Dexter

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.

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.

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."

This previously unreleased recording features the legendary saxophonist Dexter Gordon with his quartet, George Cables (piano), Rufus Reid (bass) and Eddie Gladden (drums), captured live at the Chateauvallon Jazz Festival in 1978. The 180gm virgin vinyl pressing features extended versions of 'Tangerine' and 'More Than You Know' and is packaged in a gatefold sleeve with liner notes by famed jazz producer Michael Cuscuna, Penguin Guide to Jazz's Brian Morton and Gordon's widow, Maxine. "The original quartet was at its peak from its first notes to its last gig, as this concert bears out. Dexter is in a joyous and fiery mood, peppering his solos with outrageous quotes from other songs and stretching out. Few recordings by this amazing foursome have surfaced. This concert is a worthy addition to their discography."

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.

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.

Dexter Gordon's mid-'60s period living in Europe also meant coming back to the U.S. for the occasional recording session. His teaming with Bobby Hutcherson was intriguing in that the vibraphonist was marking his territory as a maverick and challenging improviser. Here the two principals prove compatible in that they have a shared sense of how to create sheer beauty in a post-bop world. Add the brilliant Barry Harris to this mix, and that world is fortunate enough to hear these grand masters at their creative peak, stoked by equally extraordinary sidemen like bassist Bob Cranshaw and drummer Billy Higgins, all on loan from Lee Morgan's hitmaking combo. The subtle manner in which Gordon plays melodies or caresses the most recognizable standard has always superseded his ability to ramble through rough-and-tumble bebop…

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)…