This is a great vinyl upgrade to an early Lee Morgan album!
Lee Morgan – Here’s Lee Morgan – Vee-Jay Records (1960)/Craft Recordings CR00857 [7/25/2025] 180-gram stereo vinyl, 37:19 ****1/2:
(Lee Morgan – trumpet; Art Blakey – drums; Wynton Kelly – piano; Cliff Jordan – tenor saxophone; Paul Chambers – double bass)
Philadelphia native Lee Morgan was an integral part of the hard bop movement in the 60’s. His trumpet work appeared on many classic jazz albums with the likes of Art Blakey, Dizzy Gillespie, John Coltrane, Bud Powell, Kenny Dorham, McCoy Tyner, Lonnie Smith Hank Mobley, Curtis Fuller and Wayne Shorter. As a band leader, Morgan recorded over 20 albums primarily for Blue Note Records, helping to popularize the hard bop jazz scene. Tragically, his career was cut short when he was killed in a in a domestic altercation at the age of 33.
As part of the critically-acclaimed Original Jazz Classics series, Craft Recordings has released a 180-gram stereo vinyl of the 1961 album, Here’s Lee Morgan. This was his sole recording for the specialty Vee-Jay label and featured an all-star lineup (Art Blakey/drums; Wynton Kelly/piano; Cliff Jordan/tenor saxophone and Paul Chambers/double bass). This quintet is audacious and embraces the bluesy and swinging core of the post-bop/hard bop genre. Morgan at a mere twenty-two is a commanding presence with his crisp energetic lead and solo on “Terrible T” (one of three original compositions). Cliff Jordan follows with a muscular fulsome run as Kelly, Blakey and Chambers play in lockstep. Kelly adds a nimble touch to the sinewy piano that has soulful accents. As the quintet re-engages, there is raucous harmonious interaction. The next Morgan-penned tune, “Mogie” is freewheeling and compelling. Propelled by Blakey’s relentless drumming, it is arranged for straight-ahead jamming with the three main soloists. All of them never take their foot off the pedal and the up tempo swing permeates the aesthetics. Chambers contributes a spirited angular solo and when Morgan returns, he trades with Blakey drum rolls, reminiscent of their chemistry from The Jazz Messengers. In a change of pace, “I’m A Fool To Want You” is atmospheric balladry at its finest. Morgan switches to mute, distilling the melodic essence. The dialogue between him and Jordan is magnetic and both players utilize some vibrato. Kelly’s intricate play glows with warmth and agility.
Side Two showcases influential jazz composers. Wayne Shorter’s “Running Brook” is a master class in cohesive quintet resonance. This time, Jordan takes the first solo with controlled ferocity and clear tonality. Morgan wades in fearlessly and delivers a memorable performance displaying instrumental gravitas and passion. Kelly matches the intensity of his band mates who begin and end the jam with counter harmony and precision. It seems natural that Kelly would kick off the Milt Jackson number, “Off Spring”. The ensemble is in the pocket, and they adopt a ‘down ’n’ dirty” blues attitude. Jordan’s soulful play is deep, and Blakey injects tempo-defying accents. Morgan simply wails and connects with the rhythm section. Kelly’s right hand notation is fluid and buoyant. There is an inevitable consistency within the group and no wasted improvisation. A certain highlight is the finale (“Bess”). Medium swing dynamics and a return to muted trumpet elevate this track. The syncopated rhythmic tempo and chord modulation are exquisite and the momentum never subsides.
Here’s Lee Morgan is another winning addition to Craft Recordings’ Original Jazz Classics catalog. This album captures the unstoppable artistic musical tapestry of hard bop. The arrangements are concise and the instrumentalists are focused. It has a very good, balanced sound mix, and the instrumental tonality is intricate. These lacquers were cut from the original master tapes by Kevin Gray/Cohearant Audio) and pressed at RTI.
Highly recommended!
—Robbie Gerson
Here’s Lee Morgan
TrackList:
Side One: Terrible ”T”; Mogie; I’m A Fool To Want You
Side Two: Running Brook; Off Spring; Bess.
