[8] Around the age of thirteen her vocal gifts were recognized when she was overheard singing the aria "I'll See You Again" from Noël Coward's operetta Bitter Sweet.

[13] When she sang in a Greenwich Village nightclub in 1953, a record label executive took an interest after being impressed with the unique phrasing and multi-octave range.

[14] In the first appearance of Leonard G. Feather's Encyclopedia of Jazz (1960), Morgana King stated that her ambition was "… to become a dramatic actress.

[4][5][18][19] King headlined clubs, concert halls and hotels, and toured throughout the United States, Europe, Australia and South America; e.g.: Basin Street;[20] bla-bla café;[21] Blue Note;[22] Blue Room at the Supper Club;[23] Café Leon;[24] Club Bali;[25][26] Cotton Club;[27][28] Fat Tuesday's;[29] Jilly's;[30] Joe Howard's Place;[31] Kenny's Castaways;[32] Lainie's Room;[33] Les Mouches;[34] Lush Life;[35] Mr. Sam's;[36] Rainbow Grill;[37] Reno Sweeney;[38] Scullers;[39] Sniffen Court;[40] Sweet Basil;[41] The Metropole;[42] Town Hall;[43][44] the Waterbury Hotels;[45] and Trude Heller's.

[46] A few of the venue performances during her active career: the March 1956 Easter Jazz Festival at Town Hall in New York City;[44] she opened Trude Heller's in July 1957 and returned throughout her career for anniversary performances;[46] four months later, in November 1957, along with seven female jazz instrumentalists, she performed at the Jazz Female concert held at Carnegie Recital Hall;[47] the Schaefer Music Festival in June 1976;[48] A Tribute to Billie Holiday at the Hollywood Bowl in July 1979;[49] the AIDS Research – Benefit Bash in 1983,[50] the Benefit for the Theater Off Park in May 1988;[51] the 2nd annual WPBX Jazz Festival at the Fine Arts Theater in August 1989.

"[53] A limited list of artists who performed and/or recorded with Morgana King over the years of her career are Ben Aronov,[54][55] Ronnie Bedford,[56] Ed Caccavale (drums), Clifford Carter,[57] Don Costa,[58] Eddie Daniels,[59] Sue Evans,[60] Larry Fallon,[61] Sammy Figueroa,[62] John Kaye (percussion), Helen Keane,[63] Art Koenig,[64] Steve LaSpina,[65] Scott Lee,[66] Jay Leonhart,[67] Ray Mantilla,[68] Bill Mays,[69] Charles McCracken,[70] Ted Nash,[71] Adam Nussbaum,[72] Warren Odze,[73] Joe Puma,[74] Don Rebic,[75] Jack Wilkins,[76] Joe Williams (bass), and Torrie Zito.

The UCLA Music Library's Jimmy Van Heusen papers include a letter dated September 5, 1965 pertaining to "songs… to be given to Morgana King.

King's 1967 single "I Have Loved Me A Man" appeared in the US "Easy Listening" survey and the Australian Top 20, according to the Kent Music Report.

[53][88] King announced her retirement from performing during an engagement at the Cotton Club in Chicago on Friday, December 10, 1993, and added that her recording would not be affected by the decision.

[89] She continued to perform after that date at the Ballroom,[90] Maxim's,[91] Mirage Night Club (a benefit jazz session),[92] and Roosevelt Hotel's Cinegrill.

[13][36][115][116][117][118] She continued to pursue new forms of expression and presentation by exploring current music trends, which can be heard and read from the list of songs and composers on more than thirty albums.

[122][123][124][125][126] King has been credited with composing "Moe's Blues", a song recorded by Beverly Kenney on Beverly Kenney Sings for Johnny Smith (1955),[3] and "Simply Eloquent", with Monte Oliver, which appears on an album of the same title, initially released in 1986 by Muse Records.

The seminars brought together small groups for recurring meetings every few months held at select venues including Lincoln Center.

Her most re-issued songs are "My Funny Valentine", from Everything Must Change (Muse, 1978), and the title track of For You, For Me, For Evermore (EmArcy Records, 1956).