The Gigolo

To me "The Gigolo" is by far the best of the Lee Morgan's albums and I own every single one. Not only because it contains two of the very best tracks in its entire and very consistent discography, the very swinging "Yes I can, no you can't" (a Morgan original), and the intense "The Gigolo" (with a fascinating alternate take) but because the other three tracks "Trapped" (by W.Shorter), "Speed" (a Morgan live classic), and "You go to my head" (beautiful arrangements of this very pretty bossa nova sound song),are indeed great tracks, and not just something to fill up the album with as sometimes happens to be in Morgan's discography. It has been a too worn out cliche to review Morgan's Blue Note's albums post "Sidewinder" as mere attempts to repeat the huge and unexpected success of the famous and catchy track of the album title. That might be true for "The Rumproller" but not for other sessions. There is no doubt that the successful formula seems to be always in Morgan and Blue Note's minds, but often this is just a point of departure that can outcome wonderful results. "The Gigolo" is a different and better album, more intense, with long tracks where Morgan and Shorter solo brilliantly and powerfully in length inspiring each other. This was the last encountered of this duo that has left an impressive legacy. The group sounds in its best moments, very rocky and solid, with everybody fully connected and reacting to what others are doing, creating a very big and rich sound that reminded me to some Coltrane classic Quartet. The rhythm section is fabulous, with everybody in particularly great shape (B.Higgins, B.Cranshaw, and Harold Mabern). Some reviewers point out that the RVG edition has too much sound, and it is true. You can perfectly hear every instrument, blending Morgan and Shorter solos with the rest of the group. To me this is a plus, and if I want to get rid of it and isolate and focus in the front line, I just modify the equalizer. In my opinion, this session happens to be that way, an integral unit, with extraordinary solos but fully involved with the rest. That's why I love how rich and alive this remastering sounds. This is one of the greatest albums in jazz history. A true treasure.

CD arrived early and was in perfect condition! Thank.

I know nothing about Lee Morgan, but I was rummaging thru the Jazz section and had a chance to sample this CD, sounded pretty good at the store so I bought it. It is brillliant. For those of us who only associate Miles Davis and Chris Botti to the trumpet, it is time to discover Lee Morgan. From the first track "Yes, I can, No you can't " to the last "You go to my Head" you get an instant liking to Morgan and appreciate his mastery of the trumpet. I mostly like "Speedball" because of the lightness of the composition and its improvisitional qaulities. It's also a treat to hear Wayne Shorter's accompaniment with his tenor sax. I know this CD is from 1965 but I think it will keep on winning new fans like myself. It's good stuff.

This is a wonderful session by Morgan, Mabern, and Shorter. Ever since I first heard The Sidewinder and Search for the New Land, I have been hungering for more of that kind of hard bop brilliance and beauty. The Gigolo is nearly of that level and the RVG edition here gave me great pleasure--more than The Rumproller, though The Rumproller is also an enjoyable set. If you like Lee Morgan or can admire confident, masterful trumpet-playing, The Gigolo is a very safe bet and a highly recommended purchase.

This is my favorite jazz album. I close my eyes and get these cinematic Images in my head. The entire band is on fire. Cop this now, you won't be sorry.

If you're a fan of "Sidewinder," this date shouldn't disappoint. On the other hand, "Yes I Can, No You Can't," which is the "Sidewinder"-sequel contender on this date, fails to catch the rocking-dancing rhythm of the original. Morgan simply overplays, perhaps because of the presence of Shorter, who takes the first, overly dramatic solo. "Sidewinder" became such a commercial success because the gifted trumpeter was content to play it coy and conservative, remaining in the middle register and doing little more than "riding the groove." Morgan is at his best on a live date like "Art Blakey at the Jazz Corner of the World" (especially his once-in-a-lifetime solo on "Justice") and his own "Cornbread" (not even Horace Silver has topped "Ceora"). I never cared for "Sidewinder" when I first heard it, and "Yes I Can" is scarcely an improvement--inspired solo work by both Morgan and Shorter undermined by juvenile, period-piece material. But give the trumpeter credit for establishing a formula that, for a while at least, helped keep little Blue Note records afloat before corporate giant EMI rescued and revived the label. (I've lost track of the Blue Note post-Sidewinder dates opening with the same tiresome formula, among which only Kenny Dorham's "Una Mas" continues to hold interest.) For serious listening, "Speedball" is the highlight of this date, though "You Go to My Head" receives a welcome facelift and a tasteful Morgan solo by the maturing trumpeter (five years earlier, he would have double-timed it and played it an octave higher). He may still exhibit the playfulness of a gigolo, but there are signs that, had his past not cruelly prevented it, he was ready to settle down. If you pick this one up, look for a previous edition. This new RVG remaster is particularly annoying because of the boosted treble and bass which, especially with the overplaying, adds up to much sonic ado about nothing.

All I can say "If you like Lee Morgan's music. Go for it."

Awesome. Great band. Great compositions. Lee and Wayne are tops.

Disciple de Clifford Brown, et trompettiste au style très caractéristique du son Blue Note des années 60, il devient ultra célèbre grâce à son album The Sidewinder en 1963. En 1972, à 34 ans, il est abattu sur scène par son ex-femme. Entre deux, il aura sorti quand même 28 disques en leader. Les autres sont soient des collaborations soit des « live », soit des compilations pas forcément utiles (À noter la possibilité d’acquérir, à prix réduit, quatre CDs de base ou huit CDs, mais avec The Young Lions, collaboration avec Wayne Shorter, sur le label Mils vendu par Amazon). Enregistré les 25 Juin & 1er Juillet 1965, The Gigolo est le quinzième album en leader de Lee Morgan, avec Wayne Shorter, Harold Mablern, Bob Cranshaw et Billy Higgins. Deux compositions de Lee Morgan et une de Wayne Shorter. Si le premier titre Yes I Can, No You Can't est funky, et le quatrième, le titre éponyme, plus latin, le reste s’inscrit dans un hard bop classique mais excellent.

The great jazz trumpeter Lee Morgan(1938-72) recorded this excellent but overlooked album in New Jersey on June 25(track 2) & July 1(all other tracks), 1965 with Wayne Shorter(tenor sax); Harold Mabern Jr.(piano); Bob Cranshaw(bass) & Billy Higgins(drums). The six memorable tracks(including an alternative take of 'The Gigolo') feature three Morgan originals, one from Wayne Shorter and an impressive version of the standard 'You Go To My Head'. Morgan & Shorter are a compatible pair in top form with a superb rhythm section and this RVG Edition(2006) of 'The Gigolo' should appeal to anyone who appreciates inventive and soulful hard bop.

リー・モーガン、ブルーノート 4212番。共演者は、ピアノがハロルド・メイバーン、テナーサックスがウエイン・ショーター、ベースがボブ・クランショウ、ドラムがビリー・ヒギンズ。世間評では 「サイドワインダー」 を凌（しの）ぐ人気がある。二匹の目のドジョウと揶揄（やゆ）されるも、リー・モーガンはあの世でどう思っているだろう。人気の秘密は全体のバランスの良さとメンバーの完璧な調和にある。

Arrived in perfect condition, on time.

Este álbum te hará disfrutar cada una de las melodías de uno de los trompetistas líderes del hard bop. Apreciarás a un Lee Morgan en su mejor momento. En síntesis, un álbum que no puede faltar en el acervo musical de un aficionado al jazz.