Daily Dose Of Jazz…

Nick Moran was born on April 14, 1963 in New York City and began playing trumpet at age ten, switching over to the guitar at thirteen. His early musical influences were the British rock guitarists Jeff Beck, Jimmy Page and Peter Frampton. He played in several rock groups throughout high school and college while studying classical guitar. He first discovered the music of George Benson at age fifteen along with Jim Hall, Wes Montgomery, Miles Davis, Dexter Gordon and Art Blakey’s Jazz Messengers.

Nick’s study of jazz began informally in 1991 with arranging and ear training classes at the Fachbereich Musik in Mainz, Germany, where he also played guitar and trumpet in the university big band. He returned to New York in 1998 and began formal jazz studies and graduated from City College of New York in 2001. He did rhythm section studies for two years with bassist Ron Carter and studied composition with pianist/arranger Mike Holober.

He has been a member of the Ray Santos Orchestra, Akiko Tsuruga, Shunzo Ohno, Tom Hubbard, Marco Panascia, Adam Rafferty, Rick Stone, Nick Russo and Russ Spiegel, Cliff Korman and Burt Eckoff. Nick Moran currently leads two bands, is an active solo performer, plays a seven-string guitar, performs throughout New York City and is a producer and recording engineer.

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Requisites

Tom Cat ~ Lee Morgan | By Eddie Carter

Submitted for your approval this morning is a Lee Morgan album that many may not be familiar with. Tom Cat (Blue Note Classic LT-1058) is an excellent hard bop album originally recorded in 1964. However, its release was postponed because “The Sidewinder” achieved tremendous success for both the trumpeter and the label. “Search For The New Land,” another superb 1964 session, was released two years later, but Tom Cat remained unreleased until sixteen years after it was recorded. Curtis Fuller on trombone; Jackie McLean on alto saxophone; McCoy Tyner on piano; Bob Cranshaw on bass; and Art Blakey on drums complete the sextet. The copy I own is the 1980 U.S. stereo release.

The album opener is the title tune, Tom Cat, by Lee Morgan. The trio’s introduction strolls in like a cat entering a room ahead of the sextet’s easygoing melody. Lee definitely gets his message across to the listener in the lead solo. Jackie finds common ground in the second reading. Curtis follows with a mellow swing next, then McCoy is as good as it gets in the closer preceding the theme’s reprise and fadeout. Lee’s Exotique begins with a mysterious modal introduction that blossoms into the ensemble’s lively theme. Morgan leads off with an exciting opening solo, then McLean steps in to deliver a spirited statement. Fuller responds to the cooking intensity next, then Tyner follows with a concise comment. Lee adds a few more thoughts, and Blakey gets the last word before the closing chorus dissolves into nothingness.

Twice Around by Lee Morgan opens with the quintet’s introduction slowly, then picks up pace rapidly for the ensemble’s brisk theme. Curtis steps out first on this uptempo cooker, then Jackie opens it up further with a robust reading. Lee takes care of business in the first of two scintillating statements. McCoy follows him with a swift solo, then Lee returns to wail briefly. Art sails in last for a short workout, leading to the theme’s restatement and finale. Twilight Mist is a beautiful, tender ballad by McCoy Tyner. The pianist opens the song with a gentle introduction before Morgan leads the group through the lovely melody. The trumpeter approaches the opening statement elegantly, then steps aside for Tyner’s haunting interpretation ahead of the return to the theme and a gorgeous ending.

Rigormortis by Lee Morgan takes us home on an upbeat note with the sextet’s brisk theme led by the front line. Lee sets things in motion with an invigorating solo. Jackie finds his groove with a few swinging ideas next. Curtis scores a bullseye in the following reading, and McCoy is on target in a lively short statement. Lee and Art build an effective climax, bouncing ideas off each other, leading to the closing chorus. Alfred Lion produced Tom Cat, and Rudy Van Gelder managed the recording console. The album’s sound quality is excellent, with an outstanding soundstage that lets the musicians deliver a private studio session in the listener’s listening room.

If you’ve had a long day or week and are in the mood to unwind with an exceptional, hard bop album, I invite you to discover Tom Cat by Lee Morgan on your next visit to your favorite record shop. Lee and an extraordinary lineup deliver 41 minutes of enjoyable music that’s impossible to listen to without your fingers snapping and your toes tapping. Though lesser known and overlooked in Morgan’s discography, Tom Cat is an excellent release that should easily earn its place in any jazz library!

~ Search For The New Land (Blue Note BLP 4169/BST 84169), The Sidewinder (Blue Note BLP 4157/BST 84157) – Source: Discogs.com © 2026 by Edward Thomas Carter

CALIFORNIA JAZZ FOUNDATION

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Yardbird Suite ~ Frank Morgan Quartet | By Eddie Carter

A few evenings ago, I spent the time listening to a few saxophonist albums, and one in particular inspired thismorning’s discussion. I first heard Yardbird Suite (Contemporary Records C-14045) by the Frank Morgan Quartet on WNOP 740 AM, Cincinnati, Ohio’s then jazz station, when I lived there, and I forgot what an entertaining record it was. Recorded and released in 1988, it was my introduction to alto saxophonist Frank Morgan and was his seventh as a leader. On this homage to both bebop and Charlie Parker, Morgan is joined by an outstanding supporting cast: Mulgrew Miller on piano; Ron Carter on bass; and Al Foster on drums. The copy I own is the original U.S. Stereo Release.

The album opener is the title tune, Yardbird Suite by Charlie Parker. Mulgrew’s happy introduction sets the stage for the quartet’s lively melody. Frank opens with a splendid study of soulful improvisation, then Mulgrew relishes every moment of the following statement. Ron takes a short walk through the third reading, and Frank and Al share a brief conversation ahead of the group’s reprise and dead stop. The group maintains its swinging momentum with Night In Tunisia by Dizzy Gillespie and Frank Paparelli. Morgan takes the lead with a spirited solo, then Miller responds with a sizzling interpretation propelled by Carter and Foster into the theme’s restatement and soft summation.

Billie’s Bounce by Charlie Parker is taken at a medium pace and affords everyone solo space. The trio introduces the song, segueing into Frank's melody. Mulgrew leads the way with a vibrant performance. Frank soars joyously into the second solo, then Ron walks with spirit and vitality next. Frank and Al engage in a short exchange of ideas before the foursome’s closing chorus takes it out. Side Two opens with Star Eyes by Gene de Paul and Don Raye. The trio’s warmth and charm in their introduction lead to Morgan’s relaxed, mellow melody. He continues building the opening solo smoothly. Miller develops the following reading with finesse before the song concludes on an uplifting note.

The beat moves upward for Scrapple From The Apple by Charlie Parker, with the rhythm section’s introduction to Frank’s spirited theme. He then launches into the opening solo aggressively. Mulgrew takes over and hits an ideal groove in the following reading, then both soloists share a scintillating dialogue of musical ideas before the theme returns and the song ends. Skylark by Hoagy Carmichael and Johnny Mercer is one of the few songs Parker didn’t record during his lifetime. The quartet pays homage to the standard, beginning with the trio’s tender introduction to Morgan’s gorgeous melody. As the song’s only soloist, he creates an elegantly thoughtful interpretation ahead of the theme’s gentle reprise and close.

Orrin Keepnews produced Yardbird Suite, and Danny Kopelson was behind the recording console for this session. George Horn mastered the album, and it was recorded to and mastered from digital tape, using the Mitsubishi X-80 digital tape recorder. The album’s sound quality is superb, placing the musicians in the sweet spot of your listening room with a tremendous soundstage across the highs, midrange, and low end. If you’re in the mood for bop and are a fan of the alto saxophone, I invite you to check out Yardbird Suite by the Frank Morgan Quartet on your next record store visit. It’s an enjoyable album of great music by one of the jazz saxophonists, in my opinion, deserving of greater recognition!

~ Skylark, Star Eyes – Source: JazzStandards.com

© 2026 by Edward Thomas Carter

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JASON MARSALIS QUARTET

Jason Marsalis Quartet With Vanisha Gould, Mustafa, Trio De Janeiro featuring Magela Herrera and The John Marquis Trio

Hailing from NOLA and the youngest son of the Marsalis clan led by the late patriarch Ellis Marsalis, the jazz drummer, vibraphonist, composer, producer, band leader, brings his talents to Magic City for the Sankofa Jazz Concert.

The Sankofa Jazz Concert is a vibrant celebration of jazz music’s enduring legacy and its profound influence on American culture. Showcasing both traditional and contemporary jazz styles, the event honors the genre’s historical roots while highlighting its ongoing evolution and cultural significance.

Tickets: $35.00

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GRACE KELLY

You loved her before, so we’re bringing her back.  Grace Kelly is an unequivocal musical prodigy, singer-saxophonist-songwriter-composer, and band leader. She has rocked the jazz world with her joyous sold-out concerts, acclaimed albums and a resume that includes performing at the Hollywood Bowl and as part of the house band for “The Late Show with Stephen Colbert” – all before reaching her mid-twenties.

Kelly has performed and recorded with renowned artists including Lin Manuel- Miranda, Dave Brubeck, Phil Woods, Huey Lewis, Harry Connick Jr., Gloria Estefan, Questlove, and Wynton Marsalis. It will be an evening of joy-filled jazz!

Tickets: $76.70

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