Dexter Gordon

Dexter Gordon's second recording for Blue Note is a solidly swinging affair, yet constantly full of surprises. It's not unexpected that Gordon's tenor at this time (1961) was one of the most enjoyable in mainstream jazz, but his transition from the cool California scene to the hotter music environs of New York City had energized his sound and attitude. A first-time pairing with bassist Paul Chambers has something to do with this, but it also inspires pianist Kenny Drew to a great extent, while drummer Philly Joe Jones is his reliable, energetic self, and always works well with Gordon. Where Gordon's fluent melodic sense is perfectly demonstrated during the simple-as-pie groove waltz "Soul Sister," the steady, steamy bopper "I Want More," and the familiar Charlie Chaplin evergreen "Smile," his sense of expanding the specific line upon soloing is truly remarkable…

Unlike many other American expatriates living in Europe, tenor saxophonist Dexter Gordon always managed to play and record with the top musicians while overseas. This excellent sextet session (with trombonist Slide Hampton, trumpeter Dizzy Reece, pianist Kenny Drew, bassist Niels Pedersen and drummer Art Taylor) finds him exploring three Slide Hampton compositions and a trio of standard ballads. The other soloists are fine but Gordon easily dominates the set, playing his brand of hard-driving bop.

Elemental Music presents a complete previously unissued quartet performance by the great Dexter Gordon. This astonishing concert marked Gordon's first appearance ever in Japan, backed by an all-star rhythm section consisting of Kenny Drew on piano, Niels-Henning Orsted Pedersen on bass, and Albert Tootie Heath on drums. The album includes a 16 pg. booklet containing special essays by famed jazz producer Michael Cuscuna and Dexter's widow, Maxine Gordon. The CD version contains 2 bonus tracks, also previously unreleased.

This excellent Columbia album was recorded less than a year after Dexter Gordon's well-publicized tour of the United States following a dozen years spent living in Europe. With assistance from such other major players as trumpeters Woody Shaw and Benny Bailey, vibraphonist Bobby Hutcherson sounds in superlative form on Woody Shaw's "The Moontrane," four standards, and his own "Fried Bananas." In addition to the original program (which features Dexter with an all-star tentet), the 1997 CD reissue adds two 1979 features for vocalese singer Eddie Jefferson ("Diggin' It" and "It's Only a Paper Moon") that were originally released on Gordon's Great Encounters; trumpeter Shaw and trombonist Curtis Fuller co-star with Gordon. An excellent acquisition.

True Blue is led in title under the auspices of Dexter Gordon as a welcome home party conducted by Don Schlitten for the expatriate tenor saxophonist in 1976. Essentially a jam session, this very talented septet features a two tenor-two trumpet front line, utilized to emphasize the soloing strength of the horns, not necessarily in joyous shouts or big-band like unison outbursts. The real star here is Barry Harris, and if you listen closely to his comping behind the soloist or his many colorful chords and single-line runs, you realize how brilliant he continued to be in his prime during this beyond-bebop time frame. The distinctly different, legato flavored sound of Al Cohn contrasts nicely to the broader range and richer tones of Gordon, while Blue Mitchell's warm West Coast trumpet phrasings also run aside but a little behind the animated and clipped brassy sounds of Sam Noto, a player deserving much wider recognition, and playing to the hilt on this recording. The session kicks off with the classic superimposed melodies of "Lady Bird" and "Half Nelson," with melodies split between the trumpet and tenor tandems.

Along with Gene Ammons and Stanley Turrentine, Dexter Gordon was one of the top ballad players of the '60s. Having already made his name in the bebop era and as an expatriate in Europe, Gordon returned to the States to record a series of fine Blue Note discs during the first half of the decade. This edition of the label's Ballads series features Gordon at his peak and in the company of some of hard bop's best players. Whether melding nicely with trumpeter Donald Byrd from a Paris date in 1964 ("Darn That Dream") or locking in with the stellar rhythm section of Sonny Clark, Butch Warren, and Billy Higgins ("Don't Explain"), Gordon delivers his almost sleepy and smoke-filled solos with regal grace. The same can also be said of the rest of this incredible program, including a latter-day live cut from 1978.

This 1963 date is titled for Dexter Gordon's living in self-imposed Parisian exile and recording there with two other exptriates and a French native. Along with Gordon, pianist Bud Powell and Kenny "Klook" Clarke were living in the City of Lights and were joined by the brilliant French bassman Pierre Michelot. This is a freewheeling bop date with the band working out on such categoric standards as "Scrapple from the Apple," and "A Night in Tunisia." In addition, American vernacular tunes such as "Willow Weep for Me" and "Stairway to the Stars" are included. Gordon is at the very top of his game here. His playing is crisp, tight, and full of playful fury. Powell, who at this stage of his life was almost continually plagued by personal problems, never sounded better than he does in this session…

Ready for a 24-minute rendition of Thelonious Monk's "Rhythm-a-ning"? You don't think so? Well, give it a shot - you might be pleasantly surprised. Material from Dexter Gordon's May 1969 concert at the Famous Ballroom in Baltimore has already appeared on another live album (L.T.D., also on Prestige), but the three long tracks presented here are not cold leftovers. Opening with that 24-minute version of "Rhythm-a-ning," Gordon shows himself to be in peak form, improvising for a solid seven minutes without doing anything boring. Pianist Bobby Timmons is playing well too (though he's a bit hard to hear in the slightly unbalanced mix; bassist Victor Gaskin is, unfortunately, practically inaudible)…

The talented Norwegian singer Karin Krog sings standards and her own "Blue Eyes" on this enjoyable collaboration with tenor saxophonist Dexter Gordon. Krog, a versatile vocalist, sounds perfectly at home on such tunes as "Some Other Spring," "How Insensitive," "Jelly, Jelly," and "Shiny Stockings." Dexter is in excellent form (he had lived in Europe at that point for eight years) and the group is completed by pianist Kenny Drew (who switches to organ on "Blue Eyes"), bassist Niels Pedersen, and drummer Espen Rud. This is one of the most accessible Karin Krog releases around and is recommended.