Lee Morgan: Here's Lee Morgan

While Craft Recordings' new OJC reissue series has largely drawn from its treasure trove of Prestige and Riverside titles, the label recently expanded its scope to include two standout jazz albums from Chicago's historic Vee-Jay Records. Founded in 1953 by husband-and-wife team James Bracken and Vivian Carter, Vee-Jay was not only one of the earliest Black-owned and woman-owned labels but also a remarkably eclectic imprint. Known for its blues releases—and even some early Beatles records—Vee-Jay also documented top-tier jazz artists such as Wynton Kelly, Wayne Shorter, and Lee Morgan.

In the case of Morgan, the trumpeter was already a rising star with several Blue Note recordings under his belt. His second major creative chapter unfolded in late 1959, when he toured Europe with Art Blakey and the Jazz Messengers. Just 21 at the time, Morgan kicked off 1960 with Here's Lee Morgan, the first of two albums he would record for Vee-Jay. Producer Sid McCoy assembled a stellar band for the date: Clifford Jordan on tenor sax, Wynton Kelly on piano, Paul Chambers on bass, and Morgan's then-bandleader Art Blakey on drums.

Half of the album's tracks were penned by Morgan himself. The opener, "Terrible 'T," nods to Bobby Timmons' "So Tired," a kinship hinted at by the tune's name. Morgan's opening statement is assertive, but Jordan quickly steals the spotlight with a robust solo that simmers just enough to hand off gracefully to Kelly. The melody of "Mogie" is laced with stop-time breaks and a whimsical hurdy-gurdy motif, with Morgan stretching out in his signature style, full of elongated phrases and slippery half-valve effects.

Morgan turns to the muted trumpet for "I'm a Fool to Want You," as was his custom on ballads, and Kelly follows with a delicate, filigreed solo. "Running Brook," contributed by fellow Messenger Wayne Shorter, brims with the composer's trademark lyricism and forward-thinking structure. Jordan's exuberance is undeniable here; his hard-swinging style raises the question of why he remains under- recognized among hard bop's elite tenors.

Kelly's bright, tinkling piano intro sets up Milt Jackson's "Off Spring," with Blakey's rim clicks later echoing the theme. The album closes with Morgan's "Bess," where he and Jordan trade phrases—Morgan again on mute—while Kelly reminds us why he was among the era's most sensitive and supportive accompanists.

Special mention must go to the sonics of this reissue. The original Bell Sound tapes have always been a cut above, and this pressing brings out a new level of clarity and depth. While past CD editions (often with bonus tracks) have offered solid fidelity, this is easily the best this music has ever sounded. Here's hoping Craft digs even deeper into the Vee-Jay vaults.

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