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…

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.

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.

Short stints with Lee Young, the Fletcher Henderson Orchestra, and Louis Armstrong's big band preceded his move to New York in December 1944 and becoming part of Billy Eckstine's Orchestra, trading off with Gene Ammons on Eckstine's recording of Blowin' the Blues Away. Gordon recorded with Dizzy Gillespie (Blue 'N' Boogie) and as a leader for Savoy before returning to Los Angeles in the summer of 1946. He was a chief part of the Central Avenue scene, trading off with Wardell Gray and Teddy Edwards in many legendary tenor clashes. After 1952, drug struggles resulted in some jail time and periods of indolence during the '50s (although Gordon did record two albums in 1955).

When he expatriated to Scandinavia just before this session in Paris was recorded, Dexter Gordon said he was liberated in many ways, as a jazz musician and as a human being. This is reflected in the lengthy track on this album, a testament to that newly found freedom.

Two exceptional live concerts from the 1960’s : Dexter Gordon in Copenhagen 1969 and Ben Webster in London 1964. Dexter is featured in a quartet format backed by the great Kenny Drew on piano, the late Danish bassist NHOP and the relatively obscure South African drummer Makaya Ntshoko (Ben Webster is present and can be seen among the audience, in the Cafe Montmatre!). Webster’s performance is also with a quartet - featuring the immaculate Stan Tracey on piano, bassist Rick Laird (who 7 years later was a founder member of The Mahavishnu Orchestra), and Jackie Dougan on drums. On “A Night in Tunisia”, Ronnie Scott joins the group - after all, Tracey, Laird & Dougan were his then current quartet and the house trio at his club, although this date was at The Marquee.