Like all of the Morgan horn players, this artist's recording career began in 1927 when Sam Morgan's Jazz Band was fortunate enough to be in the final pick of only half a dozen New Orleans jazz ensembles to be recorded by the Columbia label. All the brothers except for the bassist -- who gigged with Isaiah, never Sam -- were among the musical masses hovered around a single recording microphone, an elite assembly of hot players who also included pianist Tink Baptiste, alto saxophonist Earl Fouche, and banjoist Johnny Dave. Four of these recordings were reissued by the Timeless label in a set largely devoted to the groups of Oscar Papa Celestin. The brotherly Morgan band's vintage efforts include Sam Morgan's somewhat vain songwriting boast, Everyone's Talkin' 'Bout Sammy.
Performing opportunities for the group during this period included coveted riverboat gigs on vessels such as The Capitol. An early lesson in the importance of amplification, normally not a topic associated with New Orleans jazz of the '20s, involved a hot competition for a job on this riverboat. Sam Morgan's Jazz Band was literally involved in a playoff with the Fate Marable band, members such as Andrew Morgan pressing hard to top up what was already an extreme case of hometown popularity. It was too much of a threat for the conniving Marable, who tried to take the edge off the sound of the competition by disconnecting some kind of primitive amplification system that the Morgan group was apparently using. Fortunately, a friend of the brothers figured out what had happened, hooked the sound system back up, and the job was won for the Morgans after all. Preservation Hall was a typical venue for Andrew Morgan in subsequent years when riverboats began preferring canned music. ~ Eugene Chadbourne, Rovi