Dexter Gordon - The Jumpin' Blues (1970)

Dexter Gordon - The Jumpin' Blues (1970)

jazz | 1cd | eac-flac-cue-log-cover | 240MB

OJCD-899-2

Allmusic:
Although tenor saxophonist Dexter Gordon seemed to have been largely forgotten in the U.S. during his long residence in Europe, he was playing in prime form during the period and made occasional trips back to America. On this CD reissue, Gordon teams up with pianist Wynton Kelly (one of his last recordings), bassist Sam Jones and drummer Roy Brooks for an obscure original ("Evergreenish"), "The Jumpin' Blues," the veteran ballad "For Sentimental Reasons" and three songs that were long a part of Gordon's repertoire: "Star Eyes," "Rhythm-A-Ning" and "If You Could See Me Now." Dexter Gordon is in fine form on the excellent straightahead bop set.

Tracks
1. "Evergreenish" - 6:02
2. "For Sentimental Reasons" (William Best, Deek Watson) - 6:49
3. "Star Eyes" (Gene de Paul, Don Raye) - 5:21
4. "Rhythm-a-Ning" (Thelonious Monk) - 6:51
5. "If You Could See Me Now" (Tadd Dameron, Carl Sigman) - 6:34
6. "The Jumpin' Blues" (Jay McShann, Charlie Parker) - 5:46

Personnel
* Dexter Gordon - tenor saxophone
* Wynton Kelly - piano
* Sam Jones - bass
* Roy Brooks - drums

 sample & buy: The Jumpin' Blues 

 

Dexter Gordon - Daddy Plays The Horn (1955)

Dexter Gordon - Daddy Plays The Horn (1955)

jazz | 1cd | eac-flac-cue-log-cover | 190MB

Betlehem/Avenue

Allmusic:
During a period of Dexter Gordon's (tenor sax) life -- when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays the Horn (1956). Joining him as key constituents of the credited Dexter Gordon Quartet are Kenny Drew (piano), Leroy Vinnegar (bass), and Larry Marable (drums). While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition "Daddy Plays the Horn." In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie "Bird" Parker's bop standard "Confirmation" is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation. Drew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays the Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. "Darn That Dream" embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. The generically monikered "Number Four" is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone. Drew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. "Autumn in New York" -- the album's other essential ballad -- is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, "You Can Depend on Me" rounds out the platter with a bang. Each bandmember gets a final opportunity to shine -- which they individually take full advantage of. In 2005, the Shout! Factory label reissued Daddy Plays the Horn, placing the six selections in the correct running order, and the digital remastering by Randy Perry has the classic sounding better than ever.

Tracks
-1. "Number Four" (9:08)
-2. "Autumn in New York" (7:50)
-3. "You Can Depend On Me" (4:21)
-4. "Daddy Plays the Horn" (4:51)
-5. "Confirmation" (6:30)
-6. "Darn That Dream" (8:59)

Personnel
* Dexter Gordon — tenor saxophone
* Kenny Drew — Piano
* Leroy Vinnegar — Bass
* Lawrence Marable — Drums

sample & buy: Daddy Plays the Horn
 

Dexter Gordon - Dexter Calling... (1961) (RVG)

Dexter Gordon - Dexter Calling... (1961)

jazz | 1cd | eac-flac-cue-log-cover | 335MB

Blue Note | RVG 24-bit remaster

Allmusic:
Dexter Gordon's second recording for the Blue Note label is a solidly swinging affair, yet constantly full of surprises. It's not unexpected that Gordon's tenor at this time -- 1961 -- is 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. This SACD edition features a broad range of jazz that Gordon mastered with wisdom and a bit of mad abandon on his solos. 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. He constantly keeps the song form in mind, riffing on and on without violating the basic note structures, constantly reharmonizing, shuffling the chords like a card dealer and updating the song form. "The End of a Love Affair" takes this concept into an area where his deep, subtle voice is translated directly into the low-slung voicings of his horn. The remarkable "Modal Mood" combines hard bop with Drew's three-chord piano repetitions and Gordon's soulful, simplified sax, while the equally impressive "Clear the Dex" steamrolls the competition as the band -- cued by Jones -- skillfully pushes or pull tension and release elements, then busts loose into joyous swinging in a true signature tune that is immediately recognizable as only the long, tall tenor man. The sad ballad "Ernie's Tune" is based on a yin/yang theme via Freddie Redd's stage play The Connection and the crazy character that ran wild or tame. There's a previously unissued track, "Landslide," which sounds slightly like a knock-off of one of his other tunes -- perhaps "Cheesecake" -- but considering the time frame, it could be a prelude to one of his most famous songs of all time. The excellent band, solid musicianship, and memorable music on every track make this one of the more essential recordings of Gordon's career, enhanced by the improved audio quality.

Tracks
-1. "Soul Sister" - 7:45
-2. "Modal Mood" (Kenny Drew) - 5:23
-3. "I Want More" - 5:20
-4. "The End of a Love Affair" (Edward Redding) - 6:53
-5. "Clear the Dex" (Drew) - 4:54
-6. "Ernie's Tune" - 4:16
-7. "Smile" (Charlie Chaplin) - 3:23
-8. "Landslide" - 5:15 Bonus track
All compositions by Dexter Gordon except as indicated

Personnel
* Dexter Gordon - tenor saxophone
* Kenny Drew - piano
* Paul Chambers - bass
* Philly Joe Jones - drums

sample & buy: Dexter Calling

Dexter Gordon - One Flight Up (1964) (RVG)

Dexter Gordon - One Flight Up (1964)

jazz | 1cd | eac-flac-cue-log-cover | 320MB

Blue Note | RVG 24-bit remaster 2003

Allmusic:
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, addressing the restrictions the American music scene placed on artists to do the two- to three-minute hit. With the nearly 18-minute "Tanya" and the 11-minute "Coppin' the Haven," Gordon and his quintet, featuring trumpeter Donald Byrd, were able to jam at length with no thought of being edited, and they fully prolong their instrumental remarks in a way few other musicians -- jazz or otherwise -- would allow themselves. Yes, it would be difficult to hear these tracks on the radio, but the tradeoff was a listening experience for their fans that would also showcase a rare commodity in the lexicon of their style of post-bop mainstream jazz -- consistency. The simple, sweet, and lightly swinging "Tanya" has become a classic song, and it is a staple in most saxophonists' diets, even though the supportive chord structures from pianist Kenny Drew and Byrd's up-front brass are more attractive or noticeable than Gordon's bluesy tenor. Memorable for many reasons, Drew's brilliant composition "Coppin' the Haven" is textbook modern jazz, a modal minor-key delight as Byrd again dominates with a shining, gliding melody tacked on to an easy swing that exemplifies the song form for jazz in its best sense. Gordon steps up apart from the trumpeter on the great ballad "Darn That Dream," and is at his best, wringing every regretful emotion out of his horn as only he can. The CD version contains the bonus track "Kong Neptune" sans Byrd, a good swinger that cops from no other influences, merging the mythical strengths of the two creatures in its title via Gordon's muscular, lithe, and athletic on-land and at-sea horn. At around 47 substantive minutes of music, One Flight Up stands as a testament to Dexter Gordon's viability as a bandleader and teammate, while his individualism is somewhat sublimated. It's a good listen to digest all the way through, especially if you are as patient as the performers, who have a lot to say.

Tracks
1. "Tanya" (Donald Byrd) - 18:18
2. "Coppin' the Haven" (Kenny Drew) - 11:18
3. "Darn That Dream" (Eddie DeLange, Jimmy Van Heusen) - 7:29
4. "Kong Neptune" - 11:00 Bonus track on CD reissue
All compositions by Dexter Gordon except as indicated
Recorded at Barclay Studios, Paris, France on June 2, 1964

Personnel
* Dexter Gordon - tenor saxophone
* Donald Byrd - trumpet (tracks 1 & 2)
* Kenny Drew - piano
* Niels-Henning Orsted Pedersen - bass
* Art Taylor - drums

sample & buy: One Flight Up

Dexter Gordon - XXL: Live At The Left Bank (1969) (eac-log-cover)

Dexter Gordon - XXL: Live At The Left Bank (1969)

jazz | 1cd | eac-flac-cue-log-cover | 210MB

Prestige | rel: 2002

Allmusic:
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). And on this track, Percy Brice delivers one of what may be only two or three truly interesting drum solos in the history of jazz. The second tune is a version of "Misty" that comes across as surprisingly robust and rhythmically driven, despite its slow tempo and balladic melody; here, again, Gordon shines on an unusually long performance. The program culminates with a 22-minute rendition of "Love for Sale," which is given a gently propulsive and faintly Latin-tinged arrangement. Whether this can be considered an essential Dexter Gordon document is open to debate, but for those with a particular interest in the artist, it can be recommended without reservation.

Tracks
-1. "Rhythm-A-Ning" - Monk - 24:12
-2. "Misty" - Burke, Garner - 10:14
-3. "Love for Sale" - Porter - 21:58

Personnel
*Dexter Gordon: tenor sax
*Bobby Timmons: piano
*Victor Gaskin: bass
*Percy Brice: drums

sample & buy: Xxl

Dexter Gordon - GO! (1962) (RVG) (eac-log-cover)

Dexter Gordon - GO! (1962)

jazz | 1cd | eac-flac-cue-log-cover | 300MB

Blue Note | RVG edition 24-bit remaster

AMG:
From the first moments when Dexter Gordon sails into the opening song full of brightness and confidence, it is obvious that Go! is going to be one of those albums where everything just seems to come together magically. A stellar quartet including the stylish pianist Sonny Clark, the agile drummer Billy Higgins, and the solid yet flexible bassist Butch Warren are absolutely crucial in making this album work, but it is still Gordon who shines. Whether he is dropping quotes into "Three O'Clock in the Morning" or running around with spritely bop phrases in "Cheese Cake," the album pops and crackles with energy and exuberance. Beautiful ballads like "I Guess I'll Hang My Tears Out to Dry" metamorphosize that energy into emotion and passion, but you can still see it there nonetheless. Gordon had many high points in his five decade-long career, but this is certainly the peak of it all.

Tracks:

-1. "Cheese Cake" (Dexter Gordon) – 6:33
-2. "Guess I'll Hang My Tears Out to Dry" (Jule Styne, Sammy Cahn) – 5:23
-3. "Second Balcony Jump" (Billy Eckstine, Gerald Valentine) – 7:05
-4. "Love for Sale" (Cole Porter) – 7:40
-5. "Where Are You" (Jimmy McHugh, Harold Adamson) – 5:21
-6. "Three O'Clock in the Morning" (Dorothy Terris, Julian Robledo) – 5:40

Personnel:
* Dexter Gordon — tenor saxophone
* Sonny Clark — piano
* Butch Warren — bass
* Billy Higgins — drums

sample & buy: Go!