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		Jazz Articles » Album Review » Carol Morgan Trio: Opening	

      

                
      
            
      
                                												
								
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        	Carol Morgan Trio: Opening        
      
                
      
            				
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                    Carol Morgan Trio: Opening
					
                    
                
      
                        									Opening is an album so rich in the intricacies of melody that it never fails to surprise at every turn. The saddest aspect of the album is that it is all too short. But the biggest surprise of all is Carol Morgan, a trumpeter who seems to have awakened the urge to find parallels in phrasing with the great 
      Clarence Shaw
      b.1926
      "
data-original-title="" title="">Clarence Shaw. The often discussed "talking" style of playing attributed to men like Shaw, as well as trumpet players such as Louis Armstrong
      Louis Armstrong
      trumpet and vocals
      1901 - 1971
      "
data-original-title="" title="">Louis Armstrong, Jabbo Smith
      Jabbo Smith
      trumpet
      1908 - 1991
      "
data-original-title="" title="">Jabbo Smith      , Bubber Miley
      Bubber Miley
      trumpet
      1903 - 1932
      "
data-original-title="" title="">Bubber Miley       and Rex Stewart
      Rex Stewart
      trumpet
      1907 - 1967
      "
data-original-title="" title="">Rex Stewart      , finds its new epitome in Carol Morgan. Her "trumpet voice" is raw and husky, and it often slips into a velvety intonation that is so seductive it's impossible to resist. It stuns the inner ear into a kind of rapture that comes from being completely captivated by her sound. The notes she plays—no matter how brisk the pace of the song is—are flawless. And because she has an uncanny sense of finding the right note to begin with, her phrases are brilliantly crafted and become lines that are as narrative in a riveting way as they are lyrical. 
       For this extraordinary project she has chosen her partners well. Bassist Harvie S
      Harvie S
      bass, acoustic
      b.1948
      "
data-original-title="" title="">Harvie S and drummer 
      Richie DeRosa
      "
data-original-title="" title="">Richie DeRosa       are both astute listeners and responsive accompanists. The multi-faceted Harvie S brings all his beguiling skills to this album. His playing is wonderfully rhythmic, and he has a sublime sense of digging out melodies embedded in the rhythmic progress of the songs. His solos are filled with lyricism and he is a master of understatement, yet he constructs lines like an accomplished architect attuned to the exclusive musicality of each piece. DeRosa has the heart of a bebop drummer and recalls the dancing sense of Roy Haynes
      Roy Haynes
      drums
      1926 - 2024
      "
data-original-title="" title="">Roy Haynes       as he rattles and rolls his sticks on taut skins that seem to break into songs all their own every time he strikes them. 
       This short album is also a showcase for Morgan's innate comfort with several kinds of repertoire at once. Her own bebop-style composition "Opening Line" is a taut number with a slanted song line. Here Morgan sets a fresh tone and vocabulary. Bud Powell
      Bud Powell
      piano
      1924 - 1966
      "
data-original-title="" title="">Bud Powell's "Celia" and Kenny Dorham
      Kenny Dorham
      trumpet
      1924 - 1972
      "
data-original-title="" title="">Kenny Dorham      's "Prince Albert" are both moving sketches in classic bop as well as beautiful vehicular designs for Morgan's vocal style. On the former track the trumpeter shows immense skill in navigating an extraordinary range on her horn with clarity, puckish humor and the ability of a skilled painter as she colors the melody with sublime instinct and grace. 
       "Dark Continent" ends up showcasing DeRosa's polyrhythmic ability while the voicings of trumpet and soprano saxophone are delightful and lend an airy character to the song of mystery. "Like Someone in Love" is anything but an obligatory standard as DeRosa's brushwork and Harvie S's masterful solo swing with abandon and Morgan's own inside-out reading of the song make it both familiar and delightfully new. 

       With this album, Carol Morgan has clearly arrived and is set to take the trumpet world by storm.			
                    

                    
      
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      Track Listing
       
      Opening Line; Nica's Dream; Celia; Dark Continent; Like Someone In Love; Prince Albert; Sizzle; Calypso Blue.
      
                						
      Personnel
      
						
      
							
      
	
      
		
      
		
      
			
				
      
											Carol Morgan
									
      
			      
		
      
		
      
			
      Carol Morgan
      
			
			trumpet			
		
      
		
      
									
								
      
	
      

      

						
      
                
      Carol Morgan: trumpet; Harvie S: bass; Rich DeRosa: drums; Woody Witt: saxophones (4).
      
                
      Album information
      
                
      
                    Title: Opening

                                            | Year Released: 2010                    
                                            | Record Label: Blue Bamboo Music                                    
      

        
        
		
        
		
		
		
					
      
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									Carol Morgan Trio
									CD/LP/Track Review
									Carol Morgan
									Raul D'Gama Rose
									Kari-On Productions
									Blue Bamboo Music
									United States
									Clarence Shaw
									Louis Armstrong
									Jabbo Smith
									Bubber Miley
									Rex Stewart
									Harvie S
									Rich DeRosa
									Roy Haynes
									Bud Powell
									Kenny Dorham
									Opening
							
      
		
		    
      
        
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					Carol Morgan
				
	
      
	
      About Carol Morgan	
      

			


	

      Instrument: Trumpet
      
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‘Oh, that,’ she said. ‘Dear Julia; I hope we shall be great friends again, when I come back from Brighton. I shall be very glad to, I am sure.’ "His captain asked him what he had to say for himself to escape punishment, and the man replied that it was unreasonable to expect all the cardinal virtues for thirteen dollars a month. The captain told him the excuse was sufficient for that time, but would not do for a repetition of the offence."  "Pat who--oh? I tell you, my covey,--and of course, you understand, I wouldn't breathe it any further--"  We have seen how Carneades, alike in his theory of probability and in his ethical eclecticism, had departed from the extreme sceptical standpoint. His successor, Clitomachus, was content with committing the doctrines of the master to writing. A further step was taken by the next Scholarch, Philo, who is known as the Larissaean, in order to distinguish him from his more celebrated namesake, the Alexandrian Jew. This philosopher asserted that the negations of the New Academy were not to be taken as a profession of absolute scepticism, but merely as a criticism on the untenable pretensions of the Stoa. His own position was that, as a matter of fact, we have some certain knowledge of the external world, but that no logical account can be given of the process by which it is obtained—we can only say that such an assurance has been naturally stamped on our minds.254 This is the theory of intuitions or innate ideas, still held by many persons; and, as such, it marks a return to pure Platonism, having been evidently suggested by the semi-mythological fancies of the161 Meno and the Phaedrus. With Philo as with those Scotch professors who long afterwards took up substantially the same position, the leading motive was a practical one, the necessity of placing morality on some stronger ground than that of mere probability. Neither he nor his imitators saw that if ethical principles are self-evident, they need no objective support; if they are derivative and contingent, they cannot impart to metaphysics a certainty which they do not independently possess. The return to the old Academic standpoint was completed by a much more vigorous thinker than Philo, his pupil, opponent, and eventual successor, Antiochus. So far from attempting any compromise with the Sceptics, this philosopher openly declared that they had led the school away from its true traditions; and claimed for his own teaching the merit of reproducing the original doctrine of Plato.255 In reality, he was, as Zeller has shown, an eclectic.256 It is by arguments borrowed from Stoicism that he vindicates the certainty of human knowledge. Pushing the practical postulate to its logical conclusion, he maintains, not only that we are in possession of the truth, but also—what Philo had denied—that true beliefs bear on their face the evidence by which they are distinguished from illusions. Admitting that the senses are liable to error, he asserts the possibility of rectifying their mistakes, and of reasoning from a subjective impression to its objective cause. 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In ethics he remained truer to the Academic tradition, refusing to follow the Stoics in their absolute isolation of virtue from vice, and of happiness from external circumstances, involving as it did the equality of all transgressions and the worthlessness of worldly goods. But the disciples of the Porch had made such large concessions to common sense by their theories of preference and of progress, that even here there was very little left to distinguish his teaching from theirs.258 After she had done that she stood hesitating for just a moment before she threw off all restraint with a toss of her head, and strapped about her waist a leather belt from which there hung a bowie knife and her pistol in its holster. Then slipping on her moccasins, she glided into the darkness. She took the way in the rear of the quarters, skirting the post and making with swift, soundless tread for the river. Her eyes gleamed from under her straight, black brows as she peered about her in quick, darting glances. George II. was born in 1683, and was, consequently, in his forty-fourth year when he ascended the throne. In 1705 he married the Princess Caroline Wilhelmina of Anspach, who was born in the year before himself, by whom he had now four children—Frederick Prince of Wales, born in 1707, William Duke of Cumberland, born in 1721, and two daughters. On the 13th of February the Opposition in the Commons brought on the question of the validity of general warrants. The debate continued all that day and the next night till seven o'clock in the morning. The motion was thrown out; but Sir William Meredith immediately made another, that a general warrant for apprehending the authors, printers, and publishers of a seditious libel is not warranted by law. The combat was renewed, and Pitt made a tremendous speech, declaring that if the House resisted Sir William Meredith's motion, they would be the disgrace of the present age, and the reproach of posterity. He upbraided Ministers with taking mean and petty vengeance on those who did not agree with them, by dismissing them from office. This charge Grenville had the effrontery to deny, though it was a notorious fact. As the debate approached its close, the Ministers called in every possible vote; "the sick, the lame were hurried into the House, so that," says Horace Walpole, "you would have thought they had sent a search warrant into every hospital for Members of Parliament." When the division came, which was only for the adjournment of Meredith's motion for a month, they only carried it by fourteen votes. In the City there was a confident anticipation of the defeat of Ministers, and materials had been got together for bonfires all over London, and for illuminating the Monument. Temple was said to have faggots ready for bonfires of his own. "No, you don't," answered Shorty. "I'm to be the non-commish of this crowd. A Lieutenant'll go along for style, but I'll run the thing."  "Si Klegg, be careful how you call me a liar," answered the Orderly. "I'll—" "Then there is nothing to be done?" Dward asked.  "I'll have a good grain growing there in five year—d?an't you go doubting it. The ground wants working, that's all. And as fur not wanting the farm no bigger, that wur f?ather's idea—Odiam's mine now." At last the gods, who are more open-handed than ungrateful people suppose, took pity on the rivals, and gave them something to fight about. The pretext was in itself trivial, but when the gunpowder is laid nothing bigger than a match is needed. This particular pretext was a barrow of roots which had been ordered from Kitchenhour by Reuben and sent by mistake to Grandturzel. 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