15 original albums with Dizzy Gillespie, Fats Navarro, Buck Clayton, Freddie Hubbard, Charlie Parker, Gene Ammons, Wardell Grey, Melba Liston, Ben Webster, Duke Ellington, Bud Powell, Hampton Hawes, Billy Higgins, Max Roach, Billy Eckstine and Herbie Hancock, among others…
Blue Note's handy roundup series moves on to chronicle the '60s label stint of a bebop veteran. Returning to the States from Europe to cut several dates, Dexter Gordon managed to produce some of his best stuff for Alfred Lion's venerable jazz company. This fine disc features many of the highlights, including both breezy swingers and dusky ballads. Ranging from an incredible bop long-player with trumpeter Donald Byrd ("Tanya") to one of his patented after-hours smoothies ("Don't Explain"), Gordon reveals his large store of talent with solos that are both intricate and beguiling, and that's his mode for a set that also takes in bossa nova ("Soy Califa") and some fetching originals ("Cheese Cake"). Gordon novices should start here.
Tenor saxophonist Dexter Gordon was still in pretty good form at the time of this later recording. The veteran great is joined by an all-star rhythm section (pianist Cedar Walton, bassist Percy Heath and drummer Art Blakey) along with guest appearances from trumpeter Woody Shaw and guitarist George Benson. Although this boppish set is rather brief (just four songs totalling around 37 minutes), the quality of the solos is quite high.
Since Dexter Gordon's recording career was on hold from 1956-1960, one would have to assume that the 1955 session here is from the Bethlehem catalog, and the 1961-1967 dates are from Blue Note, Steeplechase, and/or Black Lion label dates. Of course, there no attributions for personnel or recording dates, so one can only guess. Gordon sounds good in this period, and the music itself is well chosen.
The title of this Blue Note set, Doin' Allright, fit perfectly at the time, for tenor saxophonist Dexter Gordon was making the first of three successful comebacks. Largely neglected during the 1950s, Gordon's Blue Note recordings (of which this was the first) led to his rediscovery. The tenor is teamed with the young trumpeter Freddie Hubbard, pianist Horace Parlan, bassist George Tucker, and drummer Al Harewood for a strong set of music that is highlighted by "You've Changed" (which would become a permanent part of Gordon's repertoire), "Society Red" (a blues later used in the film Round Midnight), and "It's You or No One."
Dexter Gordon - "5 Original Albums" Dexter Gordon's early recordings for Blue Note from 1961 -65 that have all gained iconic status. [5 CD] Doin' Allright - Dexter Calling - A Swingin' Affair - One Flight Up - Gettin' Around
This single CD anthology is chock-full of the mighty Dexter Gordon (tenor sax) as leader or as primary participant in seven selections showcasing his surprisingly wide array of interpretive skills within the blues. While the majority of the contents have been culled from Gordon's late-'60s and early-'70s Prestige output, the update of Jay McShann's "The Jumpin' Blues" as well as Gordon's own "Sticky Wicket" are both alternate takes that weren't available prior to the all-inclusive 11-disc Complete Prestige Recordings (2004) box set. The latter opens the compilation as the double-sax assault of Gordon and James Moody (tenor sax) is supported by Barry Harris (piano), Buster Williams (bass), and Albert "Tootie" Heath (drums)…
This magnificent album of progressive jazz from the mid-'40s contains the earliest recordings released under Dexter Gordon's name. The opening session finds him in the company of Nat King Cole and Harry "Sweets" Edison. While Cole based much of his piano style on the creative accomplishments of Earl Hines, Gordon named Roy Eldridge and Lester Young as primary influences. The inspiration to emulate Prez, said Dex, "…came like a bolt out of the blue to me…I readily identified with his ideas and concepts…." This is superbly demonstrated in the relaxed jamming atmosphere of the first four tracks, particularly "I Blowed and Gone." Gordon said that by the time he joined the Lionel Hampton band in December of 1940, he'd been listening carefully to Prez "for three or four years"…
Taken from three separate sessions from 1945-'47, Dexter Rides Again showcases prime bebop sides Gordon cut for Savoy. His unique adaptation of Charlie Parker's alto conception to the tenor saxophone is displayed throughout, revealing a mix of fluid, hard-toned lines and a vibrato-heavy and vaporous ballad sound. And while Gordon's ballad mastery would come to the fore on his come-back albums for Blue Note in the '60s, the tenor saxophonist primarily sticks to up-tempo material here, a standard for most bebop sets. Abetted by a collective cast including the fine, yet rarely heard trumpeter Leonard Hawkins, baritone saxophonist Leo Parker, pianists Tadd Dameron and Bud Powell, and drummers Max Roach and Art Blakey, Gordon is in top form on a typical collection of self-penned, utility tunes, dispensing of involved head statements in favor of solo space…