Lee Morgan, Black Excellence and Sensational Journalism

An African proverb says, “Until the lion tells the story, the hunter will always be the hero.” On International Jazz Day, we told the story of Lee Morgan, a story of Black Excellence.

Even when we tell our story, a white journalist lionizes a white man in his report on the dedication of Edward Lee Morgan’s historical marker.

Writing for The Philadelphia Inquirer, Shaun Brady dug up the sensationalistic claim that a white fan “discovered” Lee Morgan’s “lost gravesite.” The “discovery” was made after the fan wandered around White Chapel Memorial Park on three occasions during the coronavirus pandemic. When he finally asked for help, the groundskeeper took him to the location. The grave marker was obscured by overgrown grass and vegetation at a time when there was a worker shortage across the board.

The “discovery” was so sensational that nine of the 17 paragraphs in Brady’s story are about a mediocre white man. That is more than the combined number of paragraphs about the legendary Black trumpeter, the Black family who loves him, the Black musicians who knew him, the Black property owners who preserved the memory of the Aqua Lounge, and the Black woman who nominated Lee Morgan for a historical marker and listing on the Library of Congress’ National Recording Registry.

It was lost on Brady that he should have fact-checked the claim. I brought his journalistic malpractice to the attention of his editor, Bedatri Choudhury. Her response: “In retrospect, he should’ve spoken to Mr. Morgan’s family.”

In a recent profile of longtime jazz producer Leo Gadson, Michelle Lyu wrote:

Today, the narrative of jazz is shaped by an essentially white worldview; one which separates it from the people who made the major contribution to its creation and continuance.

This white worldview turned a joyous celebration of Black Excellence into a white savior story. In so doing, The Inquirer tarnished Lee Morgan’s legacy and portrayed his family members in a false light.

Malcolm X is memorialized on the mural that overlooks Lee Morgan’s historical marker. Our Black Shining Prince warned us about newspapers.

The sensationalistic claim published in The Inquirer has readers “hating” a Black family for not knowing the location of Lee Morgan’s gravesite and “loving” a white man who discovered a gravesite that was not lost.

Lee Morgan’s family will correct the false and defamatory claim by any means necessary.

From A Sister, With Love

On February 23, 1974, the Philadelphia Tribune published an open letter, “From A Sister, With Love,” written by Ernestine Morgan Cox, Lee Morgan’s sister.

On April 30, 2024, this sister, along with Lee’s family and the community that loves him, unveiled Edward Lee Morgan’s historical marker.

Lee Morgan was celebrated for the life he lived and the legacy he left. But the struggle continues. Stay tuned.

Edward Lee Morgan Historical Marker Dedication Ceremony

I nominated Edward “Lee” Morgan for a Pennsylvania historical marker on February 19, 2022, the 50th anniversary of his death. I chose that date to ensure the conversation was not solely about how Lee Morgan died. I wanted to shift the conversation to how the legendary trumpeter lived.

In an open letter published in the Philadelphia Tribune on February 23, 1974, Lee’s beloved sister, Ernestine Morgan Cox, wrote:

[T]hough he only lived to be 33, he managed to accomplish more than some of us who have sixty or more years in which to do it… Lee Morgan really lived a full life… Lee did indeed live and he has left an indelible impression on the lives of many whose path he has crossed.

WRTI Editorial Director Nate Chinen wrote an accurate account of how we got here.

Lee Morgan’s historical marker will be dedicated on International Jazz Day. I was privileged to get a sneak peek when I dropped off the cover. The marker is blocked and blurred because the text should not be revealed before the unveiling.

The dedication ceremony will be held on April 30, 2024 at 12pm – rain or shine. The marker will be installed at 52nd and Chancellor Streets, in front of the former site of the Aqua Lounge.

Following the unveiling, we will walk over to the Painted Bride Art Center (5212 Market Street) for a community celebration hosted by the Voices of 52nd Street Oral History Project from 2pm to 3:30pm. It will be an afternoon of sharing memories of Lee Morgan, the Aqua Lounge and “the Strip.”

The celebration will continue at the Black Bottom Jazz Fest featuring the Daud El-Bakara Quartet and the Drexel University Jazztet, presented by the Black Bottom Tribe Association. The concert will be held from 3pm to 6pm at Drexel Square, 3001 Market Street (across from William H. Gray III 30th Street Amtrak Station).

‘The Sidewinder’ Added to National Recording Registry

To commemorate International Jazz Day 2023 , I nominated Lee Morgan’s “The Sidewinder” for listing on the National Recording Registry of the Library of Congress. Established in 2002 as part of the National Recording Preservation Act of 2000, the National Recording Registry is a list of sound recordings that are “culturally, historically, or aesthetically significant.” The registry includes music, spoken word and historic speeches.

Librarian of Congress Carla Hayden announced the Class of 2024 on April 16, 2024. I scrolled the list with trepidation. When I saw Lee Morgan’s “The Sidewinder,” I jumped up in stunned disbelief.

A record 2,899 nominations were submitted for this year’s class. “The Sidewinder” is among the 25 audio recordings selected for preservation in the Library of Congress’ sound collection.

We will celebrate the listing on International Jazz Day 2024 when Edward Lee Morgan’s historical marker is unveiled.

The dedication ceremony is free and open to the public. To register for the unveiling, please go here.

Jazz Appreciation Month: Francis “Frank” Johnson

In an opinion piece published in the Philadelphia Inquirer for African American Music Month 2023, I noted that keyed bugle player, bandleader and composer Francis “Frank” Johnson toured the United States, and was the first Black musician to tour Europe.

I stand corrected. As electric guitarist, music educator and musicologist Tyler Diaz made clear during a recent concert and roundtable discussion at the Museum of the American Revolution, Frank Johnson was the first American to travel to Europe as a working musician.

In a blog post, Diaz wrote:

Sometime during the 1810s, Johnson was introduced to the Keyed Bugle, an immediate predecessor to the trumpet. With the mastery of this new instrument paired with his noted virtuosity on the violin, Johnson began his rise to national acclaim.

[…]

They [Johnson and band members] became the first Americans to travel to Europe as working musicians. The goal was to come back to Philadelphia with new music and increased musicality. After successful concerts in London and a possible trip to Paris, he returned stateside on May 16th, 1838, surpassing the goal he set out in his ad with great reception.

Johnson is sometimes referred to as the forefather of jazz and ragtime. I am struck by the similarities between Frank Johnson and Lee Morgan.

Both musicians were born in Philadelphia and masters of their chosen instrument. The keyed bugle is an early version of the modern trumpet. Johnson and Morgan were “universally respected” and “celebrated personages of Philadelphia.” Frank and Lee oozed confidence and cool.

They will soon have a historical marker in common. Frank Johnson’s historical marker was installed in 1992.

Lee Morgan’s historical marker will be unveiled on April 30, 2024, International Jazz Day. The dedication ceremony is free and open to the public. To register for the unveiling, please go here.