LEE MORGAN - "The Gigolo" 1st press BST 84212
$
40
$ 40
Sold For
Sep 19, 2014
Sold Date
Sep 11, 2014
Start Date
1
Number Of Bids
USA
Country Of Seller
eBay
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Description
Detailed item info
Album Features Recorded 1965Artist: Lee Morgan Format: LP Release Year: 1968 Record Label: Blue Note (Label) Genre: Jazz Instrument, Trumpet
Track Listing
1. No You Can't Yes I Can
2. Trapped
3. Speedball
4. The Gigolo
5. You Go to My Head
Details Playing Time: 48 min. Contributing Artists: Billy Higgins, Wayne Shorter, Harold Mabern
Recording Type: Studio Recording Mode: Stereo
Album Notes
Personnel: Lee Morgan (trumpet); Wayne Shorter (tenor saxophone); Harold Mabern (piano); Bob Cranshaw (acoustic bass); Billy Higgins (drums).Producer: Alfred Lion.Reissue producer: Michael Cuscuna.Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on June 25 and July 1, 1965. Includes liner notes by Nat Hentoff.Personnel: Lee Morgan (trumpet); Lee Morgan; Harold Mabern (piano); Bob Cranshaw (upright bass); Wayne Shorter (tenor saxophone); Billy Higgins (drums).Audio Remasterer: Rudy Van Gelder.Liner Note Author: Bob Blumenthal.Recording information: Van Gelder Studios, Englewood Cliffs, NJ (06/25/1965/07/01/1965).Photographer: Francis Wolff.More quintessential hard bop from one of the genre's leading figures at the height of his considerable powers as a composer and trumpeter. Morgan had just returned to solo work a year earlier after his second stint with Art Blakey's Jazz Messengers; in 1965 the trumpeter also released CORNBREAD and THE RUMPROLLER and did numerous sessions as a sideman. Morgan composed the title track, and three others including the Coots/Gillespie ballad "You Go To My Head" round things out."Yes I Can, No You Can't" opens with the rhythm section laying down a churning vamp; the horns enter with a typical Morgan statement, funky, swaggering and confident. "Speedball" is a bebop-style blues, but more relaxed, with a secondary theme appearing in the third chorus of the head. "Trapped," a modified minor blues, is more urgent, while "The Gigolo" is a brooding and majestic jazz waltz more evocative of a bullfight than of the ballroom. Throughout, the ensemble work is tight and the solos crackle with passion and joy.
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