Dwain

• The Sidewinder presents itself as one of the preeminent hard bop recordings of the era and the music lives up to that hefty praise. This album is so well crafted and curated from end to end. Lee’s ability to create fun and interesting melodies is on display full force here and Joe Henderson does a great job of syncing up with Lee on these. It’s hard to find an album that feels as well-rehearsed, well-written, and as fun to listen to as this one. The entire group is on the same page here and it’s evident from their treatment of the melodies to the style of their soloing.

• Although Lee Morgan’s name is on the cover and it truly is his recording (it being comprised entirely of his compositions), it seems much more like a collective of top-notch jazz greats than one great leading the rest of the group. Joe Henderson adds so much to the album and there is so much attention to detail and intention in his playing and his style. There’s a certain musical chemistry here with Lee and himself that leads to many of the magical moments on the album. Lots of moments of the album are a hard bop conversation between Lee and Joe, unafraid to take what the other guy said and run with it.

• The rhythm section is certainly elite and everything feels so good on The Sidewinder. Barry Harris gives us lots of different ideas and isn’t afraid to try some different things when soloing while making sure to refer back to his bebop roots so we know he’s still got it. Bob Cranshaw and Billy Higgins are two of the best in the business and it’s no wonder they got the call so often and from so many different cats to record. They’re right in the pocket at all times and are locked in super tight the whole way through.

• Although there are many very deep musical reasons why The Sidewinder is an essential piece of jazz listening, I think there is one thing that helps this album really stand out; the enjoyability to the general public. This album has so much for us jazz enthusiasts to be enamored by but, maybe more importantly, Lee Morgan has a unique ability to make the music so approachable to anyone and so fun to listen to. It brings me back to our thoughts on Soul Station by Hank Mobley which is able to capture an audience in a similar way. If you haven’t listened to this album yet, what are you doing?!

Overall score: 9.4/10

Max

• The Sidewinder is a must-listen album which needs to be explored by any jazz listener. There are multiple themes and concepts found in this record that tend to be great learning tools in addition to being entertaining and fulfilling music to engage with. One of the big-picture concepts to grasp is the fact that this is a prime example of original compositions in the classic Hard Bop style. Lee Morgan’s writing includes great melodies, small and intricate feel-good compositional techniques, as well as the blues. This is the epitome of the Hard Bop era. One other major concept I’ve found while listening to The Sidewinder is the constant, yet always interesting, use of repetition. Joe Henderson on tenor sax often improvises in a manner that seems to be based on the use of repeated ideas, themes and melodies he creates while in-the-moment. This is also illustrated in the playing of trumpeter Lee Morgan and pianist Barry Harris. Many of the compositions include repetition in their melodic makeup as well. The ways in which these musicians use and manipulate the practice of repetition is artistic and, at times, multi-dimensional.

• While most of these melodies are stellar, the melody to “Gary’s Notebook” is a bit clunky when compared to the other originals on the album. Also, the studio fadeout is used one too many times for my liking. If there is greatness to a tune’s melody, improvisations and arrangement, why not have a thought-out, interesting ending? The overuse of fadeouts may be a possible pet peeve of mine I may just have to deal with.

• The rhythm section is an all-star cast that includes well-known player and educator Barry Harris on piano, long-time Sonny Rollins bassist Bob Cranshaw, and the great Billy Higgins on drums. All 3 mold cohesively while interpreting Morgan’s work extremely well. At moments, Barry Harris seems slightly hesitant, yet his playing is very strong and sometimes reminds me of both Horace Silver and Monk. The pianist is known for his bop-heavy style, which is showcased nicely on “Totem Pole” and “Gary’s Notebook.” Harris’s comping may be too predictable and in-the-way at moments (like on “Totem Pole”), yet he succeeds in fulfilling his role in the ensemble quite nicely and is ultimately a tasty addition to the group. Occasionally, Billy’s snare drum is a bit too distracting, yet his musical prowess is well-witnessed on “Hocus Pocus.” Cranshaw is featured with a bass solo on the title track, which surprisingly ended up on both the pop and jazz charts in the mid-1960s (hard to imagine a tune like “The Sidewinder,” which is a long song that includes a bass solo, ending up on the pop charts today).

• The combined sonic reality of Lee Morgan and Joe Henderson is a supreme dream-team. The two blend well while Joe seems to complement Lee Morgan’s tunes quite nicely. Lee’s originals on this album, like “The Sidewinder” are danceable and are interesting compositions with awesome melodies. His trumpet playing is dynamic, smooth, intricate yet accessible, and authentic. It also seems as if each of these players, in particular Lee and Joe, have a considerable amount of attitude in their playing. This tends to bode well for the music and the listeners’ experience. The Sidewinder is an album that ultimately characterizes the hard bop genre while displaying superb improvisations from jazz greats like saxophonist Joe Henderson. The presence of energy and attitude is also included here. Lee Morgan’s The Sidewinder is one of those albums you never knew you needed until you check it out for yourself. After your first listen, I bet you’ll never stop coming back to it.

Overall score: 9.3/10