LEE MORGAN - The Complete Live At The Lighthouse
Blue Note 0883935 (8 CD set)
Lee Morgan (trumpet & flugelhorn); Bennie Maupin (tenor saxophone, flute & bass clarinet); Harld Mabern (piano); Jymmie Merritt (bass); Mickey Rocker (drums)
Jack DeJohnette (drums) on 'Speedball'; CD4, Track 3
Recorded live at the Lighthouse, Hermosa Beach, California; July 10, 11 & 12, 1970
Much of this material has been made available by Blue Note before, so what is the justification for this weighty box set? Well, quite simply the quality of the music. We have always known that these recordings were good, but now we can hear just how good they were, not just in terms of consistency and invention but also how a group evolves under these playing conditions in a concentrated short space of time, and also it can clearly be heard that Morgan is looking to take his music in new directions.
What we have here is a warts and all recording of all 12 sets from a three night stint at the Lighthouse in which Morgan and his quintet introduced some old favourites but importantly were more interested in bringing fresh material to the fore. Having not heard some of this music for some time I was intrigued once again with the line up presented here. Bennie Maupin does not at first appear to be the most obvious choice of sparring partner for the trumpeter. Indeed, on listening through the four sets of Friday 10th July I was reminded of Sam Rivers' brief tenure with Miles Davis' quintet of 1963, a great saxophonist but at odds with the leader and his concept of how the music and group should sound. Maupin it should be pointed out had himself just finished a period under Davis' tutelage when he found himself playing bass clarinet as part of the large ensemble that recorded Bitches Brew only a year before. Maupin's playing here may not be quite as intense as was required on the Bitches Brew, or as reactionary as Sam Rivers had been with Davis, Maupin was certainly lighting a fire under Lee Morgan and hinting at how the trumpeter might wish to drive his music going forward. Sadly, this is now pure conjecture as to how Morgan would have developed as tragically his life was cut short the following the year, and possibly leaving this valuable set as his final testament to his recorded legacy.
If the audience were looking to be reassured by familiar material, then it was only those that were present for the third set on the opening night that got to hear 'The Sidewinder' for example but there was lots of fresh and exciting music played over the three nights at the venue. Jymie Merritt composes a couple of outstanding tunes in 'Nommo' that features some fine tenor playing from Maupin on both performances heard on Saturday night, and a previously unreleased version from Sunday's sessions, and the equally fine 'Absolutions' is thoroughly investigated during the residency. Maupin also plays some delightful flute on Mabern's 'I Remember Britt' as evidenced on three outings for the composition, two of which are again previously unreleased.
Bennie Maupin, with hindsight, is quite integral to the quintet, and Morgan's reaction to his saxophonist are interesting to note. Maupin contributes some of the most interesting compositions, especially in 'Peyote' and the excellent 'Neophilia' that features the multi-instrumentalist on bass clarinet in a couple of startlingly original performances. If other pieces by the saxophonist are a little more conventional as in 'Yunjana' and 'Something Like This', you can feel Morgan' presence as he listens and absorbs the music before picking up his horn to solo. This trait is also found on the trumpeter's own tune, 'Speedball' that is used throughout as a theme for bringing sets to a conclusion but given an extended workout with Jack DeJohnette sitting in on drums who immediately sets out a fresh agenda for the rhythm section, who have previously been very much stuck fast in a hard bop mode with only Merritt perhaps looking to break out of a strictly defined role.
It is this tension between the rhythm section and Maupin, and on 'Speedball' between Mabern and DeJohnette, that creates some delicious tensions and leaving Morgan to think about where he stands in proceedings and how he can take his music forward. Speculation maybe, but listening to the trumpeter's solos he is definitely enjoying playing with these musicians and solos with no less authority, and indeed stamps his presence in the music with some commanding outings and at times bridging the gap between two camps.
Often with boxsets such as this it is difficult to find the time and stamina required to truly assimilate the music, but in the case of The Complete Live At The Lighthouse the effort is well worth it, and will reveal delights anew for many years to come.
Reviewed by Nick Lea
Blue Note 0883935 (8 CD set)
Lee Morgan (trumpet & flugelhorn); Bennie Maupin (tenor saxophone, flute & bass clarinet); Harld Mabern (piano); Jymmie Merritt (bass); Mickey Rocker (drums)
Jack DeJohnette (drums) on 'Speedball'; CD4, Track 3
Recorded live at the Lighthouse, Hermosa Beach, California; July 10, 11 & 12, 1970
Much of this material has been made available by Blue Note before, so what is the justification for this weighty box set? Well, quite simply the quality of the music. We have always known that these recordings were good, but now we can hear just how good they were, not just in terms of consistency and invention but also how a group evolves under these playing conditions in a concentrated short space of time, and also it can clearly be heard that Morgan is looking to take his music in new directions.
What we have here is a warts and all recording of all 12 sets from a three night stint at the Lighthouse in which Morgan and his quintet introduced some old favourites but importantly were more interested in bringing fresh material to the fore. Having not heard some of this music for some time I was intrigued once again with the line up presented here. Bennie Maupin does not at first appear to be the most obvious choice of sparring partner for the trumpeter. Indeed, on listening through the four sets of Friday 10th July I was reminded of Sam Rivers' brief tenure with Miles Davis' quintet of 1963, a great saxophonist but at odds with the leader and his concept of how the music and group should sound. Maupin it should be pointed out had himself just finished a period under Davis' tutelage when he found himself playing bass clarinet as part of the large ensemble that recorded Bitches Brew only a year before. Maupin's playing here may not be quite as intense as was required on the Bitches Brew, or as reactionary as Sam Rivers had been with Davis, Maupin was certainly lighting a fire under Lee Morgan and hinting at how the trumpeter might wish to drive his music going forward. Sadly, this is now pure conjecture as to how Morgan would have developed as tragically his life was cut short the following the year, and possibly leaving this valuable set as his final testament to his recorded legacy.
If the audience were looking to be reassured by familiar material, then it was only those that were present for the third set on the opening night that got to hear 'The Sidewinder' for example but there was lots of fresh and exciting music played over the three nights at the venue. Jymie Merritt composes a couple of outstanding tunes in 'Nommo' that features some fine tenor playing from Maupin on both performances heard on Saturday night, and a previously unreleased version from Sunday's sessions, and the equally fine 'Absolutions' is thoroughly investigated during the residency. Maupin also plays some delightful flute on Mabern's 'I Remember Britt' as evidenced on three outings for the composition, two of which are again previously unreleased.
Bennie Maupin, with hindsight, is quite integral to the quintet, and Morgan's reaction to his saxophonist are interesting to note. Maupin contributes some of the most interesting compositions, especially in 'Peyote' and the excellent 'Neophilia' that features the multi-instrumentalist on bass clarinet in a couple of startlingly original performances. If other pieces by the saxophonist are a little more conventional as in 'Yunjana' and 'Something Like This', you can feel Morgan' presence as he listens and absorbs the music before picking up his horn to solo. This trait is also found on the trumpeter's own tune, 'Speedball' that is used throughout as a theme for bringing sets to a conclusion but given an extended workout with Jack DeJohnette sitting in on drums who immediately sets out a fresh agenda for the rhythm section, who have previously been very much stuck fast in a hard bop mode with only Merritt perhaps looking to break out of a strictly defined role.
It is this tension between the rhythm section and Maupin, and on 'Speedball' between Mabern and DeJohnette, that creates some delicious tensions and leaving Morgan to think about where he stands in proceedings and how he can take his music forward. Speculation maybe, but listening to the trumpeter's solos he is definitely enjoying playing with these musicians and solos with no less authority, and indeed stamps his presence in the music with some commanding outings and at times bridging the gap between two camps.
Often with boxsets such as this it is difficult to find the time and stamina required to truly assimilate the music, but in the case of The Complete Live At The Lighthouse the effort is well worth it, and will reveal delights anew for many years to come.
Reviewed by Nick Lea
