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Nate Morgan - Retribution, Reparation [Analogue Limited Vinyl LP]

Nate Morgan - Retribution, Reparation [Analogue Limited Vinyl LP]

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Remastering by Ray Staff at Air Mastering, Lyndhurst Hall, London

"Pianist/composer Nate Morgan was a member of Union Of God's Musicans And Artists Ascension. Morgan recorded with Horace Tapscott and Rufus (with Chaka Kahn). His playing style was influenced by McCoy Tyner and Horace Tapscott. He is best known for his recording catalogue with Nimbus West Records. ... Pure Pleasure Records deserves recognition for shining a spotlight on the talent of Nate Morgan. Due to his abbreviated career, the recognition has been sparse. This vinyl pressing is excellent with no discernible surface noise. The overall mix is clear and balanced." — 41/2 stars — Robbie Gerson, Audiophile Audition. Read the entire review here.


"Pianist Nate Morgan (1964-2013) was a central figure on the Los Angeles jazz undergound. A core member of the circle around the legendary bandleader, pianist and community organiser Horace Tapscott, Morgan had been part of Tapscott's U.G.M.A.A. (Union Of God's Musicians and Artists Ascension) since he was just a teenager, and was a key member of the Pan Afrikan People's Arkestra, known as ‘The Ark'. Through the 1980s and 1990s he kept the PAPA flame alive, organising the Ark's sprawling songbook, running legendary jam sessions, and keeping LA's deep jazz roots well watered. By the early 2000s he was bringing hard won knowledge to a new generation as part of the Build The Ark collective. He was a musician's musician, at the beating heart of the radical, community-minded Los Angeles jazz network that Tapscott and his associates had first put together in the early 1960s.

"Retribution, Reparation was the second of the two LPs Morgan recorded for Tom Albach's storied Nimbus West imprint. His first, Journey Into Nigritia had been a declaration of arrival laced with energies drawn from Cecil Taylor and Coltrane. One year later, with nods to Herbie Hancock (‘One Finger Snap') and Ellington (‘Come Sunday'), Retribution, Reparation was a confident statement of purpose. Politically charged with pan-Africanist and Black nationalist sentiments inspired by Marcus Garvey, and titled with uncompromising directness, the album focuses the sound world of the Ark into a surging, restless masterpiece of spiritualised modal jazz. With Danny Cortez on trumpet and Ark stalwart Jesse Sharps on saxophones the frontline is explosive (this set is also one of the few places the extraordinary Sharps can be heard in a small group setting), while Fritz Wise and Ark regular Joel Ector hold down the rhythm section. Morgan's forceful, Tyner-like chords and virtuosic solos and bind the music together. From the poised drama of the opening dedication to Tapscott's U.G.M.A.A. (‘U.G.M.A.A.GER') to the propulsive militancy of the title track, Retribution, Reparation spreads the word: ‘Advance to Victory, Let Nigritia Be Free!'" —

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