Lee Morgan Here's Lee Morgan Vee Jay VJLP 3007 Mono dg

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Search Lee Morgan ~Here’s Lee Morgan~ LP~Vee Jay~VJLP 3007~Mono~dg

Up for your Consideration is this 1960 Used 33-1/3 LP Jazz  Album by “Lee Morgan” titled “Here’s Lee Morgan” Feathering “Art Blakey drums, Wynton Kelly piano, Cliff Jordan tenor and Paul Chambers bass….,Originally released in 1960 on Vee Jay Record Label --with a product number of VJLP 3007-- Mono Pressing LP Vinyl: in a MN- Condition : Very light signs of being played the vinyl has a couple of hair line visual marks NO scratches, The original luster is intact, and the vinyl shines and sparkles almost like new...Paper Sleeve:  White Plain ...Labels: both Side are in VG+ Condition: Black with Silver  print and has ¼”W rainbow ring the “Vee Jay in with a treble clef in the center of them in white print and they are set in a center of a red ring…… reads "Long Playing”…” Microgroove” there is the Deep Groove (an indent in the label about 1/2-inch from the edge of the label, which on SOME labels is associated with very early or first pressings) on both sides…both sides show some spindle ware...   Album Cover: is in VG++ Condition Very Slight wear, very minor shelf ware the cover has a minor seam split at the upper left hand corner about 1-1/2”L…also has a couple of small dings on 2 other corners...the back  is starting to yellow a tiny bit...it reads...”Recording Supervised by Sid McCoy, Jazz A & R Director”…Art Blakely Appears Through the Courtesy of Blue Note Records.”… VEE JAY LP 3007 “…Over all what I see is a Used 33RPM Album in VG++ Condition … I have listed a rating chart below... I inspect everything under bright spot light and state what I see... Please look at all of the pictures since they are a part of the description also... All of my LP’s come with a clear plastic protective sleeve and are mailed with the Vinyl outside the Sleeve in a new standard size heavy Album Mailing Box that holds up to 3-4 Albums…I love to combine to save you money on shipping… thank you for looking and good luck on your bidding…<><

Bell Sound Studio B, NYC, February 8, 1960

Record has been visually graded

M:

RECORD: Never Played Sealed Record

COVER:   Never Opened

NM-:

RECORD: Album is in excellent condition and shows no visible signs of wear or damage that will affect sound quality.

COVER:   Very little if any ware

VG++

RECORD: Some signs of being played the vinyl may have light visual marks NO scratches, There could be slight surface sound

COVER:   Slight wear, very faint record or label ring very minor shelf ware the cover may have minor seam splitting

VG+:

RECORD: Obviously been played with noticeable surface marks & the occasional light scratch but record should play without skipping or repeating.

COVER:   Noticeable shelf wear, small tear in seams, possible writing, stains, label or record ring.

VG and below: Let’s be honest: sound quality is low and the cover may be in very poor shape.

 I only sell albums rated VG+ and above unless a record is so rare that its presence in the collection transcends

 The poor quality of the vinyl or cover, plus: In my terminology Scratches are feeler type and marks or scuffs are just cosmetic and inaudible.

 + (PLUS) / - (MINUS): Slightly up or down in condition as appears in the comments above

Song List 

       1 Terrible "T" ~ Morgan 5:18 

       2 Mogie ~ Morgan 7:45 

       3 I’m a Fool to Want You ~ Herron, Sinatra, Wolf 5:37 

       4 Running Brook ~ Shorter 6:05 

       5 Off Spring ~ Jackson 6:12 

       6 Bess ~ Morgan 6:27    

Personnel

Art Blakey drums,

Wynton Kelly piano,

Cliff Jordan tenor

Paul Chambers’s bass

History

A cornerstone of the Blue Note label roster prior to his tragic demise, Lee Morgan was one of hard bop's greatest trumpeters, and indeed one of the finest of the '60s. An all-around master of his instrument modeled after Clifford Brown, Morgan boasted an effortless, virtuosic technique and a full, supple, muscular tone that was just as powerful in the high register. His playing was always emotionally charged, regardless of the specific mood: cocky and exuberant on up-tempo groovers, blistering on bop-oriented technical showcases, sweet and sensitive on ballads. In his early days as a teen prodigy, Morgan was a busy soloist with a taste for long, graceful lines, and honed his personal style while serving an apprenticeship in Art Blakey's Jazz Messengers. As his original compositions began to take in elements of blues and R&B, he made greater use of space and developed an infectiously funky rhythmic sense. He also found ways to mimic human vocal inflections by stuttering, slurring his articulations, and employing half-valved sound effects. Toward the end of his career, Morgan was increasingly moving into modal music and free bop, hinting at the avant-garde but remaining grounded in tradition. He had already overcome a severe drug addiction, but sadly, he would not live to continue his musical growth; he was shot to death by his common-law wife in 1972.Edward Lee Morgan was born in Philadelphia on July 10, 1938. He grew up a jazz lover, and his sister apparently gave him his first trumpet at age 14. He took private lessons, developing rapidly, and continued his studies at Mastbaum High School. By the time he was 15, he was already performing professionally on the weekends, co-leading a group with bassist Spanky DeBrest. Morgan also participated in weekly workshops that gave him the chance to meet the likes of Miles Davis, Dizzy Gillespie, and his idol Clifford Brown. After graduating from high school in 1956, Morgan — along with DeBrest — got the chance to perform with Art Blakey's Jazz Messengers when they swung through Philadelphia. Not long after, Dizzy Gillespie hired Morgan to replace Joe Gordon in his big band, and afforded the talented youngster plenty of opportunities to solo, often spotlighting him on the Gillespie signature piece "A Night in Tunisia." Clifford Brown's death in a car crash in June 1956 sparked a search for his heir apparent, and the precocious Morgan seemed a likely candidate to many; accordingly, he soon found himself in great demand as a recording artist. His first session as a leader was cut for Blue Note in November 1956, and over the next few months he recorded for Savoy and Specialty as well, often working closely with Hank Mobley or Benny Golson. Later in 1957, he performed as a sideman on John Coltrane's classic Blue Train, as well as with Jimmy Smith.Morgan's early sessions showed him to be a gifted technician who had his influences down pat, but subsequent dates found him coming into his own as a distinctive, original stylist. That was most apparent on the Blue Note classic Candy, a warm standards album completed in 1958 and released to great acclaim. Still only 19, Morgan's playing was still imbued with youthful enthusiasm, but he was also synthesizing his influences into an original sound of his own. Also in 1958, Gillespie's big band broke up, and Morgan soon joined the third version of Art Blakey's Jazz Messengers, which debuted on the classic Moanin' album later that year. As a leader, Morgan recorded a pair of albums for Vee Jay in 1960, Here's Lee Morgan and Expoobident, and cut another for Blue Note that year, Leeway, with backing by many of the Jazz Messengers.On February 19, 1972, Morgan was performing at the New York club Slug's when he was shot and killed by his common-law wife, Helen More. Accounts of exactly what happened vary; whether they argued over drugs or Morgan's fidelity, whether she shot him outside the club or up on the bandstand in front of the audience, jazz lost a major talent. Despite his extensive recorded legacy, Morgan was only 33 years old. Many of his unreleased Blue Note sessions began to appear in the early '80s, and his critical standing has hardly diminished a whit.

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We are pleased to come to you from the Land of OZ, the Capital of Kansas..."Topeka Kansas" we have been in the Antiques and Collectibles business for over 30 years, but I am still no expert. We strive to collect Customers not things, so you can buy here with Confidence,plus we are a Christian Based Business! Customer Satisfaction is our A-No.1 Priority here at Mayer's Antiques and Collectibles. I try to describe my merchandise the very best I can, as a result I go a little overboard sometimes and get a little wordy, but I want you to know just exactly what you are bidding on. I don't buy Junk, I buy from reputable sources, such as Estate Sales, Tag Sales, Flea Markets, Auctions and I also sell on Consignment. "CONDITION" is up to each person's interpretation and is very subjective, I believe I am fair and I tend to overstate any flaws or damage on my merchandise; I always try to ere on the side of the consumer. Please note that Vintage is not New, it is between 30/50 years old...American Antiques are from 50/100 years old and European Antiques are 100 years old and older...Please be sure to browse through my eBay Store at www.mayersantiquesandcollectibles.com   for more great bargains! <><

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