Description
Lee Morgan – Cornbread – 180 Gram Vinyl Record
A Soul-Jazz Classic with Hard Bop Fire
Recorded on September 18, 1965, and released in early 1967 on Blue Note Records, Lee Morgan’s Cornbread captures the trumpeter in his prime, balancing the fiery drive of hard bop with the earthy, groove-oriented spirit of soul jazz. Though not as universally celebrated as The Sidewinder (1964), Cornbread is a quintessential Blue Note session of the mid-1960s—filled with sophisticated writing, inspired solos, and a lineup of first-rate players.
The sextet assembled for this date is nothing short of stellar. Alongside Lee Morgan’s brilliant trumpet work, you hear Jackie McLean on alto saxophone, Hank Mobley on tenor saxophone, Herbie Hancock on piano, Larry Ridley on bass, and Billy Higgins on drums. This combination of musicians creates a rich, layered sound that bridges bop’s complexity with the accessibility of blues and gospel-tinged grooves. The dual-sax frontline of McLean and Mobley gives the record a textural depth, while Hancock—still in his mid-20s at the time—brings harmonic sophistication and rhythmic daring that elevate each track.
The album opens with the title track, “Cornbread”, an eight-minute burner with a rolling groove and catchy melody that recalls the soulful bounce of The Sidewinder while moving in a looser, more exploratory direction. It’s quintessential Lee Morgan: muscular trumpet lines, sharp rhythmic hits, and a tune that makes you want to move.
The second track, “Our Man Higgins”, is a lively, bop-driven tribute to drummer Billy Higgins. With quicksilver lines and a playful swing, it showcases Higgins’ crisp cymbal work and Morgan’s sharp phrasing.
“Ceora” is perhaps the album’s crown jewel—a lyrical, Brazilian-tinged ballad that has since become a jazz standard. Gentle, romantic, and deeply melodic, it reveals Morgan’s sensitivity as a composer and improviser, contrasting beautifully with the harder-driving numbers on the record. Many younger trumpet players first encounter Morgan through this tune, and its enduring popularity in the jazz repertoire speaks to its timeless appeal.
On the other side, “Ill Wind” (a Harold Arlen and Ted Koehler standard) shows Morgan and his band’s interpretive power. The horns intertwine with aching beauty, and Hancock’s piano adds emotional depth. Finally, the closing track, “Most Like Lee”, is a hard bop sprint, showcasing Morgan’s technical mastery and his ability to drive a band with fiery energy.
Cornbread sits at an interesting place in Lee Morgan’s discography. Coming just a year after the massive commercial success of The Sidewinder, it demonstrates his refusal to simply repeat formulas. While the title track nods to the soulful groove that made him a crossover star, the rest of the album expands outward—balancing accessible melodies with adventurous harmonic exploration. The presence of both Jackie McLean (an avant-leaning firebrand) and Hank Mobley (a smoother, lyrical stylist) mirrors this duality, giving the session a wide emotional range.
The album is often praised for its consistency and the iconic status of “Ceora,” though at the time of its release, it was somewhat overshadowed by Morgan’s more commercially explosive albums. Today, however, Cornbread is seen as a key entry in his catalog: an album that reveals the depth of his artistry beyond his hits, and a showcase of one of the most dynamic bands assembled under the Blue Note banner in the 1960s.
If you’re exploring Lee Morgan, Cornbread is essential listening. It bridges his hard bop roots with his soul-jazz success, contains one of his most beloved compositions, and features some of the finest players of the era. For anyone diving into the golden age of Blue Note, this album captures the sound of the label’s mid-’60s brilliance: earthy, adventurous, and timeless.
Brand new, never played and still sealed in the factory plastic
Track Listing
Cornbread
Our Man Higgins
Ceora
Ill Wind
Most Like Lee
