{24-96} Lee Morgan - The Sidewinder - 320 Mp3 - Vinyl

These Vinyl rips were recorded on a Denon DP-45F turntable using an Audio Technica AT120E cartridge. The preamplifier was a Cambridge 640P. Sound card, an ASUS XONAR Essence ST (Windows 7). Recorded using Audacity 1.3 Beta. Any Pops, Clicks, and Noise removed using iZotope Rx Advanced 2.01 software. iZotope was easily the most important part of this process. Some of my vinyl is fifty years old. All were recorded using 32 bit float at 96 kHz sample rate, then ouputed to 32 bit 96 kHz WAV files, then edited with iZotope. The edited WAV files were then converted to 24-96 FLAC files and 320 bitrate mp3 at 48 kHz sample rate. This is A Lot of work folks! Edward Lee Morgan Edward Lee Morgan (July 10, 1938, Philadelphia, Pennsylvania – February 19, 1972, New York City) was an American hard bop trumpeter. Biography Edward Lee Morgan was born in Philadelphia on July 10, 1938, the youngest of Otto Ricardo and Nettie Beatrice Morgan\'s four children. Lee Morgan, a leading trumpeter and composer, recorded prolifically from 1956 until a day before his death in February 1972. Originally interested in the vibraphone, he soon showed a growing enthusiasm for the trumpet. On his thirteenth birthday, his sister Ernestine gave him his first trumpet. His primary stylistic influence was Clifford Brown, who gave the teenager a few lessons before he joined the Dizzy Gillespie Big Band at 18, and remained a member for a year and a half, until economics forced Dizzy to disband the unit in 1958. He began recording for Blue Note Records in 1956, eventually recording 25 albums as a leader for the company, with more than 250 musicians. He also recorded on the Vee-Jay label. He was a featured sideman on several early Hank Mobley records, as well as on John Coltrane\'s Blue Train (1957), on which he played a trumpet with an angled bell (given to him by Gillespie) and delivered one of his most celebrated solos on the title track. Joining Art Blakey\'s Jazz Messengers in 1958 further developed his talent as a soloist and composer. He toured with Blakey for a few years, and was featured on numerous albums by the Messengers, including Moanin\', which is one of the band\'s best-known recordings. When Benny Golson left the Jazz Messengers, Morgan persuaded Blakey to hire Wayne Shorter, a young tenor saxophonist, to fill the chair. This version of the Jazz Messengers, including pianist Bobby Timmons and bassist Jymie Merritt, would record the classic The Freedom Rider album. The drug problems of Morgan and Timmons forced them to leave the band in 1961, and the trumpeter returned to Philadelphia, his hometown. According to Tom Perchard, a Morgan biographer, it was Blakey who introduced the trumpeter to heroin, an addictive drug that impeded his career trajectory. On returning to New York in 1963, he recorded The Sidewinder (1963), which became his greatest commercial success. The title track cracked the pop charts in 1964, and served as the background theme for Chrysler television commercials during the World Series. The tune was used without Morgan\'s or Blue Note\'s consent, and intercession by the label\'s lawyers led to the commercial being withdrawn.[citation needed] Due to the crossover success of \"The Sidewinder\" in a rapidly changing pop music market, Blue Note owners encouraged other of its artists to emulate the tune\'s \"boogaloo\" beat. Morgan himself repeated the formula several times with compositions such as \"Cornbread\" (from the eponymous album Cornbread) and \"Yes I Can, No You Can\'t\" on The Gigolo. According to drummer Billy Hart, Morgan said he had recorded \"The Sidewinder\" as filler for the album, and was bemused that it had turned into his biggest hit. He felt that his playing was much more advanced on Grachan Moncur III\'s essentially avant-garde Evolution album, recorded a month earlier, on November 21, 1963. After this commercial success, Morgan continued to record prolifically, producing such works as Search for the New Land (1964), which reached the top 20 of the R&B charts. He also briefly rejoined the Jazz Messengers after his successor, Freddie Hubbard, joined another group. Together with John Gilmore, this lineup was filmed by the BBC for seminal jazz television program Jazz 625. As the 60\'s progressed, he recorded some twenty additional albums as a leader, and continued to record as a sideman on the albums of other artists, including Wayne Shorter\'s Night Dreamer; Stanley Turrentine\'s Mr. Natural; Freddie Hubbard\'s The Night of the Cookers; Hank Mobley\'s Dippin\', A Caddy for Daddy, A Slice of the Top, Straight No Filter; Jackie McLean\'s Jackknife and Consequence; Joe Henderson\'s Mode for Joe; McCoy Tyner\'s Tender Moments; Lonnie Smith\'s Think and Turning Point; Elvin Jones\' The Prime Element; Jack Wilson\'s Easterly Winds; Reuben Wilson\'s Love Bug; Larry Young\'s Mother Ship; Lee Morgan and Clifford Jordan Live in Baltimore 1968; Andrew Hill\'s Grass Roots; as well as on several albums with Art Blakey and the Jazz Messengers. He became more politically involved in the last two years of his life, becoming one of the leaders of the Jazz and People\'s Movement. The group demonstrated during the taping of talk and variety shows during 1970-71 to protest the lack of jazz artists as guest performers and members of the programs\' bands. His working band during those last years featured reedmen Billy Harper or Bennie Maupin, pianist Harold Mabern, bassist Jymie Merritt and drummers Mickey Roker or Freddie Waits. Maupin, Mabern, Merritt and Roker are featured on the well-regarded 3-disc, Live at the Lighthouse, recorded during a two-week engagement at the Hermosa Beach club, California, in July 1970. Death Morgan was murdered in the early hours of February 19, 1972, at Slugs\', a jazz club in New York City\'s East Village where his band was performing.[4] Following an altercation between sets, Morgan\'s common-law wife Helen More (aka; Morgan), shot him in the chest onstage, killing him within moments. He was 33 years old.[4] According to an eye witness, Miss More (13 years his senior) walked out of the club just before the last set. She returned and the band was already on stage. Lee was trying to get up there, but was talking with some people. He just started to get up the stage, when she entered and called his name. He turned around and she shot him in the heart. She then turned the gun on the club\'s doorman Ernie Holman, who grabbed her wrist and took the gun away from her. She started to scream \"Baby, what have I done?\" and ran to him. She was later arrested, tried, sentenced, and paroled by 1978. Soon after, Helen Morgan returned to her native North Carolina. Reportedly she never spoke publicly of the incident, until she granted an interview a month before her death. She died in WIlmington, NC, from heart condition, in March 1996. Helen Morgan was 69. The Sidewinder The Sidewinder is a 1964 album by jazz trumpeter Lee Morgan, recorded at the Van Gelder Studio, Englewood, New Jersey. It was released on Blue Note label as BLP 4157 and BST 84157. The title track was one of the defining recordings of the soul jazz genre, becoming a jazz standard. An edited version was released as a single. The album was to become a huge seller, and highly influential - many subsequent Lee Morgan albums, and other Blue Note discs, would duplicate (or approximate) this album\'s format, by following a long, funky opening blues with a handful of conventional hard bop tunes. The original album\'s five tracks feature tenor saxophonist Joe Henderson, then 26, whom Morgan (then 25) claimed at the time to be mentoring. Also present are the noted jazz drummer Billy Higgins, and double bassist Bob Cranshaw, who would soon switch to electric bass and begin a decades-long association with Sonny Rollins. All of the compositions were written by Morgan; all but the Cole Porter-like \"Hocus Pocus\" are heavily blues-based. \"The Sidewinder\" was adapted as the music of a Chrysler television commercial.[1] Contents [hide] * 1 Reception * 2 Track listing * 3 Personnel * 4 References [edit] Reception The Penguin Guide to Jazz selected this album as part of its suggested \"Core Collection\" (with a crown) calling the title track \"a glorious 24-bar theme as sinuous and stinging as the beast of the title. It was both the best and worst thing that was ever to happen to Morgan before the awful events of 19 February 1972.\"[2] The album was identified by Scott Yanow in his Allmusic essay \"Hard Bop\" as one of the 17 Essential Hard Bop Recordings.[3] [edit] Track listing 1. \"The Sidewinder\" – 10:25 2. \"Totem Pole\" – 10:11 3. \"Gary\'s Notebook\" – 6:03 4. \"Boy, What a Night\" – 7:30 5. \"Hocus Pocus\" – 6:21 6. \"Totem Pole\" (Alternate Take)¹ - 9:57 ¹ Only available on CD. [edit] Personnel * Lee Morgan - trumpet * Joe Henderson - tenor saxophone * Billy Higgins - drums * Barry Harris - piano * Bob Cranshaw - bass Discography Title Year Label Lee Morgan Indeed! 1956 Blue Note Introducing Lee Morgan 1956 Savoy Lee Morgan Sextet 1957 Blue Note Lee Morgan Vol. 3 1957 Blue Note City Lights 1957 Blue Note The Cooker 1957 Blue Note Candy 1957 Blue Note Peckin\' Time 1959 Blue Note Here\'s Lee Morgan 1960 Vee-Jay Lee-Way 1960 Blue Note Expoobident 1960 Vee-Jay Take Twelve 1962 Jazzland The Sidewinder 1963 Blue Note Search for the New Land 1964 Blue Note Tom Cat 1964 Blue Note The Rumproller 1965 Blue Note The Gigolo 1965 Blue Note Cornbread 1965 Blue Note Infinity 1965 Blue Note Delightfulee 1966 Blue Note Charisma 1966 Blue Note The Rajah 1966 Blue Note Standards 1967 Blue Note Sonic Boom 1967 Blue Note The Procrastinator 1967 Blue Note The Sixth Sense 1967 Blue Note Taru 1968 Blue Note Caramba! 1968 Blue Note Live at the Lighthouse 1970 Blue Note The Last Session 1971 Blue Note

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CalamARG (2013-04-25)

¡Gracias!

ASDLR (2013-11-21)

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