Lee Morgan – The Sixth Sense
Tracklist
| A1 | The Sixth Sense | 6:40 | |
| A2 | Short Count | 5:57 | |
| A3 | Psychedelic | 6:32 | |
| B1 | Afreaka | 7:55 | |
| B2 | Anti Climax | 6:13 | |
| B3 | The Cry Of My People | 5:00 |
Companies, etc.
- Record Company – Liberty Records, Inc.
- Copyright © – Liberty/UA, Inc.
- Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey
- Lacquer Cut At – Van Gelder Studio, Englewood Cliffs, New Jersey
- Pressed By – Research Craft
- Printed By – The Bert-Co Enterprises
- Published By – Blue Horizon Music
Credits
- Alto Saxophone – Jackie McLean
- Art Direction – Frank Gauna
- Bass – Victor Sproles
- Design [Cover] – Havona
- Drums – Billy Higgins
- Lacquer Cut By – VAN GELDER*
- Liner Notes – Ed Williams (2)
- Photography By [Cover And Liner Photos], Producer – Francis Wolff
- Piano – Cedar Walton
- Recorded By [Recording By] – Rudy Van Gelder
- Tenor Saxophone – Frank Mitchell
- Trumpet – Lee Morgan
Notes
Recorded November 10, 1967.
Features of this pressing:
• Blue/white labels with "A Division Of Liberty Records, Inc." printed by The Bert-Co Enterprises
• 70mm pressing ring
• VAN GELDER stamped in the runouts on both sides
• Transamerica Corporation logo on rear cover
• Some copies have "Not For Sale Promotion Use Only" debossed on top right corner of front cover
Features of this pressing:
• Blue/white labels with "A Division Of Liberty Records, Inc." printed by The Bert-Co Enterprises
• 70mm pressing ring
• VAN GELDER stamped in the runouts on both sides
• Transamerica Corporation logo on rear cover
• Some copies have "Not For Sale Promotion Use Only" debossed on top right corner of front cover
Barcode and Other Identifiers
- Matrix / Runout (Side A runout, etched): BNST 84335·A·
- Matrix / Runout (Side B runout, etched): BNST·84335·B·
- Matrix / Runout (Both sides runout, stamped): VAN GELDER
- Rights Society: BMI
Other Versions (5 of 20)
View All| Title (Format) | Label | Cat# | Country | Year | |||
|---|---|---|---|---|---|---|---|
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New Submission
|
The Sixth Sense (LP, Album, Stereo) | Blue Note | BST 84335 | Japan | 1969 | ||
| The Sixth Sense (LP, Album, Repress, Stereo) | Blue Note | BST 84335 | US | 1970 | |||
|
Recently Edited
|
The Sixth Sense (LP, Reissue, Stereo) | Blue Note | BST-84335, BST 84335 | US | 1973 | ||
| The Sixth Sense (LP, Reissue, Stereo) | Blue Note | BST-84335 | US | 1975 | |||
|
New Submission
|
The Sixth Sense (CD, Album, Reissue) | Blue Note | TOCJ-5736 | Japan | 1992 |
Recommendations
Reviews
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This is Advanced Hard Bop, and for my money, it's one of the finest examples in existance. This is one of my very favorite of all Blue Note albums. If you love the blue note sound, you should not be without it. The combination of the classic Blue Note Sound with some advanced dissonances mixed in is to my ears, blissful listening. I wish more albums had gone in This Direction. -
This session was recorded on Nov 10 1967, the day that I was born. It is a great record—and not just because of that fact! -
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The last track- perhaps the best- is titled 'The Cry of MY People' not simply 'the people'. -
Edited 9 years agoIs it cliché to call any album (Blue Note or otherwise) from the post-bop '60s "underrated"? It's probably overdone, yeah - but I'm doing this for that modern kid, that young buck that just discovered Lee Morgan and wound up here - staring the year 1967 in the face. Looking at the superimposed cover artwork and seeing titles like "The Sixth Sense," "Psychedelic" and "Afreaka" - one might be led to believe that they've found a late-period group of ex-Messengers doing some wicked bit of rock-influenced fusion. Though this is not the case, it does portray a fine acoustic set of standards and originals. It obviously won't live up to the earlier records by the prolific Morgan - but that being said - some really fine tunes came out of this date. Some of it verges on the less-than-serious boogie that certain critics balked at, but tracks like "Afreaka" and "Short Count" are straight burners! Hard Bop like it was meant to be.
While I wouldn't call it essential, this album could potentially serve as a nice starting platform for someone looking to penetrate the less-pure side of Lee's discography, while still hearing something real and good. It's accessible, but certainly more straight-up than other "Pop-Bop" works like 1969's "Charisma," and there's not a single Beatles cover on it - so that's usually a plus.
Overlooked, but still worthy. You really can't go wrong with players like this, so check it out.
Release
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