Lee Morgan Bio and others

[sidewinder]

My order is in for the book - along with the Peter Ind 'Tristano'. Looking forward to both !

[Tom 1960]

I had this book in my hands yesterday at a local brick and mortar, but hesitated to make the purchase pending what the vibe here was on the book. Looks like I'll make a return visit tonight and hopefully it's still there.

[ghost of miles]

A bit more discussion on the new Morgan bio here. I have it on *good* authority that I'll be receiving this come Valentine's Day...

[sidewinder]

My copy has now arrived, along with the Peter Ind 'Tristano' so there should be some good reading this weekend. Format of the Morgan book is unbound hardback - quite a lot of interesting photos by Val Wilmer. Not too much that I can see about the 'Helen Moore' tragedy but I'll reserve judgement further until I've read more. Some of the interview sources look quite obscure.

[bertrand]

Is it Helen More or Helen Moore? I've seen both.

Bertrand.

[Lazaro Vega]

Not sure, but I dropped the link as I saw no interview there...think you have to buy it.....

[sidewinder]

There's something in the book about 'More' being an incorrect spelling but I see both variants of this in reports of the incident.

[Soul Stream]

I know it’s strictly non-U to register in order to talk up your own book, and I’m loath to break an eighteen-month lurking run anyway, but I agree that this isn’t just hair-splitting.

Three things, from the trivial to the less-trivial:

1. Lee Morgan’s Native American features (from his mum’s side) meant that he didn’t need a process. It was all pomade.

2. I don’t for a second think he was ‘conflicted by his racial identity’. (Mind you, I think the idea that black people with straightened hair demonstrate that kind of conflictedness is itself a bit of a canard).

3. I don’t suggest that he had a process or was conflicted in that way in the book. What the above review begins to suggest and what some posters above then conclude is a slightly different matter.

The word ‘process’ is indeed attributed to an interviewee, not me. OK, that interviewee, talking at 30 years distance, isn’t entirely accurate in remembering Lee Morgan’s hairdressing habits – and I’ve already by that time in the book given the accurate information – but she’s still making a valid point. This correspondent wasn’t the only person to remark upon the apparent datedness of Lee’s hair and its political-symbolic ramifications, so I put it in, inconsistencies aside. People did and do think that about Lee’s hair. What Lee (sorry, Morgan) thought about it - and his isn't the only important point of view, surely - we don’t know. We don’t need to waste time guessing, either; like many here I can’t abide psychoanalysis by historical remove, not to mention academic theorising built on wafer thin bits of evidence.

Again, the culture-identity interpretation is drawn from the reviewer (‘…when Afros were de rigueur…’), not me. I don’t think there’s much reprehensible about that interpretation, and the book presents it via that interviewee, but it’s not quite my own view. (In fact, I’ve got something rather different to say about Lee’s haircut symbolism). It would be glib to suggest that my whole project is ideologically skewed on the basis of these others’ words. Thanks to ValerieB for pointing this out.

The review above concentrates on the late ‘political’ stuff, much of which is pretty familiar to posters here I imagine. Discussion of music and life, which account for two thirds of the subtitle (and which another reviewer has talked about more) are played down, even though they are actually featured in the book much more extensively than the ‘politics’. There’s a reason for that, though: that review was part of an ‘American Books Special’, which, coming the weekend after the elections over there, had a bit of a political bent. So that angle may well have been requested by the editor.

Two layers of hearsay, an added interpretation, and more than likely some extra-creative, commercial constraints: sounds like the jazz world to me. And that’s the kind of history I’ve written.

Bertrand, like you I’ve read a lot of ‘scholarly’ writing on jazz, so I completely understand that you feel forlorn about the prospect of more. But this isn’t that kind of work. I’d much prefer to hear your glum reactions than your glum prognostications.

Thanks in advance for indulging this. Sorry it’s so prolix. I don’t want to defend the book, as it can stand up for itself, but until it’s out and people are reading it (rather than other people’s glosses on it) I’m keen that it’s not taken for some kind of Cult-Studs/Kofsky bastard child.

Tom

Tom,

I just finished reading your book and enjoyed it very much. Nice to have a book on Lee Morgan! (Now if we can just get one on Hank Mobley).

I noticed that you didn't have any interviews with either Bennie Maupin or Wayne Shorter. I could guess that it might be hard to get Wayne to participate. What about Bennie? To me, some of the best information in the book was first hand accounts from bandmates like Jymie Merritt, Harold Maeburn, Mickey Roker and Billy Harper.

I'm sure this was a labor of love. Thanks for doing it.

[umum_cypher]

Thanks very much, glad you liked it.

The temptation is to always try and get one more interview, or find one more document, but sooner or later you just have to write up and publish (or else it can’t be called research). It was indeed a labour of love, and even though I definitely wanted to get Maupin, and didn’t want to stop doing fieldwork – I had had to move to the US to do that bit – my credit cards made the decision for me. It’s a question of priorities, and the interviewees you name had already given me plenty about the period that involved Maupin. I came back to London and did 18 months of archival stuff instead.

If there was one interview I would have wanted, it was Wayne. But you have to go through formal channels for him, and I couldn’t get anything back. He was involved though: when I was 18, I got something signed after a gig on the High Life tour, and he poked me in the chest (quite hard, I thought) and said, or rather pronounced: ‘if you are to write a book on Lee Morgan, the inspiration will come from the everlasting flame that’s there within each of us’.

Tom

[Soul Stream]

Thanks very much, glad you liked it.

The temptation is to always try and get one more interview, or find one more document, but sooner or later you just have to write up and publish (or else it can’t be called research). It was indeed a labour of love, and even though I definitely wanted to get Maupin, and didn’t want to stop doing fieldwork – I had had to move to the US to do that bit – my credit cards made the decision for me. It’s a question of priorities, and the interviewees you name had already given me plenty about the period that involved Maupin. I came back to London and did 18 months of archival stuff instead.

If there was one interview I would have wanted, it was Wayne. But you have to go through formal channels for him, and I couldn’t get anything back. He was involved though: when I was 18, I got something signed after a gig on the High Life tour, and he poked me in the chest (quite hard, I thought) and said, or rather pronounced: ‘if you are to write a book on Lee Morgan, the inspiration will come from the everlasting flame that’s there within each of us’.

Tom

Tom, thanks for the Wayne story. Not to belabour the point. I just was curious as to whether you feel it's neccessary to interview in person. Were all your interviews for the book in person? Just wondered if you felt you couldn't interview Bennie by phone.

Also, in the book you describe Lee getting his teeth knocked out by a hammer behind the Apollo. You go on to say "Whatever led Morgan back to Philadelphia, the trumpeter arrived with little to show for his five years of top-flight playing, not even-it would seem-any teeth..... Apparently the trumpeter's priority was to have constructed a set of false teeth that might allow him to play again. But Morgan was broke.... I don't recall you resolving in the book how he fixed his mouth. Did he get false teeth?

One last question if you don't mind. What was the biggest surprise to you about Lee that you found out in doing your research.

Thanks, Mike

[sidewinder]

I don't recall you resolving in the book how he fixed his mouth. Did he get false teeth?

That's exactly the question that cropped up in my mind from what I read so far. If it was a case of complete loss of teeth then it's incredible that Morgan could recover such technique. Especially in those days before the likes of implants were available.

[umum_cypher]

Also, in the book you describe Lee getting his teeth knocked out by a hammer behind the Apollo. You go on to say "Whatever led Morgan back to Philadelphia, the trumpeter arrived with little to show for his five years of top-flight playing, not even-it would seem-any teeth..... Apparently the trumpeter's priority was to have constructed a set of false teeth that might allow him to play again. But Morgan was broke.... I don't recall you resolving in the book how he fixed his mouth. Did he get false teeth?

It says in the next sentence who paid for the care! He had to set up with braces again later in the 60s. But I think you can hear that, chops wise, he's almost on borrowed time - if medium-term borrowed time - after that. And yet, for my money, his best playing was still to come...

This particular story is, I think, quadruple-checked - i.e. four, maybe even five people (who should know) said the same things. But in the text I still treat it with a bit of caution.

Re: surprises - there are only a couple of things that surprised me, but I couldn't really put them in. Nothing scandalous, but no-one's business I thought. This documentary film trailed in David French's January DB article - the closest my book will get to an extract in that magazine - may refer to them, though.

Tom

Look at this ... a dozen posts after saying I wasn't talking about the book I'm doing the full Yanow

[Soul Stream]

It says in the next sentence who paid for the care! He had to set up with braces again later in the 60s. But I think you can hear that, chops wise, he's almost on borrowed time - if medium-term borrowed time - after that. And yet, for my money, his best playing was still to come...

This particular story is, I think, quadruple-checked - i.e. four, maybe even five people (who should know) said the same things. But in the text I still treat it with a bit of caution.

Re: surprises - there are only a couple of things that surprised me, but I couldn't really put them in. Nothing scandalous, but no-one's business I thought. This documentary film trailed in David French's January DB article - the closest my book will get to an extract in that magazine - may refer to them, though.

Tom

Look at this ... a dozen posts after saying I wasn't talking about the book I'm doing the full Yanow

I forgot you had said his sister helped him out at that time. I guess I just wondered how bad his teeth were really damaged since, like you, I think his best playing was to come. I mean, he's killing it on "No Room For Squares" and "Evolution" his first recordings after appearing back on the scene.

Another thing I enjoyed about your book is that you didn't get bogged down in any drug use issues. Just my opinion that these things really detract from the true story of the music. And the chance for sensationalism is just too much.

By the way, what's your favorite Lee Morgan album or sideman date? I've been listening to Taru a lot lately and find this one to be a real sleeping classic. "Haeschen" is one of his best compositions imho.

Edited January 30, 2007 by Soul Stream

[bertrand]

"Haeschen" is actually by Duke Pearson. This information was relayed to me by another Morgan biographer who heard it from John Hicks.

I confirmed this with the copyright deposits but unfortunately after the CD had been issued.

This composition is subtitled "Little Bunny" on the copyright deposit.

If you look at the Pearson discography on Mike Fitzgerald's site, you will see that this piece was also recorded for an unissued Pearson session.

Bertrand.

[Soul Stream]

"Haeschen" is actually by Duke Pearson. This information was relayed to me by another Morgan biographer who heard it from John Hicks.

I confirmed this with the copyright deposits but unfortunately after the CD had been issued.

This composition is subtitled "Little Bunny" on the copyright deposit.

If you look at the Pearson discography on Mike Fitzgerald's site, you will see that this piece was also recorded for an unissued Pearson session.

Bertrand.

Then it's one of Duke Peason's best compositons!

[Soulstation1]

FWIW

Duke co-produced the Taru session

Haeschen is nice

[michel1969]

Thanks very much, glad you liked it.

The temptation is to always try and get one more interview, or find one more document, but sooner or later you just have to write up and publish (or else it can’t be called research). It was indeed a labour of love, and even though I definitely wanted to get Maupin, and didn’t want to stop doing fieldwork – I had had to move to the US to do that bit – my credit cards made the decision for me. It’s a question of priorities, and the interviewees you name had already given me plenty about the period that involved Maupin. I came back to London and did 18 months of archival stuff instead.

If there was one interview I would have wanted, it was Wayne. But you have to go through formal channels for him, and I couldn’t get anything back. He was involved though: when I was 18, I got something signed after a gig on the High Life tour, and he poked me in the chest (quite hard, I thought) and said, or rather pronounced: ‘if you are to write a book on Lee Morgan, the inspiration will come from the everlasting flame that’s there within each of us’.

Tom

Tom i've started another topic about your book i really enjoyed. Would you participate to the initial question ? It's here Thank you very much !

[umum_cypher]

"Haeschen" is actually by Duke Pearson. This information was relayed to me by another Morgan biographer who heard it from John Hicks.

I confirmed this with the copyright deposits but unfortunately after the CD had been issued.

This composition is subtitled "Little Bunny" on the copyright deposit.

If you look at the Pearson discography on Mike Fitzgerald's site, you will see that this piece was also recorded for an unissued Pearson session.

Bertrand.

Then it's one of Duke Peason's best compositons!

It was said to me, by an old girlfriend of Morgan's, that the track titles on Taru - some of which are a bit weird - offer some kind of anagrammatical message. I spent several Philly-NY train journeys staring blankly at those titles, but I'm not the man for that kind of job. Enjoy, Bertrand!

Tom

PS I'll have to think about my favourite sessions.

[bertrand]

The only one that could be an anagram is 'Durem', which is one of the rare pieces attributed to Lee on record for which I could not find a copyright, so who knows if Lee even wrote it.

I asked Hicks what 'Avoctja' meant, but I can't remember now so I guess we'll never know (perhaps the name of a woman?)

'Haeschen' is German for 'Little Bunny' (edited thanks to couw - see below).

'Taru' is Cal Massey's son. He copyrighted another (probably unrecorded) piece called 'Taru Tune'. Note that Massey recorded 'Taru, What's Wrong With You' as 'What's Wrong' back in 1961.

The other two are self-explanatory.

I wish we knew more about Lee's relationship with Cal Massey. Only Archie Shepp recorded more of his pieces. Does anyone have a contact for Shepp? I'm trying to get a complete listing of Massey's compostions, and I wouldn't be surprised if Shepp has some that no one ever got around to recording.

Bertrand.

Edited January 31, 2007 by bertrand

[bertrand]

Here's something to get started with:

http://perso.orange.fr/hardbop/Massey/Massey.html

Bertrand.

[couw]

'Haeschen' is probably a corruption of 'Haitian'.

Bertrand.

actually, Haeschen is German for "Little Bunny".

[bertrand]

Oh, it's a German word! That explains why there are umlauts on the title in Mike Fitzgerald's Perason discography.

This 'haitian' idea may have come from the liner notes - I should know better by now about trusting liner notes after the 'Midget' debacle.

6 years of High School german and I didn't know that. At least I know what my last name means.

Thanks couw!

Bertrand.

[keys]

I just finished this and found it to be an interesting read. On a sidenote ,The author makes a facinating observation about Andrew Hill on page 159 "Hill was(and in reissue remains)one of Blue Note's worst -selling artist".

[ghost of miles]

I wish we knew more about Lee's relationship with Cal Massey.

I'll check my notes & articles on Massey in my Night Lights files when I go back to work on Monday... Massey was in Philadelphia off and on throughout the 1950s, so I'm assuming that's how he & Lee hooked up (he also allegedly introduced Coltrane to McCoy Tyner).

[ghost of miles]

Also just now remembered Nat Hentoff's liners from the 1960 album LEEWAY:

Cal Massey recalls first hearing Lee Morgan when Lee was about 15. A Philadelphia disc jockey, Tommy Roberts, had a Friday afternoon show on which local talent played and were followed by visiting jazzmen in town at the Blue Note. "Lee sounded amazing for a fifteen-year-old," Massey remembers. "Naturally, I kept up with him through the years, and I'm not surprised at how extraordinary a player he's become. In addition to his talent, he's also willing to listen. He hasn't become insulated by his early success. And also, he has fire and ideas. Most important is the fact that he loves his instrument and he loves to play. And that's why his playing is so alive, so spontaneous--and so constantly searching."

So that would place Massey as first having heard (& presumably met) Morgan around 1953 or 1954. Maybe McCoy Tyner could shed more light on their early friendship?

Alun Morgan refers to Massey's going to Europe with Shepp in 1969 and being interviewed by Francois Postif for Le Jazz Hot. (Liner notes to BLUES TO COLTRANE.) That's one interview I didn't track down or read, but here's some bibliographical info:

François Postif: Cal Massey, in: François Postif: Jazz Me Blues. Interviews et portraits de musiciens de jazz et de blues, Paris 1998 [book: Outre Mesure], p. 279-282 (I; Reprint, from: Jazz Hot, #264 (Sep.1970)