Thank you for buying this record. What follows is its documentation: the
pressing identified, the matrix / runout transcribed by hand from the dead
wax, and the condition as assessed before it was listed. It is yours to keep
with the record.
— Paul, Vinyl Curator
Lee Morgan
Delightfulee
1967 · Blue Note BST 84243 · Stereo · US · LP · 33 1/3 RPM
Pressing details
| Label | Blue Note |
| Catalogue number | BST 84243 |
| Year | 1967 |
| Mono / Stereo | Stereo |
| Country | US |
| Format | LP |
| Speed | 33 1/3 RPM |
| Genre | Jazz - Hard Bop |
| Producer | Alfred Lion |
| Musicians | Lee Morgan (trumpet), Joe Henderson (tenor sax), McCoy Tyner (piano), Bob Cranshaw (bass), Billy Higgins (drums); Ernie Royal (trumpet), Tom McIntosh (trombone), Jim Buffington (french horn), Phil Woods (alto sax, flute), Wayne Shorter (tenor sax, bass clarinet), Danny Bank (baritone sax, flute), Philly Joe Jones (drums) |
Matrix / Runout
Side A: BNST 84273 A VAN GELDER
Side B: BNST 84243 B-1 VAN GELDER
Condition
- Cover
- EX
- Vinyl
- NM
Variant chronology
1967 - white/blue "A Division of Liberty Records, Inc." label, no NY address, Van Gelder stamp <- this copy
1970 - United Artists-address label reissue
1985 - US Manhattan-era reissue (also 4BN 84243)
1985 - France DMM reissue with poster/obi
1985/1987/1997/2005/2014/2017/2021 - Japanese reissues (BNJ 71060, TOCJ, UCCQ series)
1987/1995/2007/2011 - CD reissues - no vinyl comparable
This Pressing
Early Liberty-era pressing (stereo, 1967) - flat white/blue Blue Note/Liberty label, no NY address; Van Gelder stamp on both sides.
The Album
Delightfulee was assembled from two 1966 sessions that caught Lee Morgan working in contrasting settings: a tight quintet with Joe Henderson, McCoy Tyner, Bob Cranshaw and Billy Higgins, and a larger, more ambitious ensemble featuring Wayne Shorter, Phil Woods, Philly Joe Jones and unusual horn colors like French horn and bass clarinet. The record arrived after the huge crossover success of "The Sidewinder" had made Morgan Blue Note's most commercially valuable young trumpeter, and it finds him balancing that visibility with genuinely exploratory hard-bop writing rather than repeating a hit formula. Original pieces like "Ca-Lee-So" and "Zambia" sit beside a soulful reading of the Beatles' "Yesterday" and the Broadway standard "Sunrise, Sunset," reflecting jazz's growing appetite at the time for pop and show tunes. Morgan, a Philadelphia prodigy who had already passed through Dizzy Gillespie's band and the Jazz Messengers before his Blue Note stardom, plays with the fluid, blues-drenched brilliance and biting tone that made him one of the defining hard-bop trumpet voices of the 1960s. Liner notes by the noted critic Leonard Feather situate the record within Morgan's ongoing growth as composer and bandleader. Though somewhat overshadowed commercially by his earlier boogaloo hits, the album is valued by listeners as a showcase of Morgan's compositional range and his gift for pairing top-tier sidemen in adventurous small- and medium-group hard bop.
Tracklist
Side 1
1. Ca-Lee-So (Lee Morgan)
2. Zambia (Morgan)
3. Yesterday (Lennon-McCartney)
Side 2
1. Sunrise, Sunset (Bock-Harnick)
2. Nite Flite (Morgan)
3. The Delightful Deggie (Morgan)
The Label
The label is white with a blue rim, the arcing text reading "BLUE NOTE RECORDS · A DIVISION OF LIBERTY RECORDS, INC." above the spindle, with no New York street address printed on the label, and the side numbering is printed as arabic "Side 1" / "Side 2". This white/blue design was used company-wide from 1966 through 1970 following Liberty's purchase of the label, and since this title was recorded in 1966 and not issued until late 1967, the whole release window falls inside that Liberty-ownership era, placing this pressing among the first Liberty-label copies of the catalogue number, ahead of the later United Artists-address and Manhattan-era labels. The pressing plant is not identified on the label, and it is a flat label with no deep groove visible around the spindle.
Fidelity
Both sides were cut by Rudy Van Gelder directly from the 1966 session tapes, as reflected in the VAN GELDER stamp on both sides, giving this pressing the direct, punchy studio sound typical of period Blue Note stereo LPs. Collectors on the forums generally regard these Liberty-era Van Gelder-mastered pressings as sonically very close to the earliest lacquers, since Van Gelder continued cutting Blue Note stereo masters himself well after the change in label ownership. This pressing outranks the later United Artists-address and mid-1980s reissues, which used later stampers, and stands well above the digital CD reissue; no audiophile (Music Matters/Analogue Productions/Tone Poet) edition of this specific title currently exists.
Notes
This is an original 1967 Blue Note stereo pressing of Delightfulee (BST 84243). The white label with blue rim reading "A Division of Liberty Records, Inc." is the design used from 1966-1970 following the Liberty buyout, and since this title was recorded in 1966 and not released until late 1967, this Liberty-era label is the correct first-issue design for the catalogue number. The BNST 84243-A / B-1 matrix with the VAN GELDER stamp on both sides matches an original Van Gelder-cut lacquer, distinguishing this copy from the later United Artists-address label and subsequent 1970s/1980s reissues.
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