I remember sitting in Paul’s livingroom, or should I say office. Paul Hoeffler was a great photographer, who lived in a large, old Victorian house in Toronto. It was the biggest room in the house. Filled to the gills with files, photographs, reels of taped music… Jazz playing in the background. Softly. We were going through some boxes together and Paul was telling me stories. I liked to sit and listen, as he would hand me a print to look at. I would take in the circumstances that he was describing, while holding the resulting photograph. It added an extra layer to the conversation. Paul was a great storyteller. One story in particular, which he never actually dictated to me, so I will have to paraphrase, was about his photograph of Lee Morgan.
Paul described Lee Morgan as one of the very best trumpet players he had ever heard. A promising and rising star on the Jazz scene. I am not a musician, so it is hard for me to recount all the superlatives and capabilities as a musician that Paul described, but suffice it to say that he was if not the second coming, at least destined for the stars.
Paul explained that he had been photographing a performance in 1958 of Lee Morgan playing in Rochester with Art Blakey. He had met him the year before in Newport. Paul took a great number of very good photographs of him that night. But the one that struck me, was an unusual photograph for Paul. Taken outside the venue, it is Lee Morgan after the concert. More portrait like, but also very atmospheric. He is holding his horn, as if about to play. His carrying case on the ground. Clearly Paul must have asked him to pull his trumpet out for the photograph. He never did quite explain how that came about. But, here is Lee Morgan in his overcoat, horn near his lips, fingers ready to go, his case on the ground in front of him, a little to his right. He is standing on what looks like wet pavement, with a scattering of leaves around his feet. But, what you immediately notice is the beaten up sign attached to the telephone pole. It reads: No Outlet. The photograph is from 1958.
This photograph Paul saw as a spooky premonition of what was to come in 1972. He often singled out this photograph when I was around and shook his head. Somehow feeling connected to a story that he was not a witness to, nor had any part in, but which he somehow felt.
For those that don’t know, Lee Morgan got introduced to heroin by Art Blakey, during a time when he played with Art Blakey and his Messengers. The down spiral was hard and the heroin quickly took over. He met Helen Moore, who ran a kind of after hours gathering place for jazz musicians, doubling as a soup kitchen for down and out jazz musicians in NY. The story goes that she took pity on Morgan, got his horn back from the pawn shop, and helped him back from the edge.
They remained a couple for 5 years. Never got married. But might as well have been. Morgan came back with a vengeance and unfortunately, so did the bad behaviour; the booze and the womanizing, which Helen took badly, as the story goes.
Moore went to one of Lee’s concerts, at the same time as another woman that Morgan was seeing on the side, at the time. The two women got into a fight during intermission. Helen reportedly went home and picked up a gun and in a fit of anger shot Morgan in the chest during the second set. She was heard screaming: “Baby, what have I done!” as she ran towards the stage.
The joint was appropriately called: Slugs.
Lee Morgan was 33.
Note: I have previously written a blog entry about the great Jazz Photographer Paul Hoeffler. This is my second short entry about Paul.