About

Lee Morgan’s 1968 album Taru—which wouldn’t be first released until 1980 as part of the LT Series—found the trumpeter at a crossroads exploring a variety of styles. The band on this outstanding date is notable for several reasons including the elevating presence of guitarist George Benson who delivers inspired solos throughout. The session also marked Morgan’s first recorded collaboration with tenor saxophonist Bennie Maupin who would play an integral role on future Morgan albums including Caramba! and Live at the Lighthouse. Rounding out the sextet were pianist John Hicks, bassist Reggie Workman, and the ever-inspiriting drummer Billy Higgins. The six-song set covered a range of stylistic ground including modal jazz (“Avotcja One”), hard-charging post-bop (“Get Yourself Together”), beautiful balladry (“Haeschen” and “Taru, What’s Wrong With You?”), gospel-tinged numbers (“Dee Lawd”), and funky boogaloos (“Durem”). — (via Label)

—

The Tone Poet Audiophile Vinyl Reissue Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley, a.k.a. the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels.

Extreme attention to detail has been paid to getting these right in every conceivable way, from the jacket graphics and printing quality to superior LP mastering (direct from the master tapes) by Kevin Gray to superb 180g audiophile LP pressings by Record Technology Inc. Every aspect of these Tone Poet releases is done to the highest possible standard. It means that you will never find a superior version. This is IT.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray (Cohearent Audio) from the original analog master tapes, pressed on 180g vinyl at Record Technology Inc. (RTI), and packaged in a deluxe gatefold tip-on jacket.

—

Lee Morgan’s Taru offers a musically balanced diet – two hard-driving boppers, two sidewinder-like swingers, and two ballads, nothing experimental, avant-leaning or further out. Morgan’s tone has rarely sounded better with Van Gelder at the dials, especially delicious in the two ballads. His fast paced bopppers folllow the rhythmic attack lines set out most successfully in the track Mr Kenyatta four years previously on Search For The New Land (Morgan’s album triumph) and variations on the same are more than welcome. 

1968 saw many artists at a variety of crossroads, – expanding directions to fusion, electric, soul and funk, free. Morgan offered Liberty a safe commercial session, a pleaser for Morgan fans, but with one major novelty, the addition of George Benson on guitar.

Benson in 1968 was becoming a hot ticket, fresh from recording with Miles on the Wayne Shorter composition Paraphernalia (LJC review: Miles in The Sky, Columbia (1968).) Around the same time another very different style guitarist John McLaughlin was adding a electric abrasive rock elements to Miles Davis direction. Benson would soon take off in his inimitable smooth jazz guitar style, though here he is firmly in traditional jazz linear-picking.

Lee Morgan recorded prolifically for Blue Note well into the Liberty years, leaving a rich treasure trove of unreleased session tapes for later discovery. At the time, Taru was side-lined by Liberty to make way for Caramba! (inexplicably LJC has not posted), with the same line-up except Cedar Walton on piano, and without George Benson. Caramba! is overdue a spin on the turntable, weigh up the competition. — (via London Jazz Collector)

↓
Label: Blue Note
Series: Blue Note Tone Poet Series
Format: Vinyl, LP, Album, Reissue, Stereo, 180g, Gatefold
Country: Worldwide
Reissued: 2024 / Original Release: 1980
Genre: Jazz
Style: Hard Bop, Modal

File under: Blue Note Tone Poet Series
⦿