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Lee Morgan - City Lights (1957) Genre: Jazz

Cduniverse.com:

Lee Morgan was only a tender 19 years of age when he led this 1957 Blue Note date, but his technique surpassed most of the more seasoned trumpeters on the scene. Technically agile and possessed of a bright, clear tone (he clearly belongs to the lineage of Dizzy Gillespie), Morgan shines on CITY LIGHTS, and his sidemen--including saxophonist George Coleman, trombonist Curtis Fuller, and bassist Paul Chambers--are no slouches, either. Strong writing from jazz composer Benny Golson makes this a thoroughly enjoyable hard-bop session. The 2006 reissue boasts beautifully remastered sound.

Amazon.com reviewer Samuel Chell:

This album may not enjoy the same status as Charlie Chaplin's revered movie of the same title, but it's a session that evokes similar feelings. Like the beloved Tramp, Lee Morgan wins our respect with a performance of warmth and dignity, grace and beauty, sprinkled with moments of gentle humor. His playing on this session anticipates, more than do his immediately subsequent recordings, the composer of the sublimely poetic "Ceora" ("Cornbread," '65).

Also credit Benny Golson, who provided three of the five tunes and the arrangements for the sextet on this date. Beginning with "Lee Morgan Sextet" (Dec, '56) to "City Lights" (Aug, '57), Golson supplied four consecutive recordings' worth of material for the developing session leader--compositions and textures that would showcase the young artist while lending form and focus to his creative energies. After "City Lights," Morgan would continue his prolific recording output but increasingly shoulder the burden--as one of only two horns on "The Cooker" (Sept, '57) and the sole horn on "Candy" (Nov, '57). As much latitude as the gifted trumpeter is given on these last two dates, the formal constraints of "City Lights" prove no less rewarding--if anything, they serve as a luminous foil, setting off the artist's inventions and magnifying his unique talent.

The opening title track sounds like programmatic music for a movie before rapidly developing into a flag-waver for the leader. A mysterious two-note figure bowed by Chambers' bass complemented by Ray Bryant's Twilight Zone tick-tock motif leads to the 24-bar chorus unfolding with a rush, and suddenly George Coleman's tenor sax hits the ground running, the entire scene completed in a head-spinning thirty seconds! Although Coleman's is an auspicious entrance on his first jazz recording, it merely increases the stakes for Morgan, whose trumpet solo crackles with menacing fire, moving to the upper register and going an extra chorus.

Morgan's solo on the lovely, rarely-played ballad "You're Mine You" seems fully capable of standing on its own, especially since Van Gelder's mixing does little to flatter Golson's subtle voicings. The program regains its stride with Golson's "Just By Myself," a straightahead 36-bar medium-tempo piece featuring an extended, beautifully-shaped Morgan serenade. The closer, Gigi Gryce's "Kin Folks," is a lazy-tempo Bb blues that proves a perfect playing field for all soloists--but especially the leader, who squeezes his valves, makes the notes talk, and leaves us with some unmistakable Morgan "attitude."

Personnel:

Lee Morgan, trumpet

Curtis Fuller, trombone

George Coleman, alto & tenor saxophone

Ray Bryant, piano

Paul Chambers, bass

Art Taylor, drums

Recording information: Van Gelder Studios, Englewood Cliffs, New Jersey (1957).

Tracks:

1. City Lights

2. Tempo de Waltz

3. You're Mine You

4. Just by Myself

5. Kin Folks

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Rating:
2.5 out of 5 by Book123