Requisites

Cornbread ~ Lee Morgan | By Eddie Carter

A few nights ago, I was thinking about my mom and one of her favorite Sunday dinner meals for my sister and me growing up. It consisted of chicken wings, collard greens, macaroni and cheese, black-eyed peas and cornbread. This morning’s album from the library is Cornbread (Blue Note BLP 4222/BST 84222) by Lee Morgan. It was recorded in 1965 but not released until 1967, and is one of the best albums in the trumpeter’s catalog. He’s joined by a superb ensemble: Jackie McLean on alto saxophone; Hank Mobley on tenor saxophone; Herbie Hancock on piano; Larry Ridley on bass; and Billy Higgins on drums. The copy I own is the 1991 Toshiba-EMI Japanese Stereo reissue from Blue Note’s The 4000 Series Collection, sharing the original catalog number.

Side One opens with the title track, Cornbread by Lee Morgan. The rhythm section offers a soulful introduction, leading into the ensemble’s melody. Lee sets the table with a spirited main course, then Hank serves a succulent blues dish. Jackie brings the next plate of savory notes, followed by Herbie’s delicious dessert, completing the meal before the theme’s reprise and the trio’s tasty fadeout. Our Man Higgins, Lee’s tribute to Billy Higgins, showcases the lively interaction between the front line and the drummer during the theme. Jackie gets things started with a spirited interpretation, then Lee responds with a lively statement. Hank steps in next, paying dividends with an invigorating solo. Herbie follows with a captivating presentation, and Billy delivers the goods in a short workout before the sextet returns to take it out.

The second side opener shows that Lee Morgan could compose beautiful ballads, as in his Ceora. Herbie’s gentle, gracious introduction segues into the ensemble’s delicately polite melody. Lee brings soothing lyricism and warm affection to the lead solo. Hank then shares his heartfelt feelings with sincerity and sentimentality next. Herbie adds a romantic touch to the closing solo, leading to the group’s touching, emotional climax. Ill Wind by Harold Arlen and Ted Koehler is a song from the thirties that begins with the trio’s introduction to the ensemble’s melody, with Lee on the mute throughout. Morgan then elegantly welcomes the lead solo like an old friend. Herbie breathes warmth into the second statement, then Lee and Hank give two concise comments preceding the closing chorus and soft finale.

Lee Morgan’s Most Like Lee wraps up the album with an energetic vibe, letting the group dive right into the melody. Hank starts things off with a vibrant, joyful solo, followed by Lee, who keeps the audience engaged with his captivating performance. Jackie glides smoothly into the third solo with his signature swing. Herbie follows with a very relaxing reading. Larry gets the last word and takes a short walk toward the theme’s reprise and climax. Alfred Lion produced the session, and Rudy Van Gelder managed the recording console. The album’s sound quality offers a sit-down listening experience, with a wide soundstage across the treble, midrange and bass that transports the musicians to your listening room with stunning fidelity.

If you’re a seasoned Lee Morgan fan or a new listener that’s looking for an album that can brighten any moment of the day or evening, or can be enjoyed whether you’re in a relaxed or serious mood, I happily recommend and invite you to pick up Cornbread the next time you’re at the record store. It’s a tasty, soulful, and nourishing slice of hard bop and post-bop music that’s not only a wonderful addition to your library but also perfect for spinning on your turntable!

~ Ill Wind – Source: JazzStandards.com © 2026 by Edward Thomas Carter

CALIFORNIA JAZZ FOUNDATION

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WYNTON MARSALIS

Trumpeter, composer, and 2011 NEA Jazz Master Wynton Marsalis brings the most recent iteration of his iconic Septet to the Miner stage for four performances over two days.

The most famous jazz musician alive, Marsalis is a towering figure in the evolution of the art form. From his New Orleans beginnings and fiery debut with legendary drummer Art Blakey’s Jazz Messengers to his string of acclaimed albums and role as Artistic Director of Jazz at Lincoln Center, Marsalis has amassed a staggering list of accomplishments including nine GRAMMYs and the Pulitzer Prize for Music for his long-form work Blood on the Fields — the first ever awarded to a jazz artist. He received the SFJAZZ Lifetime Achievement Award at SFJAZZ Gala 2022 and made news in 2026 by announcing his departure from his leadership position at Lincoln Center after nearly 40 years.

Marsalis returns following his sublime performance of his score accompanying a screening of the 2010 silent Louis Armstrong biopic Louis during the 2025-26 Season with his vaunted Septet — a format that has remained his most enduring creative outlet and yielded a procession of masterful albums including 1992’s Blue Interlude, 1993’s Citi Movement, 1999’s Mr. Jelly Lord, and 2007’s Here…Now, among others.

Cover: $60.00 ~ $210.00

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NAT REEVES SEXTET

Nat Reeves brings his sextet to The Side Door, the same all-star group from his new album Now in Time. For over 40 years, Nat Reeves has been one of the most respected bassists in jazz. Early in his career he performed with Jackie McLean, Benny Golson, Donald Byrd, Art Taylor, Mulgrew Miller, Kenny Kirkland, and Kenny Drew. He became a longtime member of Kenny Garrett’s group beginning in 1994, and has worked and recorded with Pharoah Sanders, George Coleman, Harold Mabern, George Cables, and Joe Farnsworth, among many others. He has released three albums as a leader, State of Emergency, Blue Ridge, and now Now in Time, released April 17, 2026 on Cellar Live.

Now in Time brings together an extraordinary lineup spanning multiple generations of jazz, twelve tracks running just over an hour that move comfortably between Reeves’ own original compositions and a thoughtful selection of standards, including “On Green Dolphin Street,” “Alice in Wonderland,” and a tribute to Marvin Gaye with “The Creator Has a Master Plan.” Throughout the record, Reeves’ bass acts as a quiet narrator, steering the music’s direction with the kind of unhurried confidence that comes from four decades on the bandstand. Critics have praised the album as a recording that rewards close, attentive listening, one that resists the pace of casual consumption and instead invites listeners to settle into a long evening built on the trust and shared musical language of these six players.

T

his is a rare chance to hear the album’s celebrated lineup perform the music live, in an intimate setting.

The Band:
Nat Reeves – Bass
Eric Alexander – Tenor Saxophone
Steve Davis – Trombone
Eddie Henderson – Trumpet
Caelan Cardello – Piano
Jeff “Tain” Watts – Drums

Cover: $38.57

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BENITO GONZALEZ TRIO

Two-time Grammy nominee Benito Gonzalez is joined by legends Buster Williams and Lenny White.

Born in Maracaibo, Venezuela, Benito Gonzalez grew up immersed in traditional Venezuelan folk music before discovering jazz through the playing of Herbie Hancock, McCoy Tyner, Chick Corea, and Keith Jarrett, an early inspiration that shaped his powerful, Afro-Latin-infused approach to the piano. Gonzalez made his way to the United States by a serendipitous route, an American cultural ambassador caught one of his trio gigs and later invited him to Washington, D.C.

He went on to play with Jackie McLean in 2003, then spent nearly seven years touring with Kenny Garrett’s quartet, earning two Grammy nominations for the recordings Seeds from the Underground and Pushing the World Away. In 2019 he joined NEA Jazz Master and Coltrane protégé Pharoah Sanders as pianist and musical director. A 2005 winner of the Great American Jazz Piano Competition and a Steinway artist since 2020, Gonzalez has shared the stage with Dave Liebman, Roy Hargrove, Christian McBride, Nicholas Payton, Al Foster, and many others.

Joining him are two of the most legendary rhythm section players in jazz history. Bassist Buster Williams has anchored some of the most important recordings and bands of the past six decades, from Herbie Hancock and Miles Davis to McCoy Tyner and Ron Carter, and remains one of the most revered bassists in the music. Drummer Lenny White, a member of the original lineup of Return to Forever and a Grammy-winning legend in his own right, brings a depth of groove and history matched by few. Together, this trio represents three generations of jazz mastery converging in one room.

The Band:
Benito Gonzalez – Piano
Buster Williams – Bass
Lenny White – Drums

Cover: $38.57

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HENDRIK MEURKENS

One of the most unique and captivating voices in jazz brings his quartet to The Side Door. Hendrik Meurkens is a virtuoso on both the chromatic harmonica and the vibraphone and is widely regarded as the most important jazz harmonica player since Toots Thielemans. Born in Hamburg and now based in New York, his path to musical mastery is one of jazz’s most extraordinary stories. As a teenager, a Benny Goodman record with Lionel Hampton lit the fuse — he had to play vibraphone. Then, at nineteen, he heard Toots Thielemans for the first time and knew he had to play harmonica too. He perfected his unique musical voice at Berklee as a vibraphone major, then moved to Rio de Janeiro in the early 1980s to immerse himself completely in the music and culture of Brazil.

His poignant, emotionally affecting harmonica proved to be a sound that Brazilians strongly embraced, and that deep love of Brazilian music , samba, bossa nova, choro, has never left him, infusing everything he plays with a warmth and rhythmic vitality that is entirely his own. Back in Germany by 1983, he became a respected studio musician, recording with European Radio Orchestras and accompanying visiting legends like Harry “Sweets” Edison and Buddy Tate. He then moved to New York on an exclusive contract with Concord Records and has since released over fifteen acclaimed albums as a leader, performing at festivals and clubs around the world.

The Band
Hendrik Meurkens – Harmonica & Vibraphone
Steve Ash – Piano
Joe Fitzgerald – Bass
Ben Bilello – Drums

Cover: $27.98

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