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

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Requisites

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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Requisites

Philly Mignon ~ Philly Joe Jones | By Eddie Carter

This morning’s album from my library is a hidden gem led by the talented drummer Philly Joe Jones. He brings together an outstanding group on his 1978 release, Philly Mignon (Galaxy GXY 5112). My first introduction to Jones’s artistry was through his work on Miles Davis’s four Prestige quintet records, where his impeccable timekeeping really stood out to me. The ensemble includes Nat Adderley on cornet (tracks: A1, B1, B3), Dexter Gordon (tracks: A2, B2), and Ira Sullivan (tracks: A1, B3), on tenor saxophone, (track: B1) on soprano saxophone, George Cables (tracks: A1, A2, B2, B3) on piano, and Ron Carter on bass. The copy I own is the original 1978 U.S. Stereo pressing!

The album opens with a spirited rendition of Confirmation by Charlie Parker. Philly’s introduction kicks things off ahead of the lively theme led by Ira. George has the first solo and drives vigorously. Nat takes over, fueling the second statement with a brassy bite. Ira comes in next, riding hard on a robust reading, then the front line gives Philly space for a robust workout before the group’s theme reprise takes things out. Neptunis by Benny Bailey sets an easy tempo from the start of Dexter and George’s introduction that develops into the melody. The saxophonist leads the soloing with a relaxing joyride. George follows, each chorus unfolding efficiently and smoothly. Dexter and Philly share the spotlight briefly before the drummer has the last word and the foursome wraps up. 

Jim’s Jewel by Charles Bowen Jr. is a completely different animal, with Nat and Ira featured in a piano-less foursome. Ron introduces the song, segueing into the front line’s theme, propelled by Philly’s drums. Nat’s first solo is particularly compelling. Ira follows with a soprano sax reading that will move the listener to sit up and take notice. Philly enters the spotlight last with a concise comment before the closing chorus and the group’s exit. Polka Dots and Moonbeams by Jimmy Van Heusen and Johnny Burke is up next. Dexter’s spoken introduction of the opening lyrics blossoms into his saxophone, continuing the tender melody. The trio provides an elegantly lush foundation for Dexter’s delicately tender first solo. George follows with a lovely reading leading to the gorgeous closing chorus and the soft ending.

United Blues by Ron Carter is an upbeat tune that brings Nat and Ira back for the album’s closer. Philly’s short introduction kicks things off ahead of the quintet’s theme. Nat is up first with a spirited statement, then Ira grabs the second spot, back on tenor sax and hooks you from the start. George strolls in next for a short stay, and Philly does a great deal in a short time before the reprise of the melody finishes on a good note. Ed Michel produced Philly Mignon, while Baker Bigsby and Wally Buck managed the recording console. David Turner handled the album’s mastering, and the sound quality is exceptional. The stereo presentation is vivid, the horns truly sparkle, and the bass sounds full and resonant. It’s also an excellent pressing, and the record is dead silent until the music starts.

Philly Joe Jones led 16 albums and contributed as a sideman to a wide array of exceptional recordings, making his discography one of the most impressive in jazz history. Whether you’re passionate about jazz drumming or curious to explore Jones’s artistry, I highly recommend checking out his album Philly Mignon by Philly Joe Jones during your next visit to the record store. This release offers a delightful listening experience for jazz lovers at any hour, appealing even to the most discerning musical tastes. Just a word of caution, though, once you start listening, you may find yourself completely captivated!

~ Cookin’ With The Miles Davis Quintet (Prestige PRLP 7094), Relaxin’ With The Miles Davis Quintet (Prestige PRLP 7129), Steamin’ With The Miles Davis Quintet (Prestige PRLP 7200), Workin’ With The Miles Davis Quintet (Prestige PRLP 7166) – Source: Discogs.com

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