{"id":61633,"date":"2013-10-23T15:15:52","date_gmt":"2013-10-23T19:15:52","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=61633"},"modified":"2013-10-23T15:17:02","modified_gmt":"2013-10-23T19:17:02","slug":"elegy-for-lee","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2013\/10\/23\/elegy-for-lee\/","title":{"rendered":"Elegy for Lee"},"content":{"rendered":"<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/10\/6a00d8341bf71853ef0147e02edffa970b-800wi.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/10\/6a00d8341bf71853ef0147e02edffa970b-800wi.jpg\" alt=\"6a00d8341bf71853ef0147e02edffa970b-800wi\" width=\"600\" height=\"408\" class=\"aligncenter size-full wp-image-61634\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/10\/6a00d8341bf71853ef0147e02edffa970b-800wi.jpg 600w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/10\/6a00d8341bf71853ef0147e02edffa970b-800wi-300x204.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p>In 1965, celebrated jazz trumpeter Lee Morgan released the song \u201cSpeedball\u201d on his album <i>The Gigolo<\/i>. A year earlier, the title track from his album <i>The Sidewinder<\/i> had become the biggest hit in Blue Note Records\u2019s history, reaching number twenty-five on the Billboard LP charts, even appearing on a Chrysler TV commercial during the World Series. Although \u201cSpeedball\u201d never attained the commercial success of \u201cThe Sidewinder,\u201d it endures as one of Morgan\u2019s best-known originals, and, with the possible exception of Art Pepper\u2019s album <i>Smack Up<\/i>, its title serves as the most barefaced allusion to the monkey on midcentury jazz\u2019s back.<\/p>\n<p>Drugs, risk, rebellion&mdash;this unholy trinity seems more evocative of rock-and-roll longhairs than clean cut men in suits, yet these dark elements remain central to the jazzman archetype established by Charlie Parker. Between the midforties and early sixties, tons of talented players were strung out: Art Blakey, Hank Mobley, Sonny Rollins, Miles Davis, Grant Green, Dexter Gordon, Jackie McLean, John Coltrane. If Coltrane later provided a countervailing archetype&mdash;the sober, spiritually aware, gentle genius&mdash;then Parker embodied creativity\u2019s menacing, consumptive side. Morgan got lost between these poles. A promising, prodigy it-kid, he received his first trumpet at age thirteen. Five years later, he joined the Dizzy Gillespie Big Band. That same year, in 1956, he recorded his first Blue Note album as a leader, and soon after played on now legendary recordings such as Coltrane\u2019s <i>Blue Train<\/i>, at age nineteen, and Arty Blakey\u2019s <i>Moanin\u2019<\/i>, at twenty. His own early output ranks as nothing short of astonishing&mdash;eleven albums as a leader by age twenty-two&mdash;which is why his 1961 departure from Blakey\u2019s Jazz Messengers takes on the sinister weight of an omen. <!--more--><\/p>\n<p>Morgan returned to his hometown of Philadelphia to kick heroin. When he returned to New York in 1963, he recorded his comeback album, <i>The Sidewinder<\/i> and, clean and sober, entered his most productive period, recording seventeen Blue Note albums over the next eight years, albums that featured the songs with which he will forever be connected, including \u201cCeora\u201d and \u201cSpeedball.\u201d But the trouble implied in that title never left him.<\/p>\n<p>On February 19, 1972, Morgan was performing at an East Village jazz club called Slug\u2019s. He and his longtime girlfriend, Helen More, had an argument between sets, possibly about Morgan\u2019s infidelity, possibly about him trying to break up with her. Accounts vary. One has Morgan wrapping up a conversation with some people while his band waited for him on stage. Another account, from one of Morgan\u2019s close friends, and quoted in David Rosenthal\u2019s book <i>Hard Bop<\/i>, has the trumpeter sitting at the bar between sets, having a drink with his new, young, attractive girlfriend. When More came up to speak to him, he led her over to a table and told her to stay there, then he headed back to the bar. More tried to talk to him again. \u201cThis time,\u201d says his friend, \u201cLee took her by the shoulders and, without her overcoat or anything, marched her over to the door and put her out in the cold.\u201d The temperature was five below zero. She had Lee\u2019s pistol in her pocketbook.<\/p>\n<p>In the first account, Morgan climbs onto the bandstand to perform, and More calls his name from the front of the club. Lee turns to face her, and she shoots him in the chest in front of everybody. When she aims the pistol at the doorman, he grabs her wrist and snatches the gun, then she starts to scream, \u201cBaby, what have I done?\u201d and runs toward Morgan. In <i>Hard Bop<\/i>, Morgan\u2019s friend says that when More came back inside the club, she aimed the gun and shot Lee straight through the heart. \u201cA little red stain came up on his shirt,\u201d his friend says. \u201cThen she realized what had happened and she was crying and hanging over him and screaming \u2018Mogie\u2019&mdash;that was what she called him&mdash;\u2018what have I done?\u2019\u201d Whatever went down, one thing is clear: she shot him, and he died within minutes. He was thirty-three.<\/p>\n<p><em><a href=\"http:\/\/aarongilbreath.wordpress.com\/\" target=\"_blank\">Aaron Gilbreath<\/a>\u00a0has written for the <\/em>New York Times<em>, <\/em>Bookforum<em>,\u00a0<\/em>Kenyon Review<em>, <\/em>Brick<em>, <\/em>The Believer<em>, <\/em>Vice<em>, and\u00a0<\/em>Oxford American<em>, and wrote the musical appendix for <\/em>The Oxford Companion to Sweets<em>. His book, <\/em>This Is: Essays on Jazz<em>, comes out soon.<\/em><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In 1965, celebrated jazz trumpeter Lee Morgan released the song \u201cSpeedball\u201d on his album The Gigolo. A year earlier, the title track from his album The Sidewinder had become the biggest hit in Blue Note Records\u2019s history, reaching number twenty-five on the Billboard LP charts, even appearing on a Chrysler TV commercial during the World [&hellip;]<\/p>\n","protected":false},"author":210,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1187],"tags":[8444,1749,1664,12080,12082,12081,330,1750,12079,6877,46,3878],"class_list":["post-61633","post","type-post","status-publish","format-standard","hentry","category-on-music","tag-art-blakey","tag-dexter-gordon","tag-grant-green","tag-hank-mobley","tag-helen-more","tag-jackie-mclean","tag-jazz","tag-john-coltrane","tag-lee-morgan","tag-miles-davis","tag-music","tag-sonny-rollins"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Elegy for Lee by Aaron Gilbreath<\/title>\n<meta name=\"description\" content=\"October 23, 2013 \u2013 In 1965, celebrated jazz trumpeter Lee Morgan released the song \u201cSpeedball\u201d on his album The Gigolo. 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