Jazz legend Lee Morgan was born 85 years ago yesterday in Philadelphia, PA. Among the select who are routinely mentioned when top 10 jazz trumpeters debates pop up, Lee left behind a truly dazzling resume & discography in his tragically abbreviated life.
Intensely interested in jazz as a teen, he played several instruments; heavily influenced by Clifford Brown, he quickly developed his own unique style. He played in Dizzy Gillespie's big band shortly after high school at age 18, recorded with budding superstar John Coltrane for Blue Train at age 19, was a member of Art Blakey's Jazz Messengers by age 20, and had already recorded his first Blue Note Session in 1956.
Before he turned 21, he was an established young star in New York City's jazz scene. The beginning of the 1960s saw him suffer from drug problems that would haunt him through much of his adult life. 1963 presented a return to form with The Sidewinder, the title track becoming a surprise hit. Over the next five years he recorded an astounding stretch of leader sessions, with sidemen who were basically a who's who of A-list hard boppers including Blakey, Herbie Hancock, Wayne Shorter, McCoy Tyner, Joe Henderson, Jackie McLean, Hank Mobley, and Billy Higgins. He was busy as a sideman as well.
While anything he recorded during this era is rewarding in its own way, I feel that Search for the New Land, Cornbread, & The Procrastinator perhaps best show off Lee's abilities as a composer, his strength as a group leader, and the wonderful sound his vision created. While he always gave his sidemen a chance to shine, at the same time he cultivated a group sound that was all his own: hard bop jazz imbued with blues, funk, and soul; beauty and power; individualism; and group unity. Search and Procrastinator both have thematic sounds that are uniquely Lee Morgan; Cornbread features two of his very best compositions, the title track and Ceora.
Bad habits again took on a larger role toward the latter part of the 1960s, and it was his common-law wife, Helen More, who helped nurse him back to a more healthy lifestyle. As he entered his 30s, he seemed to finally be breaking free from his past and moving toward a more sober life. He had a steady touring band, was appearing on TV, and was beginning to embrace the spirit of the politically charged time.
Playing with Bennie Maupin, Billy Harper, Grachan Moncur III, and others complemented his turn toward jazz-rock fusion, following the trend that many other jazz leaders were doing at the time. This was reflected on his final leader recordings from five months before his death, which would eventually be released as The Last Session.
In February 1972 Lee and his band were playing in New York City on a very snowy night at Slugs' Saloon. He had been drifting apart from More over serious altercations regarding his infidelities. After another of these clashes, she entered the club with a gun and shot Morgan at close range. The weather may have delayed getting him to the hospital and he passed away at the age of 33 on February 19, 1972.
Lee Morgan left behind a life story that produced an incredible soundtrack that is among the greatest in the hard bop era. The Last Session shows what might have been; Lee very possibly would have taken a spot alongside Miles Davis, Herbie Hancock, Wayne Shorter, Freddie Hubbard, Chick Corea, and the others who led the great fusion movement of the 1970s.
Despite the struggles he faced during his short life, that life today can be viewed as one of a seminal jazz visionary, performer, composer, and bandleader. His recorded legacy leaves behind an unmistakable aura of joy and enthusiasm for music and for life in general. Songs like The Sidewinder and Cornbread came from a mind brimming with a desire to translate life's glories into music while Ceora showcased his ability to project true beauty.
That's how I choose to remember Lee Morgan. I've listened to his entire discography, and return to it again and again. For those less aware of this jazz titan than they should be, give some of this music a try; you'll quickly see why he is so well-remembered and beloved by jazz diehards over 50 years after his passing.
