The Sixth Sense [Bonus Tracks] [Remaster]

Performer: Lee Morgan
Artist: Jackie McLean; Cedar Walton; Frank Mitchell; Billy Higgins
Engineer: Rudy Van Gelder; Rudy Van Gelder
Producer: Francis Wolff; Duke Pearson; Francis Wolff; Duke Pearson; Michael Cuscuna (Reissue)
Distributor: EMI Music Distribution

Notes: Personnel: Lee Morgan (trumpet); Lee Morgan Quintet (trumpet); Harold Mabern (piano, bass instrument); Jackie McLean (alto saxophone); Frank Mitchell (tenor saxophone); Cedar Walton (piano); Billy Higgins (drums). Audio Remasterer: Rudy Van Gelder. Liner Note Authors: Ed Williams; Eddie Williams ; Bob Blumenthal. Recording information: Van Gelder Studios, Englewood Cliffs, NJ (11/10/1967-09/13/1968). Photographer: Francis Wolff. This rare Lee Morgan Blue Note date from 1968 is one of the few discs by the legendary trumpeter that didn't see a large following when it was originally released. Unlike the colossal THE SIDEWINDER, this session is subtler in its approach to the funky sounds that Morgan had ushered into existence a few years earlier. Still, the masterful playing of stars like Morgan, Jackie McLean, Cedar Walton, and Billy Higgins, coupled with some exceptionally creative tunes, make this a worthwhile jewel in the Lee Morgan treasure chest. Also significant is the rare appearance of tenor man Frank Mitchell, who had appeared briefly with Art Blakey's Jazz Messengers. Morgan and company set the groove early with the bossa nova-tinged title track. Higgins swings hard on Morgan's "Short Count," which gives the trumpeter and his guests plenty of breathing room for some healthy solos. The jazzy rock shadings of "Psychedelic" are no doubt a reflection of the coming trend that would hit full swing in the '70s. Also included here are three tracks from an unreleased session that feature pianist Harold Mabern in place of Walton. Other highlight cuts include the bouncing "Afreaka" and Morgan's intricate "Anti Climax." From late 1967 through 1968, Lee Morgan fronted a fine sextet with alto saxophonist Jackie McLean and the less-heralded tenor saxophonist Frank Mitchell. The group recorded The Sixth Sense, but by September of 1968, Morgan, Mitchell, and drummer Billy Higgins remained, the band revamped and reduced to a quintet. Those later sessions were not released until 1999 with the issue of this CD, which includes three bonus tracks. Where McLean's contribution was very telling in terms of the combo's overall sound, the quintet was able to further display the quiet confidence and competence Mitchell held. Either Cedar Walton or Harold Mabern appear showcasing their distinctive qualities, so this transitional recording marks the end of Walton's association, and the beginning of Mabern's, who would last with Morgan right up to his tragic and senseless murder. The symmetry of McLean's sourdough alto, Morgan's on-top trumpet and the middle-ground tenor of Mitchell is more balanced on the straight-ahead calypso title track, sweet and light as Walton sets the pace and proportions the right seasonings. "Short Count" on the other hand displays a stubby melody spiked by Walton's piano accents and the drum fills of Higgins in a more off minor taste. Approaching boogaloo go-go, "Psychedelic" is not so much acidic as conga line, Morgan leading the group, then following. The most memorable piece is Walton's "Afreaka," a wonderful modal piece with an Afro-centric groove and great harmonic content. High drama identifies "Anti Climax" with a dark, closet film noir sound acceding to hard bop, while the great Cal Massey composition "The Cry of My People" is covered, a ballad dominated by Morgan's somber and deep muted trumpet, swinging lightly on the bridge. The three tracks sans McLean and Walton with Morgan, Mitchell, Mabern, Higgins, and bassist Mickey Bass replacing Victor Sproles from the fall of 1968 sound noticeably different from the others. There's a more soulful flavor in Mabern's Memphis-cum-N.Y.C. uptown approach, and Mitchell challenges himself to assert his individual, less-pronounced voicings. The tenorman's post-bop composition "Extemporaneous" displays tricky phrasings and a musical syncopation, Bass' "Mickey's Tune" uses a loping 5/4 to 6/8 rhythm change so modern it keeps your ears on their toes, so to speak, and while "Leebop" is fairly typical, the chord substitutions and brilliant playing of Mabern are hard to ignore as he digs in, far above average or timid. The more one listens to Mabern the more you understand why he was a favorite of Morgan's, and everyone else's. The appropriately title Sixth Sense presents a transition between one of the most intriguing sextets during the last years of post-bop and Morgan's final ensembles that saw him reaching higher and higher before, like Icarus, falling from grace. [Blue Note reissued the CD in 2004 and added bonus tracks.] ~ Michael G. Nastos

Along with Freddie Hubbard, Lee Morgan was one of the leading trumpeter/composers of the 1960s hard-bop era. His composition "The Sidewinder" is perhaps THE signature piece of the genre, and is practically the textbook definition of the "boogaloo" groove that became popular in the mid-'60s. Influenced by Clifford Brown, Morgan possessed fleet fingers and a robust tone, and his enormously influential approach utilized blues-based harmony, simple melodic motives, and funky, groove-oriented rhythms. The jazz world was robbed of an innovator when Morgan was shot dead by a jealous girlfriend in 1972.

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