Edward Lee Morgan (July 10, 1938 – February 19, 1972) was an American jazz trumpeter. Known mainly as one of the key hard bop musicians of the 1960s, Morgan came to prominence in his late teens, recording on John Coltrane's Blue Train (1957) and with the band of drummer Art Blakey before launching a solo career. Morgan stayed with Blakey until 1961 and started to record as leader soon after. His song "The Sidewinder", on the album of the same name, became a surprise crossover hit on the pop and R&B charts in 1964, while Morgan's recordings found him touching on other styles of music as his artistry matured. Soon after The Sidewinder was released, Morgan rejoined Blakey for a short period of time. After leaving Blakey for the final time, Morgan continued to work prolifically as both a leader and a sideman with the likes of Hank Mobley and Wayne Shorter, becoming, in the words of critic Steve Huey, " cornerstone of the Blue Note label roster". Morgan's career was cut short at the age of 33, when his common-law wife shot and killed him following a confrontation at Slug's Saloon.
It is surprising that Lee Morgan's The Procrastinator was not released when it was recorded in 1967 for the sextet (which includes Wayne Shorter, vibraphonist Bobby Hutcherson, pianist Herbie Hancock, bassist Ron Carter and drummer Billy Higgins) lives up to their potential on a well-rounded set of originals by Morgan and Shorter. The music ranges from the funky "Party Time" (which sounds like it could have been written by Horace Silver) to more explorative pieces.
Another gem of an album that inexplicably sat unreleased in the Blue Note vaults for over a decade after its recording, the aptly named "The Procrastinator" is a terrific set from one of the best ensembles a fan of late 60s jazz could hope for: Morgan, Wayne Shorter, Herbie Hancock, Bobby Hutcherson, Ron Carter and Billy Higgins. Composed entirely of Morgan and Shorter originals, this is six of the era's most forward-thinking musicians displaying some great chemistry as they lay down a set of adventurous but accessible Hard Bop, including what is arguably one of Morgan's best ballads, the sultry "Dear Sir", as well as one of the knottiest solos of his career, which comes near the end of the fiery "Stopstart".
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