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| A Night in the Life - Live at the Jazz Standard, Vol. 3 [ ÉLŐ ] |
| Frank Morgan |
| első megjelenés éve: 2007 |
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| (2007)
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CD |
| 4.401 Ft
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| 1. | Confirmation
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| 2. | On Green Dolphin Street
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| 3. | Half Nelson
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| 4. | Hot House
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| 5. | Billie's Bounce
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| 6. | It's Only a Paper Moon
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Jazz
Frank Morgan All-Stars - Sax (Alto)
Billy Hart - Drums
Curtis Lundy - Bass
George Cables - Piano
Alto saxophonist Frank Morgan remains one of the coolest bebop players and an inspiration to all. The legend of his losing three decades of his musical career to drug abuse and incarceration, followed by a significant return, has already been retold too many times. Morgan's HighNote albums remain a study in lyricism, swing and, in a word, the very best of the lifelong lessons imparted by his mentor, Charlie Parker. With many of the tunes chosen for this session written by Parker or played by him, A Night in the Life brings Frank Morgan full circle. From his early days under Bird's spell, through the long and arduous road leading to his 1985 re-emergence and renaissance, Frank Morgan's latest release is a personal statement, a summation, a look back while moving forward. As such it is an invaluable document of one of jazz's most creative artists.
* Gene Martin - Photography
* Joe Fields - Executive Producer
* Mark Keresman - Liner Notes
* Randall Funke - Engineer, Mastering, Mixing, Producer
* Reggie Marshall - Producer
Frank Morgan's final release while still alive stands as a testament to his gentle, unassuming soul, his fluid drive playing the bop music born from the seeds and stems germinated by Charlie Parker, and his ability to touch a live audience with music. This third volume of club dates at the Jazz Standard in New York City falls along the lines of the previous issues, with pianist George Cables, bassist Curtis Lundy, and drummer Billy Hart in capable, empathetic, and friendly support. There's nothing new or earth-shattering about the six standards and bop chestnuts heard here, but the pure love injected by Morgan, well into his seventies, is as heartwarming as it is impressive. Morgan may miss a note here or there, as on the intro number, Parker's tricky "Confirmation," but that's nitpicking. It seems his ideas flow for days and weeks instead of the eight- to ten-minute average tune he interprets. The alto sax master is truly involved with these melodies and plays them in an unhurried fashion, but seemingly can't wait to start his solos, where he truly is a master of the art. Cables provides good energy and a salacious wit, not to mention monster chops and a highly advanced harmonic chordal approach. There's a vocal quality to "Half Nelson" that can't be denied, as Morgan is literally singing through his horn, and he uses unique slightly staggered phrasings, reflective of his laid-back personality, during "Hot House." Where everyone has done "On Green Dolphin Street" to death, Morgan renders a thin interpretation, playing to and hinting at the changes simultaneously. And when he performs "Billie's Bounce," he hits the melody running and never lets up. It's hard to choose between any of the three volumes; they're all equally good, and reflect how truly talented Morgan remained even after many concerns about his health, his drug addiction, and his full embrace of the gypsy travelin' man jazz lifestyle.
--- Michael G. Nastos, All Music Guide
Frank Morgan
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Dec 23, 1933 in Minneapolis, MN
Died: Dec 14, 2007 in Minneapolis, MN
Genre: Jazz
Styles: Bop, Hard Bop
It is a real rarity for a jazz musician to have his career interrupted for a 30-year period and then be able to make a complete comeback. Frank Morgan showed a great deal of promise in his early days, but it was a long time before he could fulfill his potential. The son of guitarist Stanley Morgan (who played with the Ink Spots), he took up clarinet and alto early on. Morgan moved with his family to Los Angeles in 1947 and won a talent contest, leading to him record a solo with Freddy Martin. Morgan worked on the bop scene of early-'50s Los Angeles, recording with Teddy Charles (1953) and Kenny Clarke (1954), and leading his own album for GNP in 1955. But then 30 years of darkness intruded. A heroin addict (following in the footsteps of his idol Charlie Parker), Morgan was arrested for possession of drugs and was in and out of jails for decades. He performed locally on an occasional basis, but it was not until 1985 when he had an opportunity to lead his second date. Morgan managed to permanently kick drugs and after an initial period, during which he sounded very close to Charlie Parker, he developed his own bop-based style. Frank Morgan has recorded a string of excellent sets for Contemporary, Antilles, and Telarc, and has become an inspiring figure in the jazz world. His most recent albums include Tribute to Charlie Parker(2003), City Nights: Live at the Jazz Standard (2004), Raising the Standard (2005), and Night in the Life: Live at the Jazz Station (2007).
---Scott Yanow, All Music Guide |
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