LEE MORGAN was a stalwart of the driving jazz-meets-funk-meets-blues grooves produced by Blue Note in the 1960's. A flashy player of enormous technique and invention, he became the natural successor to Clifford Brown, emerging on the jazz scene shortly after Brownie's death in 1956. Morgan quickly developed his own style, fusing classic bebop motifs with more modern rhythms, harmonies and melodies. ...........
BORN in Philadelphia on July 10, 1938, he began his trumpet studies with a private instructor, and continued them at Mastbaum High School for the Arts, where he also played the alto horn. A fan of jazz from an early age, he was exposed to a wide variety of live music in the vibrant Philadelphia music scene, which had produced such notables as John Coltrane, Benny Golson, the Heath brothers, and many others. ........................
By the time he was 15, Morgan was leading his own group with bassist James "Spanky" DeBrest as his partner. He was also taking part in Tuesday night workshops at the Music City club, which brought him into early contact with Miles Davis and his primary early influence, Clifford Brown. After Morgan graduated from Mastbaum in 1956, he and DeBrest subbed with the Jazz Messengers when Art Blakey arrived in Philadelphia short two musicians. "Spanky stayed on," Morgan explained in the liner notes to his first Blue Note album. "I could have stayed too, but I didn't want to sign a contract, so I left after two weeks. Very soon after that, Dizzy Gillespie returned from his South American tour. Morgan's career took off when he joined Dizzy’s big band at the age of 17. .........................
Dizzy was always a generous teacher, and allowed his young protégé plenty of solo space. This provided Morgan an excellent opportunity to gain experience before his return to Blakey's group in 1958 after Dizzy’s group disbanded. That year he recorded, Candy, his first of twenty-five Blue Note recordings as a leader, and though he was only 18 at the time, Morgan had already attracted attention with brassy acrobatic solos that heralded the arrival of a significant, new talent. While working with the Jazz Messengers, Morgan formed a great partnership with tenorist Benny Golson, and their shared sense of timing and musical rapport is obvious on the album Moanin', both on the title track and on numbers such as Blues March. Morgan shared the Messengers frontline with Golson, Hank Mobley and then Wayne Shorter until a heroin problem forced him to leave the band in 1961, (when he was replaced by Freddie Hubbard). .........................
He returned to his native Philadelphia for a few years, where he maintained a low profile while battling his addiction, working occasionally with saxophonist Jimmy Heath. He returned to New York in 1963, where he recorded, The Sidewinder, on the Blue Note label with sideman Joe Henderson, This was Morgan’s greatest commercial success. He entered his greatest period, recording one memorable album after another, writing "Ceora" and "Speedball" and spending a second period with Blakey (1964-65)..................
He also recorded widely as a sideman on many classic jazz albums such as Gillespie's Night In Tunisia, John Coltrane's Blue Trane, Grachan Moncur's Evolution and dates for others, including Curtis Fuller, Philly Joe Jones, Wynton Kelly, Clifford Jordan, Hank Mobley and Wayne Shorter. Morgan was as comfortable unleashing dynamic displays of instrumental virtuosity on triple time blues as he was displaying controlled sensitivity and passion on ballads. His style included elements drawn from Dizzy Gillespie and Clifford Brown, but his own wide, crackling tone, his use of bluesy phrasing and effects, searing high register, human-voiced half-valve effects, and his dancing, funky, timing, was the essence of hard-bop. ..................
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Morgan's later bands featured Bennie Maupin or Billy Harper on saxophone, and while the modal jazz direction taken by many other bands became more prominent in his compositions, Morgan remained at heart a hard-bop trumpet player. ............
Lee Morgan’s fast lane lifestyle ended on February 19, 1972, when he was shot and killed by his common-law wife, Helen More, during a performance at Slug's in New York, ending his life at the age of 33. ..................
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Ruby Jane Article in New York Times!! http://mediadecoder.blogs.nytimes.com/2009/09/26/who-do-these-guys-think-they-are/ AND Check out the new pictures and video! Let me know what you think! Ruby Jane
Yo, what up. im still hittin you up cuz you don't visit on a regular basis. anyway, these are the shirts from that "I'M ON IT" video that we have for sell. we got colors to match your school, organizations, new jays, whatever. we got limited quantities of each so hit us up ASAP. and if you don't see the colors that you want, hit us up with those colors and we will see what we can do.
The introduction day of the second solo album "Balboo" by Piotr Zaczek is approaching. On October the 10th the disc will appear on sale, but one may listen to a few fragments on www.myspace.com/piotrzaczek
Don't miss out on the latest two songs: 'Rich and famous' and 'Riviera Radio'. Where you can either learn how 'not to treat a lady' or just dream yourself away to the english sound of the Cote D'azur. Don't be shy - we welcome any kind of feedback ;O) And finally 10 songs from Stougaard solo is to be heard on: http://www.myspace.com/stougaardjesper Thank you for your support and inspiration. Enjoy music - enjoy life
I uploaded two new tracks, called “I Love Your Swingin’ in a Swing” & “Another Kiss, Another Night”.
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“I Love Your Swingin’ in a Swing” ; Partly polyrhythm of 3/4 & 4/4. ; Motown beats. ; I intentionally wrote so catchy melody with mainly using major keys (so this track is very different from my old works).
“Evening Dress (Another Kiss)” ; I tried to make a track like bossa nova, but the finished is nothing but a strange one… ; And it sounds obscene though I tried to make a elegant one… maybe factor’s a sound of guiro. ; Modulations will come twice. ; In the second interlude, there’s a section like trance music... BPM is over 300.
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It will be nice if you give me your impressions… please check those over if you have a time. I’m looking forward to receiving your words.
See ya! [MATA-NE] (‘u‘)b -OMC from Tokyo- Classical / New Wave / Progressive
Yo, what up homie. You don't even visit the page no mo. It's cool, we just gone come to you, lol. We got a video for "I'M ON IT!" It's the unofficial video, but it still go hard. Check it out and then you can tell everybody you "ON IT!!!".
http://www.youtube.com/watch?v=Mm10A58ioaE
"I'M ON IT" is available on iTunes and Amazon. You can spare $1 for the cause. Holla at us.
New pics, new videos and new LIVE tunes going up today! Let me know what you think! Sending some ATX (that's Austin Texas) love out to everyone. Ruby Jane
graet vinyl for sale come visit us in...... http://stores.ebay.com/israeli-finyl-vinyl http://www.myspace.com/israeli_finyl_vinyl http://www.israeli-finyl-vinyl.com http://www.youtube.com/user/israeliFvinyl
Hey what's up just stopping by to see what's up? If you need or know anyone need graphic or web design, video editing or cd/dvd duplication tell them to check us out and add us to their friends