendous pirate, this song is meant to better allude to the spirit of adventure and journey, which is obvious from the light, simple, and cute soloing, particularly Morgan's. Moreover, Green's solo is actually not horrendous or unnecessary, either! Shorter, whose solo is perfectly suggestive of piracy on the high seas, the adventurous rush of a chase, is a sweet, way to end the album. Higgins keeps drumming, and adds Latin flourishes at times to his polyryhthmic fest and the album ends quite well, though reminding me for some reason (Higgins' drumming, most likely) of Miles Davis's rendition of "Someday My Prince Will Come"). Definitely one of Morgan's best.

Lee Morgan's Tom Cat

1. "Tom Cat" (Lee Morgan) – 9:50

2. "Exotique" (Morgan) – 9:34

3. "Twice Around" (Morgan) – 7:36

4. "Twilight Mist" (McCoy Tyner) – 6:57

5. "Rigormortis" (J. Del, Henry Glover, Morris Levy) – 7:27

A beautiful album with a strong lineup. Tyner on keys works well with Morgan's fiery hard-bop base while Blakey, McLean, who was becoming more adventurous, too, and Fuller mesh with Morgan's hard bop roots. "Rigormortis" and "Twilight Mist" are two highlights, especially the propulsive swing of Blakey and Tyner's introspective piano and Morgan's energetic blasts of energy and soul into "Rigormortis." While retaining the characteristic funky blues sound of The Sidewinder and other typical Morgan releases of the 1960s for Blue Note, this album is more progressive and forward-thinking, almost as much as Search for the New Land, where Morgan and company embraced modal and avant-garde influences. Although I feel that Fuller's trombone is unnecessary overall to the album, because I usually prefer to not hear the clunky, awkward tone of the trombone, Fuller's solos are limited. Blakey, one of my favorite jazz drummers, keeps things interesting with his Afro-Latin-esque brief solos but mostly serves as a timekeeper who injects African vitality to the fun romp that is "Rigormortis." The bluesy funk of "Tom Cat" is delectable, too, although sounding perhaps too much like Morgan's schooling days in Blakey's Jazz Messengers, though never reaching the heights of "Moanin', but McLean's solos here and on "Exotique" are stirring alongside accompaniment from Tyner. With a great lineup and good Morgan material, this album is highly recommendable, accessible, and worthwhile for any fan of Morgan, Blakey, or even Tyner.

Lee Morgan's Delightfulee

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.”

Joe Henderson's Caribbean Fire Dance

Joe Henderson’s “Caribbean Fire Dance” from Mode for Joe is a rousing Walton number, with a mesmerizing ostinato, propulsive Afro-Caribbean rhythms provided by Joe Chambers and perfect piano vamp from Walton, expressing the song’s debt to especially Cuban music. Bobby Hutcherson’s finely executed vibes add to the haunting quality of a song that perfectly captures the mood of Caribbean peoples dancing to a fire in a pitch-black night, perhaps for some “Vodou” or other African-influenced religious ceremony. Chamber’s drumming is, however, what makes the song, as well as Lee Morgan and Curtis Fuller blowing away on trumpet and trombone respectively. Hutcherson’s vibes expertly solo alongside the main piano vamp and Chambers’ funky, polyrhythmic drumming. Later, with the horn section blowing, Chambers plays a game of call-and-response with his solo, reminding one of Max Roach’s melodic, voice-like solo on Sonny Rollins’ “St. Thomas,” itself based on an old calypso song. Did I neglect to mention Henderson’s initial rousing solo, emulating the winding turns of song’s theme? Overall, Morgan builds this song, screaming through his horn an exhortation to the African spirits of ancestors while Chambers keeps the rhythm going strong, playing his drums like one does with Caribbean hand percussions in terms of tone. Undoubtedly one of the best Latin Jazz songs out there, I give this 5 stars.

A live rendition of the tune from Henderson's At the Lighthouse maintains the fiery spirit of the original with added liveliness to the drums and more free, or nearly free, soloing. The electric piano actually reinforces the tune's darkness, while the exciting, nearly Spanish-sounding horn solos rearticulate the song's debts to the Afro-Caribbean and Spanish roots of the Caribbean.