The following, Benny Maupin's recollections of playing in the Lee Morgan Quintet, appears in the liner notes to the CD release of Lee Morgan -- Live at the Lighthouse (Blue Note CDP 7243 8 35230 2 3).

I first met Lee while I was still a brand new member of the Horace Silver Band that included trumpeter Charles Tolliver who was later replaced by Randy Brecker, bassist John B. Williams and drummer Billy Cobham rounded out the group. The year was 1966 and we were in rehearsals for our only European tour. During those times many of the Blue Note musicians used the famous Lynn Oliver Rehearsal Studios. Lee heard me there with Horace and he asked me to do a recording with him. I was elated and a few weeks later we recorded the album "Caramba" with pianist Cedar Walton, bassist Reggie Workman and drummer Billy Higgins. Being in the studio with these musicians was a dream that came true. This session is one of my greatest treasures.

After touring and recording with Horace for nearly eighteen months I found myself back in New York with no work. I called Lee and as we were talking he mentioned that his tenor saxophonist George Coleman was leaving the group to form one of his own. He offered me the job. I gladly accepted and we went straight into rehearsals. Lee loved to play and our rehearsals were always fun. His sense of humour was the greatest!!!!! When we did our first jobs around New York, Lee's chops were still healing after an unfortunate altercation that left him with a busted lip and some very loose front teeth. He had to have his teeth wired together with braces to hold them in place. To avoid pinching his lips against the braces he had to change the lip placement on the mouthpiece. The healing process was painful and slow. Many nights his endurance was so low he could only play one set before the chops were finished for the evening. It was during this period that I had the great opportunity to see the real Lee Morgan. He played through the pain to rebuild his lip and week after week he got stronger and more comfortable with his new placement of the horn. A problem that could have ended his career became a source of his greatest strength. It was awesome to see how much courage he had.

We played in New York, Philadelphia, Baltimore, Detroit and Chicago. The band on this special issue was on its way. It was great!!! Lee and I talked almost everyday. We talked about music, women, drug abuse and his personal battle to overcome a ten year heroin addiction. By the time our tour to California was to begin he and I had become the best of friends. San Francisco was our first stop and for two weeks we played the now defunct club, the Both/And. The following two weeks were spent near Los Angeles in Hermosa Beach at the world famous Lighthouse. We all enjoyed the ocean, air and the very relaxed atmosphere. Lee encouraged me to bring some of my tunes for the band and to my amazement we played and recorded each of them. The feelings of respect and unity in this band were always of the highest caliber. Playing with Harold, Mickey and Jymie is another very special treasure of mine. After completing the West Coast tour and the Lighthouse recordings we returned home to New York and shortly thereafter I received a call from Herbie Hancock. He was looking for someone to replace tenor saxophonist Joe Henderson, Buster Williams had recommended me.

By this time I had been with Lee for almost two years and even though things were good I felt the need for musical change. I told him about the offer and that I wanted to take the job. He looked me straight in the eye and simply said "you should." It was then that I truly realized how much of a friendship we had. We loved playing together and my leaving the band was uncomfortable for us both. Through our dialogues Lee put me at ease and I left with his warmest blessings. From the very start Lee pushed me towards greater development and as he would say to "burn as though there was no tomorrow." I joined Herbie's new sextet that included trombonist Julien Priester, trumpeter Eddie Henderson, bassist Buster Williams and drummer Billy Hart. We recorded and hit the road playing clubs, coffee houses etc... Saxophonist Billy Harper replaced me in Lee's band.

Whenever we returned to New York Lee was the first person I would call. We really hung out together and functioned as sounding boards for each other. We had many great dinners at the Morgan house. Helen was a great person, a very supportive wife and the most fantastic cook. They were the closest members of my very extended family. During one of my resting periods in New York I got a call from Lee. He was having some serious relationship problems and he needed me to act as his sounding board, as he had done for me on numerous accounts. We talked for three hours and most of the time I was the listener. He told me that he was in the process of weening himself from methadone (a drug used to lessen the effects of heroin withdrawal) and he was quitting smoking. He explained to me that he was going to change all of his addictive habits. I could sense that he was once again fighting to overcome a mountain of painful effects from hard living. We ended our talk and agreed to get together when I came home again.

That was our final conversation. Less than two weeks later I received a call from New York. It was my friend Fundi Bonner with the tragic news surrounding Lee's death. I cried and mourned the loss of a great friend. Due to performance commitments I could not attend the funeral. As I reflect on the man, his music, humanity, passion for life and his love for people I realize that true friendships such as ours are eternal and that they reach beyond the thin veil of death. I'm most fortunate to have had Lee Morgan as a major musical mentor and friend. Twenty five years later this music is being made available to the listening public. I extend my deepest gratitude and thanks to Michael Cuscuna, Bob Belden, David Weiss and Blue Note Records for making it possible. Lee was a musical giant and his work on this project reveals the majesty of a great victorious spirit. Thank you Lee and I'll see you later.

-- Bennie Maupin 1995