Frank Morgan All-Stars - Reflections

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 52:36
Size: 121,6 MB
Art: Front

(7:37) 1. Old Bowl, New Grits
(7:16) 2. Reflections
(6:12) 3. Starting Over
(6:51) 4. Black Narcissus
(9:10) 5. Sonnymoon For Two
(6:15) 6. O.K.
(9:12) 7. Caravan

Altoist Frank Morgan leads an all-star group on this excellent hard bop set. With tenor saxophonist Joe Henderson, vibraphonist Bobby Hutcherson, pianist Mulgrew Miller, bassist Ron Carter and drummer Al Foster also in the sextet, it is not surprising that Morgan sounds a bit inspired. The musicians all play up to their usual level, performing "Caravan" (which was added to the CD version) and Sonny Rollins' "Sonnymoon for Two," plus a song apiece by Thelonious Monk ("Reflections"), Miller, Hutcherson, Henderson and Carter. Recommended.~ Scott Yanow https://www.allmusic.com/album/reflections-1988-mw0000654231

Personnel: Frank Morgan – alto saxophone; Joe Henderson – tenor saxophone; Bobby Hutcherson – vibes; Mulgrew Miller – piano; Ron Carter – bass; Al Foster – drums

Reflections

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John Hicks, Frank Morgan - Twogether

Styles: Piano And Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 57:22
Size: 132,0 MB
Art: Front

(8:22)  1. Parisian Thoroughfare
(8:23)  2. Night in Tunisia
(8:39)  3. My One and Only Love
(8:04)  4. Is That So?
(8:58)  5. Round Midnight
(8:00)  6. N.Y. Theme
(6:53)  7. Passion Flower

The passing of pianist John Hicks and altoist Frank Morgan within a year of each other was a sad blow to the High Note roster and the jazz community writ large. Both men had enjoyed a late career renaissance via the label and Morgan, in particular, experienced an artistic renewal through a series of critically-acclaimed recordings capped by a three-volume document of a stand at The Jazz Standard. This set is something of a posthumous swan song for each player, coupling pieces from a duo performance at the Jazz Bakery in Los Angeles, November of 2005 with selections from a solo Hicks recital roughly a year later. Pun-saddled titled aside, the program delivers tradition-savvy post-bop plied by experts of the form. The tracks unfold in an ear-pleasing sandwich sequence with solo cuts bracketing a pair of duo pieces on either side of the program. Hicks’ solo investigations, starting with a rollicking rococo investigation of Bud Powell’s “Parisian Thoroughfare”, accord him the freedom to range through themes and variations at an easygoing pace with plenty of space for loquacious elaboration. All of the pieces save the closing solo rendering of “Passion Flower” ring in near the eight-minute mark and that last still clocks generously just shy of seven. Sound on both dates is intimate and faithful in the capture of twosome’s toothsome conversations. Compared with the introspective cast of Hicks’ solo ventures, the numbers with Morgan convey an even greater degree of urgency and complexity. “A Night in Tunisia” gives Hicks’ left hand a strenuous work out in the construction of romping chords, Morgan slipping and sliding through elisions on the familiar theme in aerated tone that approaches Paul Desmond territory. Hicks follows his partner’s extended statement with a delightful stride-inflected foray stamped with staggered switchbacks and a dizzying rhythmic pliability that primes the audience for the altoist’s lissome return and a handful more melodic permutations. The choice of “’Round Midnight” would appear to pull the partnership even further into the realm of jazz orthodoxy, but instead they effectively underscore why it remains a perennial favorite for improvisers the world over through an elegant cerulean deconstruction. By contrast, Kenny Dorham’s bop-structured “N.Y. Theme” trades strictly in fun fisticuffs between the partners, Hicks’ hands building decorous layered chords as Morgan lets fly his inner-Bird with unabashed brio. The music of Hicks and Morgan is now a regrettably finite commodity, but their shared artistic import remains undiminished in this delightful meeting between justly-venerated musical souls. https://news.allaboutjazz.com/john-hicks-and-frank-morgan-twogether-high-note.php?width=1920

Personnel: John Hicks – piano; Frank Morgan – alto sax (tracks 2, 3, 5, 6)

Twogether

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Frank Morgan, George Cables - Montreal Memories

Styles: Saxophone And Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 61:08
Size: 141,1 MB
Art: Front

(6:29)  1. Now's the Time
(7:01)  2. All the Things You Are
(7:45)  3. A Night in Tunisia
(5:30)  4. 'Round Midnight
(5:00)  5. Confirmation
(8:26)  6. Blues for Rosalinda
(8:24)  7. Helen's Song
(5:02)  8. Lullaby
(7:25)  9. Nefertiti,  Billie's Bounce

Montreal Memories is a duet album recorded at Theatre Port Royal on July 1, 1989, featuring two of the most talented jazz artists of any generation: alto saxophonist Frank Morgan; and pianist George Cables. This is the second duet album they've released, the first being Contemporary's Double Image in 1987. A jazz duet is a format which invites intimacy and profundity, more than the typical quartet or quintet setup. Two musicians must really know each other, to be completely cohesive and able to anticipate the other's changes. This sort of album tends to be either great or lackluster, which makes it a bit of a gamble to record live, but Morgan and Cables play those odds and they pay off well for a second time. And why shouldn't they? They've worked together on and off from the mid-eighties until the Morgan's death in 2007. With a career as pianist for some of the greatest horn players in existence, Cables effortlessly blends his approach with Morgan's singular voice. Both musicians have very recognizable sounds; if one were to remove either from this record, it wouldn't be difficult to tell who's playing. Neither sacrifices a bit of their character to create this, and Montreal Memories is a far stronger album for it. 

The live set swings out of the starting gate with Charlie Parker's "Now's the Time," before mellowing for "All the Things You Are," a standard that allows the pair to showcase their improvisations within the construct of a ballad. Morgan's moody saxophone layers over Cables' subdued piano to lend the song not only emotional resonance but atmosphere. The duo rockets through the familiar, swinging "A Night in Tunisia." A decade earlier, Cables was playing it with another altoist, Art Pepper, during the saxophonist's legendary Village Vanguard sessions. This recording takes the familiarity and toys with it somewhat, giving it a new twist without ever losing sight of its familiar melody. "Round Midnight" seems like a logical choice for a pianist like Cables to include in his set, considering the admiration he held for Dexter Gordon who, at the same time, was making headlines for the classic Thelonious Monk song again, with his appearance in Bernard Tavernier's 1986 film of the same name and subsequent soundtrack. "Confirmation" is an interesting take on a classic Charlie Parker song. Not truly fast-tempo'd, it still feels as if Morgan is pushing just a bit at Cables, nipping at his heels, which has the effect of nudging the heartbeat a bit faster than it would be had they chosen a blisteringly fast song like "Cherokee." It's an unexpected, unique effect halfway through the album. The laid-back tearjerker that Morgan wrote for his wife, "Blues For Rosalinda," is followed by two Cables originals: the ubiquitous "Helen's Song"; and "Lullaby." "Lullaby," as usual, is a weighty and emotional song, perfectly apropos for its title. The song doesn't just ache, it moans and sobs and bleeds all at once, clawing at the heart. "Helen's Song" on the other hand, gets an interesting take from Morgan. While it's typically played with a piano-led trio, this rendition removes the rhythm section and, instead, allows Morgan and Cables to improvise their way through the performance, breathing new life into the pianist's best known composition. If "Lullaby" is intended to lull you to sleep, "Helen's Song" is designed to roust you from it, with its assertions of love and hope. 

Countering the tenderness of the past 22 minutes, the duo chooses to end its live set with an intriguing medley. Bridging Wayne Shorter's "Nefertiti" with another Parker tune, "Billie's Bounce," is a wise choice, taking all of the sounds the audience heard throughout the last hour and molding them together in a way that proves how incredible these two were at the time. With Morgan no longer alive (though George Cables is still performing both solo as well as with jazz super group The Cookers), this album may qualify as the final 2018 posthumous release, alongside music from such legendary artists as Erroll Garner, John Coltrane, Charles Mingus, Dexter Gordon, and Art Pepper. Some were middling, some were a bit disappointing, and some were valuable treasures. Not only does Montreal Memories fall into that final category, it is truly one of the "must hear" jazz albums of the year. ~ Peter Hoetjes https://www.allaboutjazz.com/montreal-memories-frank-morgan-highnote-records-review-by-peter-hoetjes.php

Personnel: Frank Morgan: alto saxophone; George Cables; piano.

Montreal Memories

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Terry Gibbs - The Latin Connection

Styles: Vibraphone Jazz
Year: 1986
File: MP3@320K/s
Time: 44:58
Size: 103,5 MB
Art: Front

(5:21)  1. Scrapple from the Apple
(4:37)  2. For Keeps
(5:01)  3. Groovin' High
(4:21)  4. Chelsea Bridge
(4:33)  5. Sing Sing Sing
(5:11)  6. Kick Those Feet
(5:26)  7. Good Bait
(4:41)  8. Flamingo
(5:44)  9. Sweet Young Song of Love

Vibraphonist Terry Gibbs sounds fine on this Latin jazz date, which also includes altoist Frank Morgan, pianist Sonny Bravo, bassist Bobby Rodriguez and three percussionists, including Tito Puente playing timbales on three of the nine numbers. Most of the tunes are bop and swing standards (such as"Scrapple From the Apple," "Groovin' High," "Good Bait" and "Sing, Sing, Sing") and have excellent spots for Gibbs, Morgan and the percussion section. A fine date.~ Scott Yanow https://www.allmusic.com/album/the-latin-connection-mw00002675

Personnel: Vibraphone, Arranged By – Terry Gibbs;   Alto Saxophone – Frank Morgan;  Bass – Bobby Rodriguez;  Bongos, Percussion – Johnny Rodriguez;  Congas, Percussion – Jose Madera;  Piano – Sonny Bravo;  Timbales – Orestes Vilato, Tito Puente .

The Latin Connection

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Frank Morgan - City Nights

Styles: Saxophone Jazz

Year: 2003

File: MP3@320K/s

Time: 65:24

Size: 150,3 MB

Art: Front

( 5:16)  1. Georgia On My Mind

(10:26)  2. Cherokee

( 7:45)  3. Summertime

( 7:27)  4. All Blues

( 7:41)  5. I Mean You

( 6:20)  6. Round Midnight

(12:09)  7. Equinox

( 8:17)  8. Impressions

Jazz careers are predictably unpredictable. Some musicians shine young, some are late bloomers, and others maintain a steady flame for decades. Then there's that intriguing handful who come back after years of obscurity; contemporary examples include Henry Grimes, Sonny Simmons, and alto saxophonist Frank Morgan. Born in 1930, Morgan was fortunate to be part of the legendary 1940s Central Avenue scene in Los Angeles. In his early years, Morgan played with Bird, Miles, and West Coast mainstays such as Wardell Gray, but due to jail stays and personal problems, he was absent from the jazz scene almost entirely after the mid-fifties. In 1985 he made a much-heralded comeback, and now in 2004 he's still going strong; witness City Nights. Recorded live at the Jazz Standard in November, 2003, the CD features compositions by Miles ("All Blues"), Monk ("I Mean You" and "Round Midnight"), and Coltrane ("Equinox" and "Impressions"), plus "Cherokee," "Georgia on My Mind" and "Summertime." Morgan has a rich, clear tone, and he swings with deep expression. Certainly it helps to have good support, and you can't ask for a better rhythm section than bassist Curtis Lundy and drummer Billy Hart. Plus pianist George Cables has been playing with Morgan almost 25 years, and they have that magical telepathy so wonderful to witness in jazz. The quartet shines on all the songs, but particularly enjoyable are a buoyant "All Blues" and a warm, shimmering "Equinox."Despite his stature in the jazz world, Morgan still considers himself a student of the music; as he says in the liner notes, "I'm on a Monk journey." This fresh approach combined with years of experience gives City Nights a wonderful vitality. It's 64 minutes of pure delight, jazz at its classic best played by a living master. ~ Florence Wetzel https://www.allaboutjazz.com/city-nights-frank-morgan-review-by-florence-wetzel.php?width=1920

Personnel: Frank Morgan (alto saxophone); Curtis Lundy (bass); Billy Hart (drums); George Cables (piano)

City Nights

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Frank Morgan - Bop!

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 62:41
Size: 143,8 MB
Art: Front

( 6:09)  1. Milano
( 6:21)  2. Well, You Needn't
( 9:14)  3. KC Blues
( 8:00)  4. Night In Tunisia
( 5:11)  5. Blue Monk
(11:25)  6. Half Nelson
( 6:32)  7. Lover Man
( 9:49)  8. 52nd Street Theme

Although all eight selections on this CD have been played many times before (the only song not a boppish warhorse is John Lewis' "Milano"), altoist Frank Morgan makes each of the pieces sound fresh. As producer John Snyder is quoted in the liner notes, this is bop without cliches. Morgan, who is assisted by pianist Rodney Kendrick, drummer Leroy Williams and either Curtis Lundy or Ray Drummond on bass, digs into such songs as "Well You Needn't," "A Night In Tunisia" and an 11 ½ minute version of "Half Nelson," coming up with some surprising twists and plenty of viable ideas. A fine effort. ~ Scott Yanow https://www.allmusic.com/album/bop-mw0000593991

?Personnel: Frank Morgan (alto saxophone); Rodney Kendrick (piano); Curtis Lundy, Ray Drummond (bass); Leroy Williams (drums).

Bop!

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Frank Morgan - Listen To The Dawn

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 52:37
Size: 121,8 MB
Art: Front

(7:57)  1. Listen To The Dawn
(4:48)  2. Grooveyard
(9:04)  3. Remembering
(5:05)  4. Little Waltz
(5:00)  5. It Might As Well Be Spring
(9:07)  6. When Joanna Loved Me
(6:48)  7. I Didn't Know About You
(4:45)  8. Goodbye

Listen to the Dawn is a rare example of Frank Morgan recording an entire album without a pianist. The veteran alto saxophonist, who was only two weeks away from his 60th birthday when this post-bop/be bop CD was recorded, evidently wanted to try something a bit different and it was a move that paid off creatively. Whether he's forming an intimate duo with guitarist Kenny Burrell or forming a quartet with Burrell, bassist Ron Carter, and drummer Grady Tate, Morgan fares quite well without a pianist. This isn't an album of fast tempos and high-speed aggression from Burrell offerings like "Listen to the Dawn" and "Remembering" to highly personal interpretations of Gordon Jenkins' "Goodbye," Duke Ellington's "I Didn't Know About You" (which becomes a sexy bossa nova), and the standard "It Might as Well Be Spring," Morgan is especially introspective and really takes time to reflect. This compelling CD should not be missed. 

~ Alex Hendersn https://www.allmusic.com/album/listen-to-the-dawn-mw0000113303

Personnel: Frank Morgan (alto saxophone); Kenny Burrell (guitar); Ron Carter (acoustic bass); Grady Tate (drums).

Listen To The Dawn

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Frank Morgan - You Must Believe In Spring

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 61:39
Size: 143,0 MB
Art: Front

(5:43)  1. But Beautiful
(5:10)  2. You've Changed
(4:04)  3. With Malice Towards None
(6:45)  4. Something Borrowed, Something Blue
(6:28)  5. I Should Care
(4:45)  6. Embraceable You
(4:50)  7. While The Gettin's Good Blues
(2:57)  8. My Heart Stood Still
(4:33)  9. Enigma
(3:32) 10. I Cover The Waterfront
(6:37) 11. You Must Believe In Spring
(6:10) 12. Come Sunday

A '92 release by marvelous alto saxophonist Frank Morgan, whose life story and triumph over heroin addiction and imprisonment was one of the '80s' great success tales. 

Morgan's biting, yet sensitive and rich alto has rightly been traced to Charlie Parker, but Morgan long ago rid his style of any imitative excesses. He was excellently supported on this program of duets by an amazing lineup of rotating pianists: Kenny Barron, Tommy Flanagan, Barry Harris, Roland Hanna, and Hank Jones.~Ron Wynn  http://www.allmusic.com/album/you-must-believe-in-spring-mw0000614929

Personnel: Frank Morgan (alto saxophone), Kenny Barron, Tommy Flanagan, Roland Hanna, Barry Harris, Hank Jones (piano).

You Must Believe In Spring

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Art Farmer - Central Avenue Reunion

Styles: Trumpet, Hard Bop
Year: 1989
File: MP3@320K/s
Time: 61:49
Size: 141,9 MB
Art: Front

(8:50)  1. Star Eyes
(7:17)  2. Farmer's Market
(7:04)  3. Embraceable You
(7:18)  4. Blue Minor
(9:15)  5. I Remember You
(5:59)  6. Don't Blame Me
(9:33)  7. Cool Struttin'
(6:30)  8. Donna Lee

Three of the five musicians on this quintet date (flügelhornist Art Farmer, altoist Frank Morgan, and pianist Lou Levy) had played on Central Avenue in Los Angeles of the late '40s. Not all of the eight songs that they perform with bassist Eric Von Essen and drummer Albert "Tootie" Heath are from the era ("Blue Minor" and "Cool Struttin'" were written by Sonny Clark several years later), but the outing is very much in the bop style of the period. Their live set is highlighted by spirited versions of "Star Eyes," "Farmer's Market," "I Remember You," and "Donna Lee." This CD is filled with high-quality bebop that is easily recommended to straight-ahead jazz fans. ~ Scott Yanow  http://www.allmusic.com/album/central-avenue-reunion-mw0000207356

Personnel: Art Farmer (trumpet, flugelhorn); Frank Morgan (alto saxophone); Lou Levy (piano); Eric Von Essen (acoustic bass); Albert "Tootie" Heath (drums).

Central Avenue Reunion

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Frank Morgan - Mood Indigo

Bitrate: 320K/s
Time: 53:42
Size: 123.0 MB
Styles: Bop, Saxophone jazz
Year: 1989
Art: Front

[1:30] 1. Lullaby
[6:35] 2. This Love Of Mine
[4:21] 3. In A Sentimental Mood
[9:00] 4. Bessie's Blues
[1:46] 5. A Moment Alone
[6:00] 6. Mood Indigo
[4:57] 7. Up Jumped Spring
[4:30] 8. Polka Dots And Moonbeams
[6:55] 9. We Three Blues
[5:53] 10. Round Midnight
[1:35] 11. Lullaby Ver 2
[0:35] 12. Gratitude

This ballad-oriented set features veteran altoist Frank Morgan on four duets with pianist George Cables, interacting with either Cables or Ronnie Mathews on piano, bassist Buster Williams and drummer Al Foster on the other selections, and welcoming trumpeter Wynton Marsalis to "Bessie's Blues" and "Up Jumped Spring." Every Morgan recording is well worth picking up (the altoist has been very consistent in the studio), but this one purposely has less mood variation than most and is often a bit melancholy. ~Scott Yanow

Mood Indigo

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Frank Morgan - S/T

Bitrate: 320K/s
Time: 74:33
Size: 170.7 MB
Styles: Bop, Saxophone jazz
Year: 1988/2006
Art: Front

[5:37] 1. Bernie's Tune
[4:47] 2. My Old Flame
[4:29] 3. I'll Remember April
[5:11] 4. Neil's Blues
[5:01] 5. Champ, The
[3:37] 6. Chooch
[5:21] 7. The Nearness Of You
[4:41] 8. Whippet
[4:44] 9. Milt's Tune
[4:08] 10. Get Happy
[6:08] 11. Crescendo Blues
[6:36] 12. Huh!
[3:43] 13. Autumn Leaves
[6:23] 14. Well, You Needn't
[4:00] 15. B.T

When altoist Frank Morgan recorded his debut as a leader in 1955, he was being hyped as "the new Bird." Unfortunately, he followed in Charlie Parker's footsteps mostly by becoming an irresponsible drug addict. After 30 years passed, he cut his second album and seriously began his successful comeback. This GNP album features Morgan back at the beginning, performing four numbers with Machito's rhythm section and six other songs with a septet that also includes tenor saxophonist Wardell Gray (heard on his final recordings). Trumpeter Conte Candoli is a major asset on both of these boppish dates, while Morgan shows why he was rated so highly at this point in his career. ~Scott Yanow

Frank Morgan                

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