Lee Morgan’s extensive back catalogue has been in and out of print over the years, but the fact that most of his recordings were on Blue Note – both with Art Blakey, and as a solo artist – has meant that his best recordings have generally been relatively easy to track down. Some of the many highlights include John Coltrane’s Blue Trane (1957), Art Blakey’s Moanin’ (1958) and A Night In Tunisia (1960), The Sidewinder (1963) and Search For The New Land (1964). 

Interest in Lee Morgan has increased over the last year, in a large part because of the excellent 2016 documentary, I Called Him Morgan (reviewed here).

The reissue of a rare June 1960 set by Warner Brothers as a ten-inch vinyl set, The Roulette Years, is timely then. The set includes just three songs, and their only previous release was on a little-known 1962 compilation, The Best Of Birdland, Volume 1.

The failure of jazz record labels to release certain sessions – particularly on Blue Note – has been well documented. In all likelihood, this session remained unreleased for a number of reasons. First of all, whilst the set was credited to Lee Morgan, and recorded for Roulette, he was under contract with Blue Note at that time. Secondly, only three songs were recorded; not enough for a full album, and hardly worth approaching Blue Note for licensing rights.

The band on the session, however, was top-notch; three of the band came from Art Blakey’s latest – and arguably best – edition of the Jazz Messengers; Morgan himself, saxophonist Wayne Shorter and pianist Bobby Timmons. Jimmy Rowser joins on bass, Art Taylor on drums.

The set opens with Suspended Sentence, a somewhat knotty Shorter composition that perhaps failed to make the cut with Art Blakey, and has not appeared on any of Shorter’s own albums. Shorter opens the solos with his distinctive style, before giving way to Morgan, who delivers a concise but impressive solo. Timmons is a soulful as ever, and whilst the tune may not be particularly memorable, the playing is fine.

The same might be said of A Bid For Sid, a Morgan composition. Again, Shorter opens the solos, but this time, it’s Morgan that really impresses, delivering a quite blistering solo of his own.

The third and final tune is Minor Strain, a Bobby Timmons composition. There were many more accomplished pianists on the scene, but Timmons always had soul, and was a fine composer in his own right. Shorter and Morgan also rise to the occasion, making this the pick of the bunch.

The album was taken directly from the master tapes, and has been issued in pristine Mono; the recording is not as good as the Blue Notes from that era, but perfectly acceptable. Whilst it is fantastic that sessions like this are being reissued, one can’t help but feel that this is a small market – this is a vinyl-only release, only three tracks, and really aimed at Lee Morgan obsessives – like myself – who have most of his other recordings. But would I recommend this ahead of his Blue note solo recordings? Probably not. But for collectors, this will be a welcome addition of a rare recording session.