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▄▓█████████▓▓█▀ ▀▀▀▓██▓▌
░ ▓█████████▓▓█▀ [ J U S T F U N . P R E S E N T S ] ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
░ ▓████▓▌ ░ Artist.......: Lee Morgan ▐▓▀▀
▓ ▐█████▓█ Album........: Caramba! ▀ ░
▀█▄▓████▓▓▄█▀ Genre........: Jazz ░▓ ▌
▄▀██▓██▓▓▀ Language.....: English ░▓░▐▓
▓▓▄▀█▓▓▓▀ Label........: blue note ░▓░ █▓▌
▐█▓▓ ▀▓ Catnr........: n/a ░▓▓▓ ▐█▓▓
▓█▓▌ URL..........: n/a ▓░ ███▓▓[z0o]░
▐██░ ░ ░ ▄ ░▄▄▄▄▓▄▄▓████▓▓▄▄▄▄▓▄▄
▀▓█░▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓▀▓█████████████▓▓▓▀
░ ▀▀▓█▄▐▓ ░▓▓▓░ ░▓▓▓░ ░ ▀▓██████▓██▓▓▀ ░
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░▓▓░ ▐█▓▓ ░ ░▓▓░ source......: CDDA ░▓▓ ▐███████▓▓▌ ░
░░ ███▓▓ ▓▓░▓░ playtime....: 44:44 min ░▓▓░ ▓███▀ ▀▓█▓▓ ░
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ rip.date....: Mar-14-2004 ▓ ▐█▓▀ ░ ░▀█▓▌
▀▓█████████████▓▓▓▀ str.date....: 000-00-1996 ░▓░ █▀ ░░▓▓▓ ▀▓
░ ▀▓██████▓██▓▓▀ ▓░ ripper......: JusT TeaM ▓▓ ▀░ ░ ░ ░▓░ ░▀
▀▓█████▓▓▓ ░░▓ grabber.....: EAC v.0.95 prebeta 4 ░▓▓░▓▓▓▓ ▓▓▓░
░ ▐███████▓▓▌░▓▓▓░ encoder.....: LAME v.3.90.3 Modified ░▓▓▓▓▓ ▓░▓▓░░ ░
▓███▀ ▀▓█▓▓ ▓░░ size........: 65,9 MB ░▒░ ░▓░ ░
▐█▓▀ ░░ ▀█▓▌░ quality.....: VBR/44,1Hz/Joint-Stereo ░ ▒
█▀ ░▓▓▓▓░ ▀▓ ░ ░ ░
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░ ▄█▒████████▓▓▀ ▀▓██▓███▓▄
▄▓██░██████▓▓█▀ [ T R A C K . L I S T I N G ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
▓████▓▌ ░ track title time ▐▓▀▀
▓████▓▌ ▀ ░▌
▓████▓▌ 01. Caramba 12:25 ▓▌
▓████▓▌ 02. Suicide City 07:32 ▓▌
▓████▓▌ 03. Cunning Lee 06:14 ▓▌
▓████▓▌ 04. Soulita 06:03 ▓▌
▓████▓▌ 05. Helen's Ritual 06:29 ▓▌
▓████▓▌ 06. A Baby's Smile 06:01 ▓▌
▓████▓▌ ▓▌
▓████▓▌ [ A B O U T . T H i S . R E L E A S E ] ▓▌
▓████▓▌ ▓▌
▓████▓▌ Until its 1996 reissue, this was one of the most ▓▌
▓████▓▌ obscure of all Lee Morgan Blue Note albums. A ▓▌
▓████▓▌ transitional effort that finds the trumpeter ▓▌
▓████▓▌ gradually moving beyond hard bop into more modal ▓▌
▓████▓▌ music, the date starts out with the surprisingly ▓▌
▓████▓▌ derivative title cut which is very similar to Eddie ▓▌
▓████▓▌ Harris' "Listen Here." Of the other selections, ▓▌
▓████▓▌ "Soulita" has the catchiest melody while Cal ▓▌
▓████▓▌ Massey's slow ballad "A Baby's Smile" was ▓▌
▓████▓▌ previously unreleased. While Morgan and his fine ▓▌
▓████▓▌ rhythm section (pianist Cedar Walton, bassist ▓▌
▓████▓▌ Reggie Workman and drummer Billy Higgins) are in ▓▌
▓████▓▌ typically swinging form, Caramba is most notable ▓▌
▓████▓▌ for featuring the young Bennie Maupin. Sticking ▓▌
▓████▓▌ exclusively to tenor, Maupin (who would be much ▓▌
▓████▓▌ more distinctive within a year) mixes together Joe ▓▌
▓████▓▌ Henderson and Wayne Shorter in winning fashion. ▓▌
▓████▓▌ Although not essential, this CD is a welcome ▓▌
▓████▓▌ reissue ▓▌
▓████▓▌ ▓▌
▓████▓▌ *************************************************** ▓▌
▓████▓▌ ▓▌
▓████▓▌ A cornerstone of the Blue Note label roster prior ▓▌
▓████▓▌ to his tragic demise, Lee Morgan was one of hard ▓▌
▓████▓▌ bop's greatest trumpeters, and indeed one of the ▓▌
▓████▓▌ finest of the '60s. An all-around master of his ▓▌
▓████▓▌ instrument modeled after Clifford Brown, Morgan ▓▌
▓████▓▌ boasted an effortless, virtuosic technique and a ▓▌
▓████▓▌ full, supple, muscular tone that was just as ▓▌
▓████▓▌ powerful in the high register. His playing was ▓▌
▓████▓▌ always emotionally charged, regardless of the ▓▌
▓████▓▌ specific mood: cocky and exuberant on up-tempo ▓▌
▓████▓▌ groovers, blistering on bop-oriented technical ▓▌
▓████▓▌ showcases, sweet and sensitive on ballads. In his ▓▌
▓████▓▌ early days as a teen prodigy, Morgan was a busy ▓▌
▓████▓▌ soloist with a taste for long, graceful lines, and ▓▌
▓████▓▌ honed his personal style while serving an ▓▌
▓████▓▌ apprenticeship in Art Blakey's Jazz Messengers. As ▓▌
▓████▓▌ his original compositions began to take in elements ▓▌
▓████▓▌ of blues and R&B, he made greater use of space and ▓▌
▓████▓▌ developed an infectiously funky rhythmic sense. He ▓▌
▓████▓▌ also found ways to mimic human vocal inflections by ▓▌
▓████▓▌ stuttering, slurring his articulations, and ▓▌
▓████▓▌ employing half-valved sound effects. Toward the end ▓▌
▓████▓▌ of his career, Morgan was increasingly moving into ▓▌
▓████▓▌ modal music and free bop, hinting at the ▓▌
▓████▓▌ avant-garde but remaining grounded in tradition. He ▓▌
▓████▓▌ had already overcome a severe drug addiction, but ▓▌
▓████▓▌ sadly, he would not live to continue his musical ▓▌
▓████▓▌ growth; he was shot to death by his common-law wife ▓▌
▓████▓▌ in 1972.Edward Lee Morgan was born in Philadelphia ▓▌
▓████▓▌ on July 10, 1938. He grew up a jazz lover, and his ▓▌
▓████▓▌ sister apparently gave him his first trumpet at age ▓▌
▓████▓▌ 14. He took private lessons, developing rapidly, ▓▌
▓████▓▌ and continued his studies at Mastbaum High School. ▓▌
▓████▓▌ By the time he was 15, he was already performing ▓▌
▓████▓▌ professionally on the weekends, co-leading a group ▓▌
▓████▓▌ with bassist Spanky DeBrest. Morgan also ▓▌
▓████▓▌ participated in weekly workshops that gave him the ▓▌
▓████▓▌ chance to meet the likes of Miles Davis, Dizzy ▓▌
▓████▓▌ Gillespie, and his idol Clifford Brown. After ▓▌
▓████▓▌ graduating from high school in 1956, Morgan -- ▓▌
▓████▓▌ along with DeBrest -- got the chance to perform ▓▌
▓████▓▌ with Art Blakey's Jazz Messengers when they swung ▓▌
▓████▓▌ through Philadelphia. Not long after, Dizzy ▓▌
▓████▓▌ Gillespie hired Morgan to replace Joe Gordon in his ▓▌
▓████▓▌ big band, and afforded the talented youngster ▓▌
▓████▓▌ plenty of opportunities to solo, often spotlighting ▓▌
▓████▓▌ him on the Gillespie signature piece "A Night in ▓▌
▓████▓▌ Tunisia." Clifford Brown's death in a car crash in ▓▌
▓████▓▌ June 1956 sparked a search for his heir apparent, ▓▌
▓████▓▌ and the precocious Morgan seemed a likely candidate ▓▌
▓████▓▌ to many; accordingly, he soon found himself in ▓▌
▓████▓▌ great demand as a recording artist. His first ▓▌
▓████▓▌ session as a leader was cut for Blue Note in ▓▌
▓████▓▌ November 1956, and over the next few months he ▓▌
▓████▓▌ recorded for Savoy and Specialty as well, often ▓▌
▓████▓▌ working closely with Hank Mobley or Benny Golson. ▓▌
▓████▓▌ Later in 1957, he performed as a sideman on John ▓▌
▓████▓▌ Coltrane's classic Blue Train, as well as with ▓▌
▓████▓▌ Jimmy Smith.Morgan's early sessions showed him to ▓▌
▓████▓▌ be a gifted technician who had his influences down ▓▌
▓████▓▌ pat, but subsequent dates found him coming into his ▓▌
▓████▓▌ own as a distinctive, original stylist. That was ▓▌
▓████▓▌ most apparent on the Blue Note classic Candy, a ▓▌
▓████▓▌ warm standards album completed in 1958 and released ▓▌
▓████▓▌ to great acclaim. Still only 19, Morgan's playing ▓▌
▓████▓▌ was still imbued with youthful enthusiasm, but he ▓▌
▓████▓▌ was also synthesizing his influences into an ▓▌
▓████▓▌ original sound of his own. Also in 1958, ▓▌
▓████▓▌ Gillespie's big band broke up, and Morgan soon ▓▌
▓████▓▌ joined the third version of Art Blakey's Jazz ▓▌
▓████▓▌ Messengers, which debuted on the classic Moanin' ▓▌
▓████▓▌ album later that year. As a leader, Morgan recorded ▓▌
▓████▓▌ a pair of albums for Vee Jay in 1960, Here's Lee ▓▌
▓████▓▌ Morgan and Expoobident, and cut another for Blue ▓▌
▓████▓▌ Note that year, Leeway, with backing by many of the ▓▌
▓████▓▌ Jazz Messengers. None managed to measure up to ▓▌
▓████▓▌ Candy, and Morgan, grappling with heroin addiction, ▓▌
▓████▓▌ wound up leaving the Jazz Messengers in 1961. He ▓▌
▓████▓▌ returned to his hometown of Philadelphia to kick ▓▌
▓████▓▌ the habit, and spent most of the next two years ▓▌
▓████▓▌ away from music, working occasionally with ▓▌
▓████▓▌ saxophonist Jimmy Heath on a local basis. His ▓▌
▓████▓▌ replacement in the Jazz Messengers was Freddie ▓▌
▓████▓▌ Hubbard, who would also become one of the top hard ▓▌
▓████▓▌ bop trumpeters of the '60s.Morgan returned to New ▓▌
▓████▓▌ York in late 1963, and recorded with Blue Note ▓▌
▓████▓▌ avant-gardist Grachan Moncur on the trombonist's ▓▌
▓████▓▌ debut Evolution. He then recorded a comeback LP for ▓▌
▓████▓▌ Blue Note called The Sidewinder, prominently ▓▌
▓████▓▌ featuring the up-and-coming Joe Henderson. The ▓▌
▓████▓▌ Morgan-composed title track was a funky, danceable ▓▌
▓████▓▌ groover that drew from soul-jazz, Latin boogaloo, ▓▌
▓████▓▌ blues, and R&B in addition to Morgan's trademark ▓▌
▓████▓▌ hard bop. It was rather unlike anything else he'd ▓▌
▓████▓▌ cut, and it became a left-field hit in 1964; edited ▓▌
▓████▓▌ down to a 45 rpm single, it inched onto the lower ▓▌
▓████▓▌ reaches of the pop charts, and was licensed for use ▓▌
▓████▓▌ in a high-profile automobile ad campaign. Its ▓▌
▓████▓▌ success helped push The Sidewinder into the Top 25 ▓▌
▓████▓▌ of the pop LP charts, and the Top Ten on the R&B ▓▌
▓████▓▌ listing. Sales were brisk enough to revive the ▓▌
▓████▓▌ financially struggling Blue Note label, and likely ▓▌
▓████▓▌ kept it from bankruptcy; it also led to numerous ▓▌
▓████▓▌ "Sidewinder"-style grooves popping up on other Blue ▓▌
▓████▓▌ Note artists' albums. By the time "The Sidewinder" ▓▌
▓████▓▌ became a phenomenon, Morgan had rejoined the Jazz ▓▌
▓████▓▌ Messengers, where he would remain until 1965; there ▓▌
▓████▓▌ he solidified a long-standing partnership with ▓▌
▓████▓▌ saxophonist Wayne Shorter.Morgan followed the most ▓▌
▓████▓▌ crucial recording of his career with the excellent, ▓▌
▓████▓▌ more abstract Search for the New Land, which was ▓▌
▓████▓▌ cut in early 1964, before "The Sidewinder" hit. An ▓▌
▓████▓▌ advanced modal bop session called Tom Cat was also ▓▌
▓████▓▌ recorded shortly thereafter, but both were shelved ▓▌
▓████▓▌ in hopes of scoring another "Sidewinder." ▓▌
▓████▓▌ Accordingly, Morgan re-entered the studio in early ▓▌
▓████▓▌ 1965 to cut The Rumproller, whose Andrew ▓▌
▓████▓▌ Hill-penned title cut worked territory that was ▓▌
▓████▓▌ highly similar to Morgan's breakout hit. Commercial ▓▌
▓████▓▌ lightning didn't strike twice, but Morgan continued ▓▌
▓████▓▌ to record prolifically through 1965, cutting ▓▌
▓████▓▌ excellent sessions like The Gigolo, Cornbread, and ▓▌
▓████▓▌ the unissued Infinity. The Gigolo introduced one of ▓▌
▓████▓▌ Morgan's best-known originals, the bluesy ▓▌
▓████▓▌ "Speedball," while the classic Cornbread featured ▓▌
▓████▓▌ his ballad masterpiece "Ceora." Search for the New ▓▌
▓████▓▌ Land was finally issued in 1966, and it achieved ▓▌
▓████▓▌ highly respectable sales, reaching the Top 20 of ▓▌
▓████▓▌ the R&B album charts; both Cornbread and The Gigolo ▓▌
▓████▓▌ would sell well among jazz audiences when they were ▓▌
▓████▓▌ released in 1967 and 1968, respectively.By the time ▓▌
▓████▓▌ Morgan completed those albums, he had left the Jazz ▓▌
▓████▓▌ Messengers to begin leading his own groups outside ▓▌
▓████▓▌ the studio. He was also appearing frequently as a ▓▌
▓████▓▌ sideman on other Blue Note releases, working most ▓▌
▓████▓▌ often with tenorman Hank Mobley. Morgan was ▓▌
▓████▓▌ extraordinarily prolific over 1966-1968, cutting ▓▌
▓████▓▌ around eight albums' worth of material (though not ▓▌
▓████▓▌ all of it was released at the time). Highlights ▓▌
▓████▓▌ included Delightfulee, The Procrastinator, and the ▓▌
▓████▓▌ decent-selling Caramba!, which nearly made the Top ▓▌
▓████▓▌ 40 of the R&B album chart. His compositions were ▓▌
▓████▓▌ increasingly modal and free-form, stretching the ▓▌
▓████▓▌ boundaries of hard bop; however, his funkier ▓▌
▓████▓▌ instincts were still evident as well, shifting ▓▌
▓████▓▌ gradually from boogaloo to early electrified ▓▌
▓████▓▌ fusion. Morgan's recording pace tailed off at the ▓▌
▓████▓▌ end of the '60s, but he continued to tour with a ▓▌
▓████▓▌ regular working group that prominently featured ▓▌
▓████▓▌ saxophonist Bennie Maupin. This band's lengthy ▓▌
▓████▓▌ modal explorations were documented on the double LP ▓▌
▓████▓▌ Live at the Lighthouse, recorded in Los Angeles in ▓▌
▓████▓▌ July 1970; it was later reissued as a three-CD set ▓▌
▓████▓▌ with a generous amount of extra material. Morgan ▓▌
▓████▓▌ led what turned out to be the last session of his ▓▌
▓████▓▌ life in September 1971. On February 19, 1972, ▓▌
▓████▓▌ Morgan was performing at the New York club Slug's ▓▌
▓████▓▌ when he was shot and killed by his common-law wife, ▓▌
▓████▓▌ Helen More. Accounts of exactly what happened vary; ▓▌
▓████▓▌ whether they argued over drugs or Morgan's ▓▌
▓████▓▌ fidelity, whether she shot him outside the club or ▓▌
▓████▓▌ up on the bandstand in front of the audience, jazz ▓▌
▓████▓▌ lost a major talent. Despite his extensive recorded ▓▌
▓████▓▌ legacy, Morgan was only 33 years old. Many of his ▓▌
▓████▓▌ unreleased Blue Note sessions began to appear in ▓▌
▓████▓▌ the early '80s, and his critical standing has ▓▌
▓████▓▌ hardly diminished a whit. ▓▌
▓████▓▌ ▓▌
░ ▓████▓▌ ▓▌
▓ ▐█████▓█ [ A B O U T . U S ] ▓▌
▀█▄▓████▓▓▄█▀ ▓▌
▀██▓██▓▓▀ Our group consists of many rippers who are music enthu- ▓▌
▀█▓▓▓▀ siasts. Justfun is releasing different kind of music like ▓▌
▀▓ indie rock, trip-hop, ethnic, jazz, french, brazilian ▓▌
░ electro and many more ... We will bring you the music ▓▌
░ we like and share it with the rest of the under- ▄ ▓▌
░ ground scene. If you have, like us, a passion for ▄▄█▌ ▓▌
░ music, don't hesitate to contact us ! ▄████▓▌ ▓▌
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░ GREETinGs : NuHS . Hit2000 . DGN . KSi . SEQ . CHR ░███ ▓▌
░ Om . rH . Fuffens . Remix . FMF . SB ██▌ ▓▌
Kw . LOGOS . iTs . i . ATM . aAF . ... ▓██ ▓▌
░ and all ppl who share music with us ! ▄▄▄██▌ ▓▌
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▄▓██▓██████▓▓█▀ [ C O N T A C T ] ▀▀▀▓██▓▌
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▐███▓██▀▀▓▀░ We're currently looking for : ██▓▓█▀▀
▓████▓▌ ░ - music enthusiast ppl buying cds on a regular basis. ▐▓▀▀
▓████▓▌ - ppl who can get promos or advanced rls. ▀ ░▌
░ ▓████▓▌ - Siteop who can provide at least 10mbits and ▓▌
▓ ▐█████▓█ 50gb++ for our archive. ▄ ▓▌
▀█▄▓████▓▓▄█▀ - People with skill and experience ▄▄█▌ ▓▌
▀██▓██▓▓▀ ... and everyone who wants to help in a ▄████▓▌ ▓▌
▀█▓▓▓▀ pleasant atmosphere our Just family. █████▀▀▀▀ ▓▌
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░ Share your forces with us ! ██▌ ▓▌
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░ ▐▓ Email : jfun@hushmail.com ▄▄▄██▌ ▐▓ ▓▌
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░ ▀▓██████▓██▓▓▀ NFO and Layout proudly made in Quebec ░ ▀▓██████▓██▓▓▀
▀▓█████▓▓▓ by z0oy0rk ▀▓█████▓▓▓
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▓███▀ ▀▓█▓▓ [ J U S T F U N born in Apr. 2 0 0 0 ] ▓███▀ ▀▓█▓▓
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▀░ ░ ░▀ ▀░ z!░▀