The Gigolo [Bonus Track] [Remaster] by Lee Morgan (CD, Feb-2006, Blue Note (Label))

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About this product

Album Features
Artist:Lee Morgan
Release Year:2006
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 - (previously unreleased)
6. The - (previously unreleased, alternate take) Gigolo

Playing Time:48 min.
Contributing Artists:Billy Higgins, Wayne Shorter, Harold Mabern
Distributor:EMI Music Distribution
Recording Type:Studio
Recording Mode:Stereo
SPAR Code:n/a

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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