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Originally Posted by wiseone2  I lent the horn to Jimmy Heath.
I got a copy of the book today. It is full of errors. The Philadelphia that Tom Perchard describes is not the Philadelphia I grew up in.
I went to elementary school with Lee's teacher, Tony Marchione. Tony was knowledgeable about jazz, and even had his own group. Tony called himself "Tony Marsh." The book says that Tony disliked jazz and couldn't play it. Not true.
Jimmy Heath was not interviewed, nor was Ted Curson. They have great knowledge of the Philadelphia part of Lee's story. I played in several bands with Lee, no attempt was made to contact me.
I will continue reading the book. It's fascinating to see how screwed up they have Lee's story. So far, I have only gotten as far as Chapter 3, let's hope it gets better and more accurate.
Wilmer |
Well, what is needed is a truly scholarly study where the author actually takes the time to do the work. We have yet to see such a book about Bird ( I think there is a pretty good one about Dizzy) so its not surprising that there is such shoddy work about Lee Morgan. We need a Halberstam to probe jazz history and I just can't see that happening.
Speaking of books, it would be a wonderful addition to jazz and music history if someone who was involved and thus very knowledeable about the jazz scene in the 50s and 60s, who was there for the fall of the big bands, the rise and fall of the New York studios, who had first hand knowledge of the players, were to write a memoir or autobiography, even scattered one like Leon Merian's. If this person were a retired trumpet player with a rich, varied musical background who has a lot to say about Philadelphia and New York, who has played with Berstein, the Broadway shows, who knows Lee Morgan, Jimmy Owens, Wynton Marsalis. Where oh where could we find such a person.
You know, its possible that the name of that talented, experienced, trumpet player could be staring me right in the face.