Customer Reviews

Lee-Way

5 star:		(9)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Lee Morgan was one of the most frequently recorded artists on the Blue Note label. Even if this session didn't become a hit like, let's say "The Sidewinder", I immediatly liked the music very much. With such experienced sidemen like Jackie McLean, Bobby Timmons, Paul Chambers and Art Blakey, it's clear that something exiting will happen, they really stretch out on each of the four tracks. Lee Morgan is particularly fascinating on "Midtown Blues": In the middle of his solo, he introduces something otherwise often used by Sonny Rollins, when he bursts out spontanously, frequently returning to the tonic, as someone exploring all his possibilities and nevertheless going "back to the roots". Jackie McLean is superb as always. Here it seems that he gets a somewhat "smoother" sound than usually, he starts his solos on the deep register of his instrument, almost sounding like a tenor sax. Timmons, Chambers and Blakey are also great as ever, and dig the two composition by Cal Massey (" These are soulful days" and "Nakatini Suite"), they are really beautiful tunes from a nearly forgotten composer, who was a favorite by many jazz musicians of that period.

"Leeway" is a terrific hard bop album, and Lee Morgan's best pre-Sidewinder recording. The personnel on this session from April 1960 is Jackie McLean on alto sax, Bobby Timmons on piano, Paul Chambers on bass, and Art Blakey on drums. All these musicians play in top form, but it is Jackie and Art that make the session. Sometimes Jackie can sound a little flat, but not at all here, and Blakey's drumming provides the solid backbone this group needs, yet he always knows the best spot for the appropriate fill and flourish. The tunes are all great driving boppers with two of them, "These Are Soulful Days" and "Nakatini Suite," authored by Lee's Philadelphia colleague Cal Massey. "The Lion and the Wolff" is Lee's tribute to Blue Note founders Alfred Lion and Francis Wolff, while Jackie wrote "Midtown Blues." All in all, "Leeway" is a classic Blue Note session that thankfully has resurfaced in the RVG series.

Not sure I'd agree with the previous reviewer that this 1960 session is Morgan's best before "Sidewinder" (1957 was a kind year to Lee, marked by at least three outstanding albums under his leadership), but it's his best between 1957 and 1963 (or, if you prefer, his first significant outing as a post-teen trumpet player). As Mr. Richmond points out, Jackie McClean tempers his sound, removing the acidity that can make it seem intrusive or even dominating. Chambers and Blakey were infrequent rhythm partners, but they complement one another beautifully. Paul has the first solo on the date, making a melodic statement that holds Bu in check but not enough to blunt his forceful, assured and reassuring pulse. Timmons is heard to far greater effect here than on either his dates with Cannonball or the famous "Moanin'" session with Blakey. He plays swinging, lilting single-note lines worthy of a Wynton Kelley and takes spread-out block-chorded choruses on brisk tempos that would scare away all players save a Red Garland.

Morgan is a quintessential team player on the date, yet contributing stellar if at times rough-edged solos, equal parts fire and warmth. Listen to the beauty of his fat lower register on "Mid-Town Blues," but note how the piece is stamped as much by Chambers' melodic ideas as any other member of the quintet. If there were ever any doubt about the critical importance of Paul Chambers both as a bass player and as a component in the groups of Miles Davis throughout the '50s and into the early '60s, this recording, perhaps more than any other, is sufficient to dispel them. Although he could on occasion allow his attention to wander, on this date his time is catalytic and rock solid, his solo contributions inventive yet economical.

The invisible member on the date is the hard-luck, struggling and obscure musician-composer Cal Massey, who accounts for half of the program, both of his compositions heard to greater advantage here than on any other recording. Nat Hentoff's laudatory and sympathetic liner notes perhaps explain why he would subsequently arrange for Massey to have his own recording session ("Blues to Coltrane"). They do not, however, clarify why the writer-critic-producer did nothing about seeing it to release (it was eventually issued posthumously).

What a treat, to hear real music, that is complex, swinging and a joy to listen to! I highly recommend, These Are Soulful Days, for die-hard lovers of true music.
IMC

Lee-Way is another fine effort from trumpeter Lee Morgan. On this should-be classic session from 1960, he finds himself in the company of several of his Jazz Messenger counterparts, namely the great Art Blakey on drums, Bobby Timmons on piano, and ex-Messenger Jackie McLean on alto sax. The group is rounded out by the eminently recordable Paul Chambers on bass.

This session also features two sterling contributions from Cal Massey, the aptly titled "These Are Soulful Days", music as evocative as its title, and "Nakatini Suite". Both are excellent extended compositions which give the musicians plenty of room to shine. Check out Mr. PC's excellent bass solo on the former. Morgan contributed the piece "The Lion and The Wolff", so named for Blue Note founders Alfred Lion and Francis Wolff. This tune is prefaced by a great Bobby Timmons intro that really sets the mood. Art Blakey turns in an explosive drum solo at the end of this piece that is not to be missed. The other selection, "Midtown Blues", was penned by McLean. Jackie Mac is in fine form throughout the session, his bittersweet tone leaning more toward the sweet. His solo on "These Are Soulful Days" is one of his finest. While not as strident here as on his own recordings, Blakey holds the pulse of the session in his hands. Bobby Timmons also sounds fantastic here, turning in some fine work. As usual, Lee Morgan plays an excellent full-bodied trumpet. I found this album to be somewhat similar in feel to Tom Cat, which features some of the same performers. One would be hard pressed to find as much enjoyment as can be found in these fine four tracks.

"Leeway" is a terrific hard bop album, and Lee Morgan's best pre-Sidewinder recording. This CD was available domestically as a limited edition in the Connoisseur series a few years back, but that version is now out of print. Luckilly for those of you that missed out, it is still available as an import. And unlike some of the RVG Japanese titles, like "Green Street", you don't have to worry about not getting the bonus tracks, because there never have been any with this release.

The personnel on this session from April 1960 is Jackie McLean on alto sax, Bobby Timmons on piano, Paul Chambers on bass, and Art Blakey on drums. All these musicians play in top form, but it is Jackie and Art that make the session. Sometimes Jackie can sound a little flat, but not at all here, and Blakey's drumming provides the solid backbone this group needs, yet he always knows the best spot for the appropriate fill and flourish. The tunes are all great driving boppers with two of them, "These Are Soulful Days" and "Nakatini Suite," authored by Lee's Philadelphia colleague Cal Massey. "The Lion and the Wolff" is Lee's tribute to Blue Note founders Alfred Lion and Francis Wolff, while Jackie wrote "Midtown Blues." This is classic Blue Note, and hopefully will resurface in the domestic RVG program. If not, for a little more money, this gem can be yours.

This CD sounds amazing, I have only listened to the CD part and not to the SACD part, but I'm completely convinced I want to buy them all. If I have enough money and if my wife lets me, that is.

Buy it before it gets out of print and the price goes up.

Recorded in 1960 at Rudy van Gelder's studio, this is one of Lee Morgan's best albums. It's also a hard-bop classic that should be in the music collection of anyone interested in late 1950s - early 1960s jazz.

There are only four tracks on the CD, ranging in length from 8:09 to 12:08 minutes, but there's no filler here. This is all first rate material from start to finish.

When this album was recorded Lee Morgan was still a member of Art Blakey's Jazz Messengers which, at the time, was one of the top bands in jazz. Art Blakey was a innovator whose band served as an incubator of up and coming talent. Some of the leading jazz players of the era got their start in the Jazz Messengers; other Blakey alumni included Horace Silver, Hank Mobley, Freddie Hubbard and Wynton Marsalis, to name a few.

Although Lee Morgan was ostensibly the band leader on this session, it was basically a Jazz Messengers set. The four other players backing Morgan on this recording included three other members of Art Blakey's band: Bobby Timmons on piano, Paul Chambers on bass and Art Blakey himself on drums. The other session player was Jackie McLean on alto sax.

Bottom line: this is an excellent album. If you're a hard bop fan, this CD should be in your collection.

Industry Reviews
...one of Morgan's greasiest, down and dirty blowing sessions, featuring the trumpeter at his most emotional...
JazzTimes (02/01/1996)

...a forgotten classic....Morgan struts and shouts his way through four lengthy tracks...
Jazziz (10/01/1995)

...unearthed...gem....Two fine Calvin Massey compositions...prove a fine frame for Morgan's expressive trumpet solos, and bookend two relaxed blowing blues...
Musician (09/01/1995)