Judging from the stack of Dexter Gordon records I have, I love Dexter Gordon.
It’s true! He has the most magical combination of hipness, lyricism, swing and awesomeness. His lines are pure magic.
The Bethlehem Years – From his time in LA, with Kenny Drew, Leroy Vinnegar (greatest walking!), and Lawrence Marable, who I love on Quartet West records. From September, 1955, and absolutely swinging. Now, see, that’s what I’m talkin’ about. I mean, this record is the jam. I think Dexter made it exactly one song without a quote, and Vinnegar’s bass solo (walking, only!) on “Confirmation” should be studied by all bassists for great notes, tone, swing, magic.
The Monmartre Collection, Vol. 1 – Swinging, for sure. Kenny Drew, Niels-Henning Orsted Pedersen and Albert “Tootie” Heath (who is ridiculously burning on this). This July 20, 1967 date finds Dexter on fire. He uses a “call” when trading with Heath on “Sonnymoon for Two” that will show up again and again on these records. And one thing I love about Dexter is not just his ballad playing, but how he uses the Verse of the ballad (most of the time). That, I fear, is a forgotten art form. [Something funny going on in the song titles…]
The Monmartre Collection, Vol. 2: Blues Walk! – Totally great volume 2, starting out with a totally shredding Niels-Henning Orsted Pedersen solo on “Like Someone in Love.” Obviously, this is another totally swinging, fantastic record. Kenny Drew’s solo on “Body and Soul” has some really heavy Bill Evans references in it. And really, I just didn’t have any way of knowing that Tootie Heath is that burning…
Generation – With Freddie Hubbard, Cedar Walton, Buster Williams and Billy Higgins, what could go wrong? Well, the melodies are a bit lifeless, and the piano is weirdly compressed, but otherwise, great. On “Milestones,” when Higgins hints at double time, Hubbard goes nuts – with amazing results! And anyway, the interplay between Higgins and (everyone) Hubbard throughout the whole LP is totally worth the price of admission.
Blues a la Suisse – This record was made at the 1973 Montreux Jazz Festival in Switzerland, and man, this band is on fire. Hampton Hawes on Rhodes, Bob Cranshaw on electric bass, and Kenny Clarke on drums…burning. A bit fusion-y in some places, but a really great electric outing. Hampton Hawes! He sounds so killing on this record! [One prominent jazz record reviewer doesn’t dig this record as much as I do – the sidemen are not “as attuned to Gordon’s music as one would hope” – which is silly. The vibe is so connected and relaxed, it’s a joy to listen to this record. Sheesh.
Ca’Purange – The title track is sort of a boogie woogie tune, which is…uh…unusual. Interesting to hear Dexter with Thad Jones, but the most interesting focal point(s) for me is on the rhythm section, which has Hank Jones, Stan Clarke and Louis Hayes. I love all those cats, so having them on the same date is fascinating. Having said that, the recording quality is a bit stiff, and sometimes – especially because of the reverb on Dexter – it can sound like the cats are in different buildings. “The First Time I Ever Saw Your Face” is, I think, the only instrumental I have ever heard of the amazing Roberta Flack classic from the totally essential First Take. Nice date, even with my complaints.
The Apartment – Better! I usually like the sound of InnerCity records, and this one is no exception. The band is mixed a bit more organically, and even though there are tiny things – a bit dry on the ride cymbal, for example – I’m not distracted by the sound and can focus on the playing. And the playing! Dexter is in fine form with great colleagues, Kenny Drew, Niels Henning Orsted Pedersen, and Albert “Tootie” Heath. They sound great, individually, and collectively. “Wee Dot” poses something shocking – I don’t think I have this anyplace else in my collection: NHOP playing arco! “Candlelight Lady” is a contrafact on…I know I know this…
The Source – Burning! Similar line up to The Apartment, except this adds Jackie McLean and Alex Riel (absolutely shreds) replaces “Tootie” Heath. Wow. Amazing record. Interesting: it looks like later pressings of this LP were “Jackie McLean, featuring Dexter Gordon,” but my version gives Gordon top billing. I wonder what the story was on that…? I mean, even at the end, McLean introduces the band and says some niceties about Dexter – must have been a McLean album, mislabeled?
Bouncin’ with Dex – This amazing session is back to a quartet, but with Tete Montoliu on piano and Billy Higgins on drums, retaining Niels Henning Orsted Pedersen on bass. Another amazing record!
More Than You Know – Ok, this wins huge gold stars for being super weird. I mean, actually, the conception is so clear, and the execution so spot-on that I worry a little about Palle Mikkelborg’s head. He wrote the arrangements and so on, and wow, wow, wow, this record is super crazy amazing. Makes sense, though. He also did Miles Davis’ Aura, which is similarly amazing. And, another reason to check it out is that Niels Henning Orsted Pedersen plays electric bass on some of it.
Biting the Apple – This was recorded on the eve of Gordon’s return to NYC, after a few decades in Europe. A change in personnel results in another completely amazing group. This one has Barry Harris on piano, Sam Jones(!) on bass, and Al Foster on drums. Really wonderful, inventive, swinging record.
Sophisticated Giant – Now, really I should have no issues with this whatsoever. I mean, the band is killing (Woody Shaw? George Cables? Rufus Reid? Victor Lewis? I mean, seriously…!), and the arrangements are wicked slick (by Slide Hampton). It’s a fantastic outing. Ok, I do have some issues with it, but re-read the band and the arranger’s name and see that I’m being silly. It’s just too slick. And, in the hindsight that 2014 offers my ears, I hear More Than You Know as a much more significant album because of its unconventional-ness. This record is fantastic, but so slick, and so well done that it’s almost…I don’t know…less impressive than More Than You Know?
Manhattan Symphonie – Another really slick record, but this time a small group date. For me, the all star is Rufus Reid, who just lays it down so solidly the whole darn time… Admittedly, this arrangement of “Moment’s Notice” is pretty cool, and the update on “Body and Soul” is nice. George Cables seems to always bring something refreshing and needed to the music, too!
Great Encounters – Ok, I was worried. The last couple records were just…not…that…awesome. Now, maybe because some of it is live or maybe because some of it has Johnny Griffin, but whatever, this record cooks. And man, I never really checked out Eddie Gladden, but in the words of Rufus Reid (who sounds fantastic as usual), “Eddie came to play every night. He was the cat.” He sure sounds like that on this record. The way that Gordon and Griffen relate to one another, well, first of all, this is an amazing representation of a bygone era. But the whole blowing session style seems to have vanished! These cats are positively magical together.
Gotham City – This session has a mixed personnel. Cedar Walton (piano), Percy Heath (bass), and Art Blakey (drums) are the rhythm section, with a couple of tunes featuring George Benson (guitar) and one with Woody Shaw (trumpet). I don’t consider this to be Heath’s best work; he sounds like he is struggling, especially on “Blues Walk.” The rest of the band sounds fantastic throughout, although Gordon’s playing is just not as nimble as it once was. I dug listening to this record, but found myself listening primarily to Benson and Blakey.
The Other Side of Round Midnight, featuring Dexter Gordon – This is a nice way to end the stack of Dexter Gordon records. The personnel on this is insanely great, with Ron Carter, Herbie Hancock (also the Producer), Wayne Shorter, and a ton of other fantastic cats. The sound of the recording is delicious, and everyone plays great. On “Round Midnight,” the first track, there’s a rare sound – Ron Carter way up in thumb position. Gordon is not on the entire LP, but he sounds nice when he is there. Wayne Shorter is the MPV, though – he’s amazing!
So, that’s it for Dexter Gordon records! I have a few CDs, and let’s not forget the tons of amazing Blue Note recordings he made…!
Enjoy, R.