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Debuting here on wax for the first time in a soloist role, the young Philadelphian Lee Morgan makes an impressive entry into the rolls of important jazzmen. A startling young man who is bursting with the enthusiasm, the musical "joi de vivre" that comes forth from his brass horn of plenty. Sharing this musical event is Hank Mobley's recording group. Hank, chose ever-tasty, ever-swinging Hank Jones, Art Taylor (leading student of the Roach-Clarke- Blakey school of modern drums) and young Doug Watkins, up-coming Detroit bass star of the Kenny Dorham group.

Lee, known to his intimates as "Howdy-Doody" due to his large-eared appearance, is a member of Dizzy Gillespie's current big band. As such, he has become a member of the "tilted trumpet" set. Diz, as most know, developed a new style trumpet, in which the bell of the instrument tilts up at a 45° angle, and has outfitted his trumpet section with them. The result is not a distortion or change in the essential trumpet sound, but rather a sound that is supposed to elevate the sound from the horn so that it doesn't blast out at the listener, but rather reflects downward from above so that the sound joins and blends better with the other instru- ments in the group. Lee's adaptation of this new-design horn, along with the standard trumpet, is additional tribute by him to his mentor, the fabulous John Birks Gillespie. Diz, in return, allows Lee the high privilege of becoming a featured soloist in the band....indeed a high tribute from a trumpeter-leader to a rising young talent. Critics and fans alike were equally impressed with Lee's brilliant work on the band's recent Birdland stint. Although only 19 years old, Lee has considerable maturation on his horn. From Philadelphia, he gigged locally with groups in that area and Camden, New Jersey before joining Dizzy. In appearance, many feel he is almost a double for his friend, the late, great Clifford Brown.

IN style, Lee is not quite definitive yet. His forte, and the reason he deserves this album is the terriffic enthusiasm and need for inventive room. Tho' young in years, his style and tone harken back to middle bop areas. In the slow passages (i.e. P.S. I Love You), he states melody in a straight-forward manner utilizing the ever-present bop grace-noted figures. Then, he proceeds to the lovely development in the second chorus in an almost double-time effect. The tonal approach is big, not the choked, west coast style, and his sense of dynamics is similar in line to Miles Davis. On the up things, Lee abounds with roaring ideas. Notes and invention spill forth in a cascading spume of notes. On Hank's Shout, a medium-up blues, he enters in a series of punctuating staccato bursts, dropping cozily into a flurry of eighth noted runs and figures as he goes from chorus to chorus, returning to the repetitive percussive punctuation for his last chorus, only in range and with flash and color. Lee plays open horn on all numbers except the late Fat's Navarro's NOSTALGIA, which is muted and nice.

The album contents are simple and effective. Two originals, a late 'forties Navarro riff line based on "Out of Nowhere", and a ballad medley of 4 tunes. The lines and over-all feel of the set is definitely east-coast post-bop, following the pattern of groups like the Jazz Messenger's, Disciples, Max Roach, Miles Davis.

Hank Mobley, leader of the date, although a comparative youngster (only 26), is definitely one of today's important tenor horns. Originally from Georgia, Hank's main home area from early days to the present is Newark, New Jersey. He's an alumna of Dizzy, Max, and Horace Silver groups, and has appeared before on Savoy records. Utilizing a big tone, Hank is a rollicking soloist. He roars through the blus SHOUT, bounces in long lines on NOSTALGIA which swings lightly, and plays pretty and fluffy on his ballad solo vehicle, THAT'S ALL. Of great value are the many traded 4's in the set between Hank and Lee, and also between Hank, Lee and Art Taylor.

Drummer Art Taylor is is an exponent of the ever-busy, ever-comping school of drums led by Art Blakey. Combining many of Max Roach's rhythmic and solo concepts and Kenny Clarke's time-lag effects, with Blakey's loose sounding barrage, Art Taylor has evolved a modern style that is much in demand. Since 1950 he has played with Coleman Hawkins, Buddy DeFranco, Bud Powell, George Wellington, Art Farmer, and others. His efforts on this album are splendid. In addition to the bussy accompanying line described above which features a heavy "ump-CHING" off-beat sock-cymbal rhythm, Art solo's in spurts throughout. He opens SHOUT and BET, has 4's on them, too. They are explosive, and rhythmically interesting in balance.

Need more praises be heaped on the fabulous Hank Jones? As the almost house "pianist" for SAVOY over the last year, Hank has received acclaim and adulation as a "new" star. The senior veteran of this combo (born 1918) his fantastic taste, "lifting" ability and expressiveness makes him a diamond asset to any session. Listen to his light touch, single-noted effects throughout. EASY LIVING is his vehicle and displays that touch of velvet Garnerism that occasionally comes into his work.

Bass chores are excitingly handled by ayoung star who is no newcomer to Savoy album fans. Doug Watkins, in his one year on the New York Jazz scene, has daily increased his enviable reputation for swinging ability, agile technique, and facility of idea expression. He walks a solo on SHOUT, roams solo on NOSTALGIA and BET and plays SOFTLY AS IN A MORNING SUNRISE - as a complete 2 chorus vehicle. Fantastic.

By the way...WHO SHOUTS GOING FROM THE BASS SOLO INTO THE LAST CHORUS OF "NOSTALGIA"?