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
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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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Daily Dose Of Jazz…
Henry Lowther was born Thomas Henry Lowther on July 11, 1941 Leicester, Leicestershire, England. Learning trumpet, his first experience was on cornet in a Salvation Army band. He studied violin briefly at the Royal Academy of Music but returned to trumpet by 1960 though he sometimes played violin professionally.
In the 1960s, he worked with pianist and composer Mike Westbrook, a relationship that lasted into the 80s, Manfred Mann, John Dankworth from 1967-77, Graham Collier, John Mayall, John Warren, and would appear with the Keef Hartley Band.
The Seventies brought work with Mike Gibbs, Kenny Wheeler, Tony Coe, Gordon Beck and Barbara in addition to his own ensemble, Quaternity. In the 80s Henry worked with the Buzzcocks, Talk Talk, Peter King, Gil Evans, Humphrey Lyttleton on a Buddy Bolden documentary.
He played with Charlie Watts’ band in the late 80s, and then led his own band, Still Waters. From the late 1980s he did much work in big bands, such as the Berlin Contemporary Jazz Orchestra and the London Jazz Composers Orchestra; in the Nineties he worked with Kenny Wheeler’s group, The Dedication Orchestra, the London Jazz Orchestra, George Russell’s Living Time Orchestra, and the Creative Jazz Orchestra. Trumpeter Henry Lowther most recently plays in the band Jazzmoss.
Daily Dose Of Jazz…
Cootie Williams was born Charles Melvin Williams on July 10, 1911 in Mobile, Alabama and began his professional career with the Young Family band, which included saxophonist Lester Young, when he was 14 years old. In 1928, he made his first recordings with pianist James P. Johnson in New York, where he also worked briefly in the bands of Chick Webb and Fletcher Henderson.
Williams rose to prominence as a member of Duke Ellington’s orchestra, with whom he performed from 1929 to 1940. He recorded his own sessions during this time, both freelance and with other Ellington sidemen. In 1940 he joined Benny Goodman’s orchestra, then a year later formed his own orchestra. Over the years he employed Charlie Parker, Eddie “Lockjaw” Davis, Bud Powell, Eddie Vinson and other important young players.
In 1947, Williams wrote the song “Cowpox Boogie” while recuperating from a bout with smallpox; began playing more rhythm and blues in the late 1940s, in the Fifties he toured with small groups and fell into obscurity. By 1962, he rejoined Ellington, stayed with the orchestra until 1974, after Ellington’s death, and in 1975, and performed during the Super Bowl IX halftime show.
Trumpeter Cootie Williams, who was noted for his occasional singing, renowned for his growling “jungle” style trumpet playing, reputed to have inspired Wynton Marsalis, and was inducted into the Alabama Jazz Hall of Fame, passed away in New York on September 15, 1985, at age 74.
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Requisites
Blowin’ Away ~ Dizzy Reece and Ted Curson | By Eddie Carter
This morning’s album from the library is an obscure gem from 1978. Blowin’ Away (Interplay Records IP-7716) is a terrific hard bop session that unites two outstanding musicians of the 50s and 60s, Dizzy Reece on trumpet (tracks: A1, A3, B2, B3) and Ted Curson on flugelhorn (track: A2) and trumpet (tracks: A3, B2, B3). They’re joined by an exceptional rhythm section: Claude Williamson on piano; Sam Jones on bass; and Roy Haynes on drums. The copy I own is the 1978 U.S. Stereo release. Dizzy and the trio open the album with Stella By Starlight by Victor Young and Ned Washington. The trumpeter gets things going with a solo introduction leading to the quartet’s medium melody. Dizzy opens and closes with two readings that are as smooth as glass. Claude contributes a fine solo in between them propelled by Sam’s and Roy’s peppy support.
Ted steps in next to lead the trio on flugelhorn for the ageless chestnut, All The Things You Are by Jerome Kern and Oscar Hammerstein II. Curson launches the first solo with a bouncy, up-tempo swing. Next up, Williamson delivers a captivating interpretation, gracefully darting around the rhythm section like fleeting shadows. Ted and Haynes close out the solos with an engaging conversation before the foursome’s exit. Bass Conclave by Dizzy Reece begins with Roy’s introduction ahead, both trumpets taking the spotlight with the mute on for the quintet’s easy beat theme. Dizzy takes the opening statement with the mute off, making every note count with surgical precision. Ted moves in next to tell a swinging story, then Claude shows youthful exuberance next. Sam makes a quick comment preceding the reprise and a quick stop.
The second side’s spotlight shines on the trio for Charlie Parker’s Moose The Mooche. Roy opens the door to this bebop classic leading to the ensemble’s swinging melody. Claude takes the opening solo for a sizzling ride, then Sam takes a short vibrant walk. The pianist and Roy share a concise conversation leading to the closing chorus. The quintet returns as the beat slows down for Marjo by Ted Curson. Claude starts things off with a pretty introduction to both horns taking charge as the theme unfolds. Ted has the first say, and gives a delicately tender opening statement. Claude is up next and delivers his message with gentle beauty, then Ted returns for a few final thoughts setting up the quintet’s restatement of the theme and the finish!
The album wraps up with the quintet turning the temperature up with the rhythm section’s introduction to Walkin’ by Richard Carpenter. The front line takes over and drives the melody. Dizzy leads the way with enough high voltage to charge a city, then Claude builds on the rising intensity in the following solo. Ted turns up the heat further in the following reading, followed by both horns chasing each other into the theme’s reprise and climax. Toshiya Taenaka produced Blowin’ Away and Mike Ewasko managed the recording console. The album delivers an exceptional soundstage in the highs, midrange, and bass with superb fidelity that makes it feel as though the quintet is performing right in front of your sweet spot. The chemistry between Reece and Curson on the three quintet tunes are a perfect complement to the rhythm section’s superb support.
If you’re in the mood for a terrific hard bop album and enjoy the music of Dizzy Reece and Ted Curson, I enthusiastically recommend Blowin’ Away the next time you’re out record-shopping. It’s a memorable entry in both their discographies, and is sure to delight novice and seasoned fans alike!
~ All The Things You Are, Stella By Starlight – Source: JazzStandards.com ~ Moose The Mooche – Source: Wikipedia.org © 2026 by Edward Thomas Carter
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