Born in Philadelphia, Pennsylvania, Morgan was a jazz prodigy, joining the Dizzy Gillespie big band at 18, remaining a member for two years. In 1956 he began recording as a leader, mainly for the Blue Note label; eventually he recorded twenty-five albums for the company. Morgan's principal influence as a player was Clifford Brown, having had direct contact with him before Brown's premature death.
He was also a featured sideman on several early Hank Mobley records, and John Coltrane's Blue Train. Joining Art Blakey's Jazz Messengers in 1958 further developed his talent as a soloist and writer. He toured with Blakey for a few years, and was featured on Moanin, which is probably Blakey's best known recording. When Benny Golson left the Jazz Messengers, Morgan persuaded Blakey to hire Wayne Shorter, a young tenor saxophonist, to fill the chair. This classic version of the Jazz Messengers, including Bobby Timmons and Jymie Merritt would record the classic The Freedom Rider album.
Morgan tried to move in to the more advanced areas of the music in the early 1960s. He left the Jazz Messengers in 1961, struggling with heroin addiction, managing to kick his habit in his hometown. He returned to the music scene after a two-year absence, playing on Grachan Moncur III's essentially avant-garde Evolution album (his favourite work), and experimenting on some of his own recordings such as the title track of Search for the New Land (1964), but the popularity of his famous album, The Sidewinder, featuring Joe Henderson precluded his career developing in this way.
The title track of that record cracked the pop charts in 1964 and served as the background theme for Chrysler commercials during the World Series. The Sidewinder's crossover success in a rapidly changing pop music market caused Blue Note to rush the track's "Boogaloo" sound to market. This is evidenced in the mid-60s output of many Blue Note stars, including Morgan, and some of the lesser artists in the stable, releasing albums with modified and rythmically punchy blues tracks, such as "Yes I Can, No You Can't" on Morgan's own The Gigolo. In 1964 Morgan rejoined the Jazz Messengers, after his successor Freddie Hubbard departed, which had now become a sextet with the addition of Curtis Fuller to the group.
Alongside this commercial success, Morgan continued to record prolifically, producing such works as Search For the New Land which reached the top 20 of the R&B charts. His work became increasingly more modal and free towards the end of the sixties. He had begun to lead his own group, featuring Bernie Maupin as a multi-reedist.
Lee Morgan was murdered by his common-law wife, Helen More, with whom he was breaking up, following an argument between sets at Slug's, a popular New York City jazz club.
Little T
Lee Morgan Lyrics
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I don't hate you
You gettin' up in front of the world
And showing everybody how much you hate us
Mom, I don't hate you
I don't hate you
Then why would you write about us like this?
Because I love you!
You don't love me
If you loved me
You wouldn't have made your daddy run out of here
With tears in his eyes
If you loved me
You would've found you a church home up there in New York
If you loved me
You would've brought me home a daughter-in-law and a grandbaby by now!
If you loved me
You'd be able to fly me around the world like Tyler Perry!
Her precious little dream
But oh, no, you are frightened about life
Came tumbling down
Never mind Doodoo Bank Student Loans calling my house
Looking for your black butt
And after all the time she spent building it up
You lollygagging up there, you ain't half doin' nothin'!
And after all of the things that she's been through
You probably dressin' up and pretendin' you was a white woman!
You come along and crush it
Talking 'bout you want a black man, tuh!
In the palm of your hand
Like a real black man would kiss you!
You come along and flush it
The Bible says homosexuality is worse than murder!
Down
My precious little dream
Of my little boy
God, after all this time
Why can't you give it up?
Oh no, you not gonna turn this on me
I know I'm a good mama!
'Cause if you knew all the things that I've been through
Ugh, they had to cut me open to get you
Did you know that?
I bled and bled
They pulled your black butt out of my stomach
You'd rue the ways you attack me
Your Aunt Hattie said your homosexuality was just a phase
You'd rue the ways we fought
But you're 26 years old, and you still kissing on men
You run until you've tracked me
Why couldn't you just be the daughter I always wanted?
Down
I'll tell you why, it's because you're selfish!
Mama, I can't suck your titties again
I can't crawl back up inside your womb
Your nasty little mouth
You wonder why it's like a graveyard (shut up, shut up)
You see how you're making me cry?
In your living room
You wanna cry, Mama?
Go right ahead
My stumps are growing shorter on this earth, my son
But I won't cry, Mama
'Cause I'm not dead
And one day, you won't have me at all
And you're not dead
And then you'll be all alone
Time just has this way of tearing
Down the dreams we think we live in
Spinning wheels in motor town
So effed up and so run down
An overblown yet false display
Just like in a gospel play
Who the fuck is you, nigga?
Who the fuck is you?
Who, ooh
Ooh, ooh-ooh-ooh
Who, ooh, ooh, ooh
Sister Serabe
The Lord put it on my heart
To sing this selection in honor of Brother Darnell
Who was an abomination just like me
And I can't help but reflect on the ways that I have lived a life
Without passion
In fear of you and your husband's words to me
That if I ever acted on my lust for another man
That I would meet the same fate as Darnell
Lying in that there box
And those words have kept me HIV-free
But completely terrified ever since
Because I realized then and there
That the only thing worse than dying of AIDS would be living with it
And hearing the people you love say
"I told you so, I told you so, I told you so!"
Can I get a witness out there, choir? (Hallelujah! Yes!)
And so, on today
As we prepare to bury yet another un-HBO special
Un-Oscar-So-White award winning
Abnormal-hearted, un-Angel in American black queer in the ground
It's very important that we remember
What God's word (amen)
Your word
Tyler's word
And every-fucking-body else's word tells us
AIDS is God's punishment
Sing your song, brother, sing your song (hahahaha)
For the man who ain't living right
You hear that, Curtis?
AIDS is God's punishment
(I love the Lord, he heard my cry and pitied every groan, Pastor)
For he who sins in the night
Let 'em know, let 'em know, let 'em know
A-A-A-A-A-AIDS is God's punishment
But all darkness, all darkness
All darkness, all darkness
Comes to light (speak on it)
He gonna knock them dicks up out your mouth
And then, and here's what I like about him
Di-di-di-di-di-di-di-di-di
He shall smite
'Cause
AIDS is God's punishment, yes!
(Sing, sopranos! Testify for all of God's children!)
AIDS is God's punishment!
Everybody in the building
Clap me in on the two and the three, with my altos!
AIDS is God's punishment, yes!
AIDS is God's punishment
Come on, tenors! AIDS!
AIDS is God's punishment, yes!
(If you ain't living your life according to His holy and righteous word)
AIDS is God's punishment
Then you ain't nothing but a sinner and a Black, gay turd
AIDS is God's punishment, yes! (You gotta pray right, you gotta stay right)
AIDS is God's punishment (you gotta crucify yourself, you gotta crucify yourself)
AIDS is God's punishment, yes! (But the blood of Jesus won't protect you from)
AIDS is God's punishment (AIDS, AIDS, AIDS!)
AIDS, AIDS!
AIDS, AIDS!
Parts
AIDS! (God is gonna do it, God is gonna do it!)
AIDS! (Sores all on yo' body and yo' mouth and in ya butt)
AIDS! (This is what you're feeling, give him the spiel)
AIDS! (AIDS is God's punishment when you fuck against God's will)
AIDS! AIDS! (AIDS is God's punishment when you fuck against God's will)
AIDS! AIDS! (AIDS is God's punishment when you fuck against God's will)
AIDS is God's punishment (crucify me, Lord!)
Crucify me, Lord!
Crucify me, Jesus
AIDS is God's punishment (Usher! Please stop this!)
Roast me in your flames, haha!
AIDS is God's punishment
Please stop this music!
You wanted a gospel play
Well, this is the only way I know how to do it
These lyrics from Lee Morgan's song "Little T" represent a powerful and emotional conversation between a mother and her child. The first verse portrays a conflict between the two parties, with the child expressing confusion as to why the mother believes they hate her. The child denies this claim and asserts their love for the mother. However, the mother questions the child's love by pointing out various disappointments and unfulfilled expectations, such as the absence of a daughter-in-law and grandchild. The mother even mentions her desire for the child to have achieved success and wealth like Tyler Perry.
In the second verse, the child's dream is described as being crushed by the mother's disapproval and judgment. The mother accuses the child of pretending to be someone they're not, comparing them to a white woman. This accusation suggests a rejection of the child's sexuality or identity. The mother further criticizes the child for not meeting her expectations and for continuing to engage in same-sex relationships. The child defends themselves, expressing that they cannot change who they are and highlighting the sacrifices made during their birth. They also emphasize that the mother's words and actions have hurt them deeply.
The third verse reveals more of the mother's perspective, emphasizing her struggle of accepting the child's identity and the pain she believes they have caused her. The mother suggests that the child's actions have caused her tears and regrets, and she questions why they couldn't be the daughter she desired. The mother blames the child for being selfish and not prioritizing her feelings and desires.
The final part of the lyrics takes on a different tone, with the introduction of a gospel choir. The lyrics condemn the child's homosexuality and suggest that AIDS is a punishment from God for indulging in same-sex relationships. The mother and the choir sing about God's punishment for sinners, specifically those who engage in homosexual acts. The lyrics express a harsh judgment and condemnation of the child's identity and lifestyle.
Overall, these lyrics present a complex and emotionally charged dialogue between a mother and her child, exploring themes of love, disappointment, judgment, and rejection. It reveals a deep conflict arising from the child's sexual identity, with their mother struggling to accept and understand them. The song also incorporates religious themes, portraying the mother's beliefs about homosexuality as a punishable sin.
Lyrics © Kobalt Music Publishing Ltd.
Written by: Michael R. Jackson
Lyrics Licensed & Provided by LyricFind