Blue Note and Beyond

Profile Tommy Morgan

By Tony Engelhart

If anyone belongs in the Washington Blues Society Hall of Fame, it is Mr. Tommy Morgan. For nearly four decades, he has been the backbeat for Little Bill and the Blue Notes. However, while Tommy is best known for his work with “Little” Bill Engelhart, he has worked with nearly all of the greatest Northwest musicians and along the way has cemented his reputation as one of the best drummers in the Seattle/Tacoma area.

Tommy Morgan was born in Spokane, Washington in 1940. The Morgan’s relocated to Tacoma when Tommy was 4. Percussion seemed to be in Tommy’s blood, as Grandpa Morgan played professionally in the early 1900’s. Morgan was officially first turned on to the drums by his uncle Hersh who also played professionally and introduced the youngster to the legendary jazz drummer Gene Krupa. He acquired his first drum kit at age 14. “It was an old blue and silver Slingerland set that I bought from a guy on my paper route for $100,” says Tommy. While other teens were rockin’ round the clock, Tommy was grooving to little known and obscure recordings, “At first, R&B and drum solo records, Gene Krupa, Buddy Rich, Cozy Cole, Sam Woodyard, and Louis Bellson. Then, at about age 19, I started listening to "modern" or "progressive" jazz like Cal Tjader, Dave Brubeck, Art Blakey, Miles Davis, and Cannonball Adderly,” explained Morgan.

After Tommy graduated high school, he attended Olympic College but found their jazz program had a limited focus on drums. Frustrated, Morgan applied for a full scholarship to the Oscar Peterson School. “It was called the Advanced School of Contemporary Music, in Toronto, Canada. The school was very intense. The faculty was Oscar Peterson, Ray Brown and Ed Thigpen. We were at school from 9 a.m. 'til 11 p.m. every day. While I was there I learned what the drummer's role is in a band, and how to be part of a rhythm section, and how the time should be played, and how much I still had to learn,” said Morgan. Even though Tommy was only there for a summer session, when he returned to Tacoma he returned as one of the tightest drummers the city had ever heard. Within a week of his return, Tommy was asked to join the Blue Notes. “It was Bill, Buck, Frank Dutra and me. Bill played bass, Frank played tenor sax. Frank quit after about a year and we formed the trio. Bill switched to guitar, and Buck played bass on the organ.” With the combination of Buck England’s masterful B3, Engelhart’s soulful vocals and Tommy’s steady and reliable kicks, the trio began to draw a large following and recorded the now classic album, Live At The Fiesta. However, after a year and half and a dangerous trip through Jackpot, Nevada the band broke up in 1964.

Upon his departure, Tommy hooked up with a road band called the Jack Woods and Ann Beverly group. The band traveled through Wyoming, New Mexico and Palm Springs playing juke joints and roadside bars. Tommy Morgan’s career outside the Blue Notes is wide ranging and vast. “Let's see, there was a real brief stint with American Dream, which was Danny O'Keefe and Kerry Magnus from The Kingsmen and a guitar player whose name escapes me. I played in a great band called El Funko, with Lee Parker, Patty Allen, Larry Curtis, Dean Tsaparlis, Mike Spotts, Rick Burton, and others. I also played with a bubble gum band for about a year at Mr. P's. The best part of that experience was that Patty Allen would sing about 3 songs a set and that gave me a reason beyond the paycheck to continue,” said Tommy.

The 60’s counter culture was playing catch up to Tommy, but he fully embraced the new wave of ideals and lifestyles, “The '60s started for me at the first Sky River Rock Festival & Lighter Than Air Fair. I saw what was happening that weekend, that there was a whole new culture coming into being. That weekend I made the transition from hipster to hippie and proceeded to do the whole psychedelic trip and back to the country and all that. Those were wild and interesting times.” It was around this time Tommy rejoined Little Bill for a brief period along with Lee Parker and Jim Michelson. However, Bill and Jim were California bound with stars in their eyes, and Tommy elected to stay behind and play with possibly the first white blues man in Portland OR, Wayne Marshal. “Wayne was a great singer and a good harmonica player. He was also a singing bass player and it was fun hanging out with his B3 player Merle Beebe,” said Tommy.

In the late 70’s Tommy found himself in a top-40 band called Breeze; then in an oldies band called 2nd Gear Scratch, “In that band we did four non-stop shows a night. Three were R&B oldies, and one was rock & roll. Larry Curtis was in both of those bands,” said Tommy. Following that he went on the road with a country band in search of his white roots, but found he didn't have any. “I didn't really fit in. I had no cowboy hat, no cowboy boots, and I drove an MG instead of a pick-up truck. I always identified more with the Indians than the cowboys anyway.” Following that, he joined The Reason 4 which Bob Hosko formed to play at the New Climax club in West Seattle. Besides Bob on sax, there was Sarge West on organ and Lee Parker on guitar and vocals. “That was an ill-fated venture, even though we had cool uniforms,” says Tommy.

Once again, Little Bill called on the now road tested veteran drummer to fill the shoes of Larry Harris at the Mint. “I loved that job! I had just come off the road with "M. T. Pockets," the country band, and the second night we had a "Blues Show" with Isaac Scott, Brian Butler and Gary Cerruti as guest artists, one each set. What a workout! I was back where I belonged! That was such a great trio. I had these big old Ludwig drums, and Joe played that big Gibson; it was such a rich, full sound and a very open, free approach. It was great. I also loved The Mint and the people and the Market.” But the years of hard living was catching up with everyone. “All of us, Joe, Bill and I, were still partying pretty hard so it was somewhat unpredictable, but when it was good, it was really good, mostly because of Joe's great guitar work. That all ended for me when Joe got fired by the owner for buying dope from the cook. The trio broke up, and then both Bill and Joe called me to play with them. I couldn't take sides, so I went my own way,” said Tommy.

After leaving Engelhart the third time, Tommy joined a band called Blueport News which was a revolving door of talent including Billy Blue Graham, Kurt Brame, Bob Hill (now owner of the Swiss), Jo Johanson, Buck England, Jay Mabin, Jim Pribbenow, Pete Lira, and Mark Doubleday. “That was a great band. We had a regular weekend job where the owner would pay $50 a man, no matter how many we had, so we always had about 8 or more musicians,” said Tommy.

In the mid-eighties, Little Bill and the Blue Notes had been reduced to a novelty act, playing 50’s and 60’s covers. Bill’s drummer, Jim Becker, called Tommy in to substitute at a bowling alley lounge with Buck England and Lee Parker. Jim then decided to leave all together and offered Tommy his seat. “I had been building my house in Longbranch, and hadn't played much for a couple of years, so I jumped at the chance and have been with Bill ever since,” said Tommy. The band continued to play oldies for about a year before Tommy convinced Bill to get back to his roots, the blues. The duo put a band together consisting of Rich Dangle, Buck England, Robbie Jordan and Randy Oxford. Tommy’s wife, Edie, financed a 6 song blues demo and have never looked back, “It was more successful than we anticipated!” exclaimed Morgan.

Now 16 years later, the rhythm section hasn’t changed and sounds tighter then ever. “Working for Bill has always been a pleasure, and not just because he is a good booker and I have always worked and made money with him. He likes to play music that is somewhat challenging and more interesting than straight blues or rock & roll. We seldom play the same song the same way twice. We do different songs every night. There is not much rehearsing. He always hires excellent musicians. His bass playing is great and we fit together well,” Tommy continues, “Bill is one of my best friends. It helps that we like a lot of the same kinds of music. Plus, some of his fame has rubbed off on me. And he laughs at my jokes.”

After nearly forty years of pounding the skins, Tommy Morgan sounds as good as ever. He has inspired and influenced up and coming drummers and has rightfully earned the respect and admiration of his peers. Reflecting back on his life and career, the mild mannered percussionist simply said, “It's been a very rich and full journey for me.”

Tony Engelhart Quotes Little Bill Engelhart "I have had musicians tell me that when they play with Tommy and I, it's like playing with one musician, not two. I believe that's because Tommy and I kind of think alike musically. We are both in our mid 60's now and plan on playing together until one of us either dies or is put in a rest home. He's one of the best friends I have ever had. If we weren't working together, I would still want to hang out with him."

Buck England “Tom is one of the more pleasant surprises that entered my life. He is a player, teacher, good guy and special friend that has influenced my life and music.

Billy Stapleton “Tommy Morgan is the most musical drummer I’ve ever played with. No matter the song, tempo or feel we’re playing, Tom instinctively knows what the EXACT drum part should be. I always look at him when I’m learning new material, he knows all the accents and stops and I fit my rhythm parts to what he’s playing.

Marlee Walker “ Tom is obviously paired with his musical life partner, Little Bill Engelhart, and it seems to be a great fit for both the band members and the audience. Pleasing his band leader and the crowds with his steady rhythms, Tom brings the perfect subtle touch to Little Bill’s music.

This article was published in the November issue of the Washington Blues Society's Blues Letter.