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Interview with Lee Morgan, booking agent
Full text linkRecorded at the home of Lee Morgan (Oxford, Miss.). Interviewer: Mary Margaret Miller, Recordist: Kevin Dyes
Lee Morgan and Benny Golson in a stadium
No full text3 1/2 x 5 inch photograph; Trumpeter Lee Morgan is on the left and tenor saxophonist & composer Benny Golson is on the right. They are in a stadium. Observable in the background is an improvised stage with musician
Lee Morgan: His Life, Music and Culture
No full textThis is the first biography of the jazz trumpeter Lee Morgan (1938-72). He was a prodigy-- recruited to Dizzy Gillespie’s big band while still a teenager, he joined Art Blakey’s Jazz Messengers not much after. By his early twenties Morgan had played on four continents and dozens of albums. The trumpeter would go on to cultivate a personal and highly influential style, and to make records – most notably The Sidewinder – which would sell numbers of copies almost unheard of in jazz. While what should have been Morgan’s most successful years were hampered by a heroin addiction, the ascendant black liberation movement of the late sixties gave the musician a new, political impulse, and he returned to the jazz scene to become a vociferous campaigner for black musicians’ rights and representation. But Morgan’s personal life remained troubled, and during a fight with his girlfriend at a New York club, he was shot and killed, aged thirty three.
Although Lee Morgan lived and died in sensational style, the story told in this book doesn’t just stumble between stages, studios, bars and needles; such a narrative couldn’t do justice to the richness of the trumpeter’s music, nor to the culture from which it came. The events of Morgan’s life are presented here not just as items of biography, but also as points of departure for wider historical investigations that aim to situate the musician and his contemporaries in changing aesthetic, social and economic contexts. This book draws on many original interviews with Morgan’s colleagues and friends, as well as extensive archival research and critical engagement with the music itself
Cathy Lee Morgan, 1971-1972 Who\u27s Who Among Students in American Colleges and Universities 2
No full textCathy Lee Morgan was a student at Jacksonville State University. In 1971-1972 she was selected for Who\u27s Who Among Students in American Colleges and Universities.https://digitalcommons.jsu.edu/lib-ac-histimg/41202/thumbnail.jp
Das Trompetenspiel im Modern Jazz um 1960 – Lee Morgan, Freddie Hubbard und Booker Little
No full textLee Morgan, Freddie Hubbard und Booker Little, alle 1938 geboren, gelten als stilprägende Trompeter des Modern Jazz um 1960. Ausgehend vom Trompetenspiel Dizzy Gillespies, Miles Davis’ und Clifford Browns in den 1950er Jahren werden in der vorliegenden Studie anhand aufwendig angefertigter Transkriptionen ausgewählter Trompetensoli improvisatorische Eigenheiten Morgans, Hubbards und Littles aus der Zeit um 1960 aufgezeigt. Dabei werden als methodische Besonderheit die Spielweisen jeweils im Blues, in Balladen sowie bei Stücken im Uptempo miteinander verglichen. Eigenkompositionen finden ebenso Berücksichtigung wie die Aktivitäten der drei Trompeter als Sidemen. So entstehen umfassende musikalische Porträts von Lee Morgan, Freddie Hubbard und Booker Little in einer besonders bewegten Phase der Jazzgeschichte.Lee Morgan, Freddie Hubbard and Booker Little, all born in 1938, are considered style-defining trumpeters of the modern jazz era around 1960. Based on the trumpet playing of Dizzy Gillespie, Miles Davis and Clifford Brown in the 1950s, the present study uses elaborate transcriptions of selected trumpet solos to illustrate the improvisational characteristics of Morgan, Hubbard and Little from around 1960. As a methodological peculiarity, the playing styles in the genres of blues, ballad and in uptempo pieces are compared. Original compositions are taken into account as well as the activities of the three trumpeters as sidemen. Thus, comprehensive musical portraits of Lee Morgan, Freddie Hubbard and Booker Little emerge in a particularly turbulent phase of jazz history
Das Trompetenspiel im Modern Jazz um 1960 – Lee Morgan, Freddie Hubbard und Booker Little
No full textLee Morgan, Freddie Hubbard und Booker Little, alle 1938 geboren, gelten als stilprägende Trompeter des Modern Jazz um 1960. Ausgehend vom Trompetenspiel Dizzy Gillespies, Miles Davis’ und Clifford Browns in den 1950er Jahren werden in der vorliegenden Studie anhand aufwendig angefertigter Transkriptionen ausgewählter Trompetensoli improvisatorische Eigenheiten Morgans, Hubbards und Littles aus der Zeit um 1960 aufgezeigt. Dabei werden als methodische Besonderheit die Spielweisen jeweils im Blues, in Balladen sowie bei Stücken im Uptempo miteinander verglichen. Eigenkompositionen finden ebenso Berücksichtigung wie die Aktivitäten der drei Trompeter als Sidemen. So entstehen umfassende musikalische Porträts von Lee Morgan, Freddie Hubbard und Booker Little in einer besonders bewegten Phase der Jazzgeschichte.Lee Morgan, Freddie Hubbard and Booker Little, all born in 1938, are considered style-defining trumpeters of the modern jazz era around 1960. Based on the trumpet playing of Dizzy Gillespie, Miles Davis and Clifford Brown in the 1950s, the present study uses elaborate transcriptions of selected trumpet solos to illustrate the improvisational characteristics of Morgan, Hubbard and Little from around 1960. As a methodological peculiarity, the playing styles in the genres of blues, ballad and in uptempo pieces are compared. Original compositions are taken into account as well as the activities of the three trumpeters as sidemen. Thus, comprehensive musical portraits of Lee Morgan, Freddie Hubbard and Booker Little emerge in a particularly turbulent phase of jazz history
Das Trompetenspiel im Modern Jazz um 1960 – Lee Morgan, Freddie Hubbard und Booker Little
Full text linkLee Morgan, Freddie Hubbard und Booker Little, alle 1938 geboren, gelten als stilprägende Trompeter des Modern Jazz um 1960. Ausgehend vom Trompetenspiel Dizzy Gillespies, Miles Davis’ und Clifford Browns in den 1950er Jahren werden in der vorliegenden Studie anhand aufwendig angefertigter Transkriptionen ausgewählter Trompetensoli improvisatorische Eigenheiten Morgans, Hubbards und Littles aus der Zeit um 1960 aufgezeigt. Dabei werden als methodische Besonderheit die Spielweisen jeweils im Blues, in Balladen sowie bei Stücken im Uptempo miteinander verglichen. Eigenkompositionen finden ebenso Berücksichtigung wie die Aktivitäten der drei Trompeter als Sidemen. So entstehen umfassende musikalische Porträts von Lee Morgan, Freddie Hubbard und Booker Little in einer besonders bewegten Phase der Jazzgeschichte.Lee Morgan, Freddie Hubbard and Booker Little, all born in 1938, are considered style-defining trumpeters of the modern jazz era around 1960. Based on the trumpet playing of Dizzy Gillespie, Miles Davis and Clifford Brown in the 1950s, the present study uses elaborate transcriptions of selected trumpet solos to illustrate the improvisational characteristics of Morgan, Hubbard and Little from around 1960. As a methodological peculiarity, the playing styles in the genres of blues, ballad and in uptempo pieces are compared. Original compositions are taken into account as well as the activities of the three trumpeters as sidemen. Thus, comprehensive musical portraits of Lee Morgan, Freddie Hubbard and Booker Little emerge in a particularly turbulent phase of jazz history
A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950s
No full textWhen Michael LaVoe observed Lee Morgan, a fellow freshman at Philadelphia's Mastbaum Vocational Technical High School, playing trumpet with members of the school's dance band in the first days of school in September 1953, he could not believe his ears. Morgan, who had just turned fifteen years old the previous July, had remarkable facility on his instrument and displayed a sophisticated understanding of music for someone so young. Other members of the ensemble, some of whom al-ready had three years of musical training and performing experience in the school's vocational music program, experienced similar feelings of dis-belief when they heard the newcomer's precocious ability. Lee Morgan had successfully auditioned into Mastbaum's music program, the strongest of its kind in Philadelphia from the 1930s through the 1960s, and demon-strated a rare ability that begged the title "prodigy.
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A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950's
Full text linkWhen Michael LaVoe observed Lee Morgan, a fellow freshman at Philadelphia's Mastbaum Vocational Technical High School, playing trumpet with members of the school's dance band in the first days of school in September 1953, he could not believe his ears. Morgan, who had just turned fifteen years old the previous July, had remarkable facility on his instrument and displayed a sophisticated understanding of music for someone so young. Although to some he apparently came "out of nowhere," many professional musicians were aware of Morgan's talent long before November 1956. The musical activity and opportunities afforded aspiring musicians in Philadelphia during the 1950s fed Morgan's passion and he took full advantage of every chance to play that he had. Through Morgan's biography the author asserts his view on musical education's importance in developing the skill of an artist
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