Lee Morgan Memorial Album
Released - 1974
Recording and Session Information
Van Gelder Studio, Hackensack, NJ, September 29, 1957
Lee Morgan, trumpet; Pepper Adams, baritone sax; Bobby Timmons, piano; Paul Chambers, bass; "Philly" Joe Jones, drums.
tk.4 Just One Of Those Things
Van Gelder Studio, Englewood Cliffs, NJ, December 21, 1963
Lee Morgan, trumpet; Joe Henderson, tenor sax; Barry Harris, piano; Bob Cranshaw, bass; Billy Higgins, drums.
tk.19 Hocus-Pocus
tk.25 The Sidewinder
Van Gelder Studio, Englewood Cliffs, NJ, July 1, 1965
Lee Morgan, trumpet; Wayne Shorter, tenor sax; Harold Mabern, piano; Bob Cranshaw, bass; Billy Higgins, drums.
1632 tk.11 You Go To My Head
1634 tk.32 Speedball
Van Gelder Studio, Englewood Cliffs, NJ, September 18, 1965
Lee Morgan, trumpet; Hank Mobley, tenor sax; Herbie Hancock, piano; Larry Ridley, bass; Billy Higgins, drums.
1651 tk.1 Ceora
Track Listing
| Side One | ||
| Title | Author | Recording Date |
| Speedball | Lee Morgan | July 1 1965 |
| Ceora | Lee Morgan | September 18 1965 |
| The Sidewinder | Lee Morgan | December 21 1963 |
| Side Two | ||
| Hocus-Pocus | Lee Morgan | December 21 1963 |
| You Go To My Head | Gillespie-Coots | July 1 1965 |
| Just One Of Those things | Cole Porter | September 29 1957 |
Liner Notes
As a teenager. Lee Morgan was an extraordinarily talented individual. I met him in 1956, at the early stage of his career, when he was gigging with the Dizzy Gillespie Orchestra.
From that time. I had the opportunity to observe his musical growth and to be present at most of his recording sessions for Blue Note Records. Blue Note Records catalog contains a host of Lee Morgan recordings, and this is a scant offering of what I believe to be the most memorable.
I vividly recall the rehearsals prior to a session and the intense preparations. Sometimes the entire session was planned and arranged, other times only two or three tunes were rehearsed. There were also times when he would come to the rehearsal with only a single sheet of manuscript paper.
The most amazing rehearsals were done with a single sheet of music. He would sit and play that one tune, and simultaneously interpret each musician's part and relay his interpretation to them. He would then take a break, relax, drink a soda; however, his mind would be working on his music and into another tune.
He could look at anyone of the musicians or an object in the studio and his intuitive response to his surroundings would bring everything together. A case in point is the tune "Our Man Higgins" which was created by an inspiration from drummer Billy Higgins. Lee was at home with his own compositions or standards of the day.
In essence, Lee Morgan was a dedicated man to his listeners. I have seen Lee record after a swimming accident when his teeth were in braces and the blood would be gushing from his mouth from playing. Why? It was his attempt to reach perfection. It was also his self-inflictive punishment. In the studio, Lee was whimsical and erratic, but his music was always totally professional.
—Duke Pearson
Album Coordinator: Duke Pearson
Editing Engineer : Ralph Eck, United Artists Recording Studio
Research : Carol Campbell
Barry Harris performs by courtesy of Riverside Records
No comments:
Post a Comment