From late 1967 through 1968,
Lee Morgan fronted a fine sextet with alto saxophonist
Jackie McLean and the less-heralded tenor saxophonist
Frank Mitchell. The group recorded
The Sixth Sense, but by September of 1968,
Morgan,
Mitchell, and drummer
Billy Higgins remained, the band revamped and reduced to a quintet. Those later sessions were not released until 1999 with the issue of this CD, which includes three bonus tracks. Where
McLean's contribution was very telling in terms of the combo's overall sound, the quintet was able to further display the quiet confidence and competence
Mitchell held. Either
Cedar Walton or
Harold Mabern appear showcasing their distinctive qualities, so this transitional recording marks the end of
Walton's association, and the beginning of
Mabern's, who would last with
Morgan right up to his tragic and senseless murder. The symmetry of
McLean's sourdough alto,
Morgan's on-top trumpet and the middle-ground tenor of
Mitchell is more balanced on the straight-ahead calypso title track, sweet and light as
Walton sets the pace and proportions the right seasonings. "Short Count" on the other hand displays a stubby melody spiked by
Walton's piano accents and the drum fills of
Higgins in a more off minor taste. Approaching boogaloo go-go, "Psychedelic" is not so much acidic as conga line,
Morgan leading the group, then following. The most memorable piece is
Walton's "Afreaka," a wonderful modal piece with an Afro-centric groove and great harmonic content. High drama identifies "Anti Climax" with a dark, closet film noir sound acceding to hard bop, while the great
Cal Massey composition "The Cry of My People" is covered, a ballad dominated by
Morgan's somber and deep muted trumpet, swinging lightly on the bridge. The three tracks sans
McLean and
Walton with
Morgan,
Mitchell,
Mabern,
Higgins, and bassist
Mickey Bass replacing
Victor Sproles from the fall of 1968 sound noticeably different from the others. There's a more soulful flavor in
Mabern's Memphis-cum-N.Y.C. uptown approach, and
Mitchell challenges himself to assert his individual, less-pronounced voicings. The tenorman's post-bop composition "Extemporaneous" displays tricky phrasings and a musical syncopation,
Bass' "Mickey's Tune" uses a loping 5/4 to 6/8 rhythm change so modern it keeps your ears on their toes, so to speak, and while "Leebop" is fairly typical, the chord substitutions and brilliant playing of
Mabern are hard to ignore as he digs in, far above average or timid. The more one listens to
Mabern the more you understand why he was a favorite of
Morgan's, and everyone else's. The appropriately title
Sixth Sense presents a transition between one of the most intriguing sextets during the last years of post-bop and
Morgan's final ensembles that saw him reaching higher and higher before, like Icarus, falling from grace. ~ Michael G. Nastos