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The Sidewinder (0816040168)
Description
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| The Philadelphia-born trumpeter and superb bop stylist Lee Morgan apprenticed with Dizzy Gillespie and Art Blakey before emerging as a leader in his own right in the early '60s for Blue Note Records. Although Morgan owed a stylistic debt to both Gillespie and Clifford Brown, he quickly developed a voice of his own that combined half-valve effects, Latin inflections, and full, fluid melodies. While many of Morgan's later sessions for Blue Note would find him paired with saxophonist Hank Mobley, The Sidewinder features then up-and-coming tenor player Joe Henderson, plus Detroit pianist Barry Harris, bassist Bob Cranshaw, and drummer Billy Higgins. Along with the title track, an unconventional 24-bar blues, the album's compositional standout is "Totem Pole," a minor Latin groove featuring an outstanding solo by Henderson. This is the kind of relaxed blowing date, invigorated by thoughtful performances, that forms the backbone of the Blue Note catalog. --Fred Goodman Editorial Descriptions are usually submitted by the manufacturers, publishers and authors. Contact us if you are one of them, and wish to change the above description. |
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Author: Guest
Lee Morgan's The Sidewinder is to jazz trumpet what Sonny Rollins' Saxophone Collosus is to the sax; an absolutely gorgeous work of art that will never leave your your playlist once it works it's way into your head.
It only takes one listen to get infected with the rythym. This is a jazz album that truly rocks, and if you know your roots of rock and roll you'll hear it here, too. Along with Clifford Brown, whom you'll love as well if you dig this recording, Lee Morgan rates among the greatest trumpet players to have ever graced a stage.
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Author: Guest
Lee Morgan was one of the most gifted hard bop trumpeters of his or any generation since, and "The Sidewinder" has long been regarded as his magnum opus. The album's title track has become a significant jazz standard, with generations of budding artists since interpreting it both live and on record. This being one of the premium titles in Blue Note's long list of albums to date, Lee Morgan's "The Sidewinder" is one of the top-selling jazz albums of all time.
Joe Henderson is admirably fantastic on this 1963 recording as is the legendary pianist Barry Harris, both of whom exhibit on here uncanny swinging improvisational backdrops and solos. Henderson underscores here how great an impact and influence John Coltrane was having on artists like himself by this point. But truly it is Lee Morgan, most of all, who stands out far and ahead of the pack on these tracks. "Totem Poll" is an absolute delight, opening to a wonderful piano-intro from Barry Harris with Lee stepping in shortly.
This Rudy Van Gelder Edition comes with 24-bit remastering done by Rudy himself, and the sound quality and clarity is just right throughout. This is one of the most celebrated jazz albums for as long as anyone can remember, a must have for everyone establishing a jazz collection for themselves. You also get an alternate take of "Totem Pole", so buy "The Sidewinder" today! A five-star album if ever there was one.
Personnel:
Lee Morgan (trumpet)
Joe Henderson (tenor sax)
Barry Harris (piano)
Bob Cranshaw (bass)
Billy Higgins (drums)
Producer: Alfred Lion
Label: Blue Note
Recorded: December 21, 1963
Location: Rudy Van Gelder Studio, Englewood Cliffs, New Jersey
Edition: The Rudy Van Gelder Edition series
Remastering: 24-bit
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Author: Guest
This album has come as a bit of a shock. The shock isn't from how good this album is (and it is very good). The shock - the shame even - is that I've been going around all these years calling myself a jazz lover without ever even hearing it, talk less about having it in my collection.
But I got lucky. You know how it is. You buy a CD or express an interest in one and amazon.com very helpfully suggest others that you might enjoy. That is how I came across this classic beauty. I read a few reviews, they all seemed to be saying great things and so I jumped right in.
Lee Morgan is a great trumpeter but it's not just the improvisation and sheer craftsmanship of he and all concerned here (Joe Henderson on tenor saxophone, Barry Harris on piano, Bob Cranshaw on bass and Billy Higgins on drums) that I find mind-blowing; it's that Lee Morgan is such an incredible songwriter. The title track beings to mind phrases like "Herbie Hancock", "Watermelon Man" and "bandwagon" but that might be a bit too harsh. It's still a very enjoyable tune in its own right.
Morgan writes all six of the songs on this album and while I don't know much about the technical jargon involved, on "Totem Pole", just to take one example, the way the beat and tempo keep changing during the song keep me going back to it again and again (track #6 is actually an alternate take of this song).
It never ceases to amaze me how music recorded almost half a century ago - this one was recorded in 1963 - still sounds so fresh and so original today. Maybe it's the mastering by Rudy Van Gelder but the sound is clear, crisp and practically jumps out of the speakers. This is my kind of jazz; very clever but still very accessible. I love it!
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Author: Guest
I never cared for the title track when I first heard it, regarding it as little more than a boogaloo period piece. But after listening to numerous attempts to copy the formula (and repeat its commercial success), it's easier to understand the attention the original has received. Morgan and his cast of players seem to understand that it's all about the "groove," and his conservative, underplayed solo, always staying inside the rhythmic pocket, insures that this sidewinder never goes off course. Its only rival among all the Sidewinder wannabes is probably Kenny Dorham's "Una Mas."
Regarding editions, I've heard both the RVG remaster and the 1990 transfer, and prefer the earlier edition. The boosting of bass and treble frequencies, perhaps impressive to some ears, contributes little to the serpent's sinuous and seductive path.
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Author: Guest
Lee scored a double victory with this one, magnificent music and popular recognition. Nothing could get in the way of those horns, trumpet and tenor sax skate across ice with tremendous agility and zero drag, heralds of bright harmonies to dance for! Pianist Barry Harris nails home the groove, keeping it simple so the horns can sky write 'Viva la bop revolution,' in all its refined glory!
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