Charisma: The Music of Lee Morgan Tribute Performance at Yoshi's Jazz Club
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The last date listed for Charisma: The Music of Lee Morgan was Thursday February 4, 2010 / 10:00pm.
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Reviews & Ratings
Featured review from Hadley LoudenRed Velvet
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Unbelievably great band! With Billy Harper, Bennie Maupin, and Eddie Henderson on horns and Geri Allen, Dwayne Burno and Billy Hart in the rhythm section it was heaven on Earth! Arrangements by second trumpet David Weiss were also stellar and superbly interpreted by these monsters.
Heartwarming memories of Lee Morgan and the transition from Maupin to Harper therein were wonderful to hear. History was unfolded before us.
Why is the sound at Yoshis always below the caliber of the performers? The EQ on the piano, like usual, was tinny and artificial sounding. Are they simply using the wrong mics or destroying the natural sound by adding compression? With that gorgeous concert Steinway Grand and no less than Geri Allen playing it, it was frustrating. Nonetheless, the horn blend on the front line was superb, albeit no doubt due to the keen sensitivity of the players.
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Absolutely fantastic show! We enjoyed every minute of it, although I agree with the other reviewers who criticized the sound. (I also thought the lows were muddy, and it was too loud.)
I don't know if the poor sound is the fault of the sound...continued
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I would have to say this is was the best evening at Yoshi's I've had this and last year! You can't find hotter players than this.They swung like crazy. Not only do they have the chops, they have that hard bop drive and playing in the trenches till...continued
About the musicians
Billy Harper – Tenor Sax
Bennie Maupin – Tenor, Soprano Sax and Bass Clarinet
Eddie Henderson – Trumpet
David Weiss – Trumpet
Geri Allen – Piano
Dwayne Burno – Bass
Billy Hart – Drums
About Lee Morgan
A cornerstone of the Blue Note label roster prior to his tragic demise, Lee Morgan was one of hard bop’s greatest trumpeters, and indeed one of the finest of the ‘60s. An all-around master of his instrument modeled after Clifford Brown, Morgan boasted an effortless, virtuosic technique and a full, supple, muscular tone that was just as powerful in the high register. His playing was always emotionally charged, regardless of the specific mood: cocky and exuberant on up-tempo groovers, blistering on bop-oriented technical showcases, sweet and sensitive on ballads and also found ways to mimic human vocal inflections by stuttering, slurring his articulations, and employing half-valved sound effects. As his original compositions began to take in elements of blues and R&B, he made greater use of space and developed an infectiously funky rhythmic sense. Morgan got his start with the Dizzy Gillespie Big Band but rose to prominence with Art Blakey and the Jazz Messengers. In 1964, he recorded The Sidewinder for Blue Note Records. The Morgan-composed title track was a funky, danceable groover that drew from soul-jazz, Latin boogaloo, blues, and R&B in addition to Morgan’s trademark hard bop. It was unlike anything else he’d recorded before and became an unlikely hit for the label. It inched onto the lower reaches of the pop charts, and was licensed for use in a high-profile automobile ad campaign. Its success helped push The Sidewinder into the Top 25 of the pop LP charts, and the Top Ten on the R&B listing. Sales were brisk enough to revive the financially struggling Blue Note label, and likely kept it from bankruptcy; it also led to numerous ‘Sidewinder’-style grooves popping up on other Blue Note artists’ albums. Morgan was asked to write more tunes in the style of The Sidewinder in hopes of a follow-up hit and Morgan obliged but Morgan also formed a working band that was increasingly moving into more modal and free-form music, stretching the boundaries of hard bop. His funkier instincts were still evident as well, shifting gradually from boogaloo to early electrified. This sound is reflected on his last two albums, Live At The Lighthouse and what has become known as the Last Session which featured a tight, energetic, boundary stretching working band with bold new compositions from most of it’s members. Unfortunately the development of this group was cut short by Morgan’s tragic death in 1972. He was just 33 years old.
About the Ticket Supplier: Yoshi's Oakland
Yoshi’s began in 1972 as a small, North Berkeley sushi bar owned by it’s founder and namesake, Yoshie Akiba, alongside her two best friends Kaz Kajimura, a journalist and carpenter, and Hiroyuki Hori, a painter and Japanese cook. Over the next 40 years, Yoshi’s built itself into one of the world’s most respected jazz venues, earning a reputation as the Bay Area’s premier location for great Japanese cuisine and jazz music. Today, Yoshi’s is an award-winning 310-seat live performance venue with a state-of-the-art sound system and design, occupying 17,000 square feet in the heart of Oakland’s Jack London Square. Under the guidance of esteemed Artistic Director Michael Pritchard, the venue has expanded it’s focus to include broader genres suitable to a variety of musical tastes.