Here's my third and final upload by this much underated tenor player. It's from 1966 and was reissued in Japan some years ago. Good Stuff! Saxophonist Dick Morrissey towered among the finest and most innovative British jazz musicians of his generation when he teamed with guitarist Jim Mullen to spearhead the UK fusion movement of the 1970s. Born May 9, 1940 in Horley, England, Morrissey taught himself the clarinet at age 16, later mastering all of the saxophones and the flute. In his late teens, while apprenticing as a jeweler, he played with the Original Climax Jazz Band, followed by a stint in trumpeter Gus Galbraith's septet, where alto saxophonist Pete King introduced Morrissey to his chief inspiration, Charlie Parker.
If Dick Morrissey is known at all then its probably as the joint leader of the 1970's fusion band 'Morrissey-Mullen'. However before then he was an important player on the 1960s British jazz scene, releasing a number of excellent albums leading his own quartet. Here's his third, and IMO best, album 'Storm Warning' where he is backed by the wonderful pianist Harry South and the (in)famous drummer Phil Semen.
Saxophonist Dick Morrissey towered among the finest and most innovative British jazz musicians of his generation when he teamed with guitarist Jim Mullen to spearhead the UK fusion movement of the 1970s. Born May 9, 1940 in Horley, England, Morrissey taught himself the clarinet at age 16, later mastering all of the saxophones and the flute. In his late teens, while apprenticing as a jeweler, he played with the Original Climax Jazz Band, followed by a stint in trumpeter Gus Galbraith's septet, where alto saxophonist Pete King introduced Morrissey to his chief inspiration, Charlie Parker. Tenor saxophone remained his weapon of choice for years to follow, and as he gravitated to bebop. Morrissey formed his own quartet in the spring of 1960 and cut his debut LP, It's Morrissey, Man!, the following year.
Digitally remastered and expanded edition of his 1997 album, now completely re-sequenced by Morrissey and including four bonus tracks. Produced by the legendary Steve Lillywhite, Maladjusted contains some of Morrissey's most underrated and superb songs. From the opening title track, with its intimidating, swirling sonic attack, to the beautiful torch songs ['Ambitious Outsiders', 'Trouble Loves Me' and 'Wide To Receive'], this is one of his most diverse and interesting records; and features the hit singles 'Satan Rejected My Soul', a blistering return to the glam-rock of earlier and the upbeat 'Alma Matters'. Also includes the controversial 'Sorrow Will Come In The End' [withdrawn from the British album], which features Morrissey intoning, rather than singing, over a backing of manic strings and the beat of a judge's gavel - the song clearly about his bitter royalties dispute!
Digitally remastered and expanded 20th Anniversary edition of the former Smiths vocalist's 1990 album. Bona Drag brings together his first seven singles including 'Suede head'; 'Everyday Is Like Sunday'; 'Interesting Drug', 'The Last of the Famous International Playboys', 'Ouija Board, Ouija Board', 'November Spawned a Monster' and 'Piccadilly Palare' alongside a selection of high quality b-sides from all the singles. With Morrissey's full involvement, the original album has been remastered and expanded with six previously unreleased tracks. Directing the artwork for the reissue, Morrissey has chosen to return the cover art to it's natural color and to update the back and inner artwork with a selection of favorite, hand-picked and rarely-seen photos.
Neo-soulman Matthew E. White first played with neo-Laurel Canyon songstress Flo Morrissey at a Lee Hazlewood tribute concert, where they performed "Some Velvet Morning" together. Pleased with their chemistry, they embarked on recording a collection of covers, hunkering down with White's Spacebomb collective to cover ten songs from the past and present.
In theory, Maladjusted should have been a readjustment to standard indie rock territory for Morrissey after the prog rock detour of Southpaw Grammar, but Morrissey isn't that simple. From the opening title track, with its menacing, swirling paranoia, it's clear that Maladjusted isn't a simple return to form. That isn't to say that the album is devoid of the jangly, maudlin pop songs that are Morrissey's trademark – in fact, the lead single, "Alma Matters," is a quietly catchy tune that ranks as vintage Morrissey.
While it isn't a gutsy rock & roll record like Your Arsenal, Vauxhall and I is equally impressive. Filled with carefully constructed guitar pop gems, the album contains some of Morrissey's best material since the Smiths. Out of all of his solo albums, Vauxhall and I sounds the most like his former band, yet the textured, ringing guitar on this record is an extension of his past, not a replication of it. In fact, with songs like "Now My Heart Is Full" and "Hold on to Your Friends," Morrissey sounds more comfortable and peaceful than he ever has. And "The More You Ignore Me, the Closer I Get," "Speedway," and "Spring-Heeled Jim" prove that he hasn't lost his vicious wit.