Archive for the Dexter GORDON Category

Dexter GORDON – Featuring Joe NEWMAN 1976

Posted in Dexter GORDON, JAZZ, Joe NEWMAN on December 23, 2010 by whoisthemonk

Dexter GORDON – Featuring Joe NEWMAN  1976
1995 Issue.


This live set is better than it appears at first glance. The recording quality is excellent and Dexter Gordon (who had recently returned to the U.S. after quite a few years in Europe) is in inspired form, really tearing into his solos with intensity. Trumpeter Joe Newman, who obviously had not played much with Gordon, has to fight to find a place for himself in the ensembles and is sometimes overextended in his solos, but his colorful tone is immediately recognizable. The rhythm section is fine in support with drummer Wilbur Campbell really pushing the group, and pianist Jodie Christian contributing some excellent solos. Not every number is a classic. Newman’s feature on “Ode to Billy Joe” is a bit dull, and there are some unfortunate fadeouts, with the two parts of “Body and Soul” being lengthy fragments from Dexter Gordon solos; “The Shadow of Your Smile” is only comprised of Gordon’s statement, with “Softly” ending during Newman’s spot. However, Dexter Gordon’s heated improvisations on “Tangerine” and “Walkin'” are both quite memorable. So, this album is easily recommended to fans.
By Scott Yanow. AMG.
Before Dexter Gordon’s historic U.S. homecoming tour in the late 1970s, he and fellow expatriate Joe Newman visited Chicago for these live dates at the Jazz Workshop. They teamed up with the great jazz trio of drummer Wilbur Campbell, bassist Eddie DeHaas (misspelled in the liner notes) and pianist Jodie Christian to play a stack of standards with hard swinging in mind. Christian in particular sounds very inspired, ripping off huge lines or chords at will and freely with masterful dexterity. Gordon and Newman were old friends since the ’50s, and it shows in not only their ability to play together, but their deference to each other’s solo space and leadership roles. Yes, this is Gordon’s bandstand as he takes the bulk of the solos, clearly chose the repertoire, and does the announcing, but Newman is no slouch, and sounds as good as ever, playing precise lines that at times exudes a confidence greater than Gordon. Much more than a simple jam session with a pick-up band, Gordon and Newman come out of the box roaring on “Tangerine,” with the trumpeter’s sweet harmony lines giving way to Gordon’s classic hard bop sound, and Christian boosting the group over this lengthy warm-up. They tear into “Softly, As in a Morning Sunrise,” a vehicle perfectly suited for wailing at a steady tempo as the two horns play together, while on “Walkin’,” Newman jumps ahead of the tenor man as if he knows the tune better, convincingly leading out while Gordon plays the harmonic part. Newman’s feature is the curious pop song “Ode to Billy Joe,” turned into a soul-jazz piece, quiet for the bulk of the tune with the trumpeter and DeHaas opting for their own take on the controversial lyric turned instrumental, then turning it into a funky postlude swing. Gordon’s two part “Body & Soul” may have been marred by a reel recorder running out of tape, split up by a gaping hole of silence, then faded in. He also does “The Shadow of Your Smile” without Newman, and it is all classic, romantic, and sultry Dex. Collectors should want this well-recorded one-shot session between two acclaimed jazz masters that the U.S. turned their back on for all the wrong reasons. That they returned to America treating us with their gifts, and that they were documented so lovingly here, is something we should all be thankful for. Are there any additional tracks for further volumes?
By Michael G. Nastos.

Dexter Gordon- (Tenor Sax)
Joe Newman- (Trumpet)
Jodie Christian- (Piano)
Eddie Dehase- (Bass)
Wilbur Campbell- (Drums)
01. Tangerine  13:35
02. Ode to Billie Joe 5:31
03. Body and Soul, Pt. 1  4:43
04. Body and Soul, Pt. 2  4:03
05. Softly   7:37
06. The Shadow of Your Smile  5:00
07. Walkin’  15:45
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Dexter GORDON – Bopland (The Legendary Elks Club Concert L.A. 1947) 2004

Posted in Dexter GORDON, JAZZ on December 16, 2010 by whoisthemonk

Dexter GORDON – Bopland (The Legendary Elks Club Concert L.A. 1947) 2004
Recorded at Elks Auditorium Jazz Concert-Dance, Los Angeles, July 6th 1947


At long last the historic Elks Club Concert from 1947 has been released in its entirety. This event has been excerpted countless times on 78s, 10″ LPs, 12″ long-players, and even on CDs both officially issued and pirated. The significance of the concert can hardly be overstated, since it features a sheer who’s who of the Los Angeles Central Avenue jam scene at the dawn of the bebop era. While Dexter Gordon is a prominent figure in this collection, he is by no means the only one. Gordon was a featured soloist with the Howard McGhee Orchestra in 1947, and the other players in this illustrious outfit include Wardell Gray, Sonny Criss, Hampton Hawes, Barney Kessel, McGhee (of course), Trummy Young, drummer Roy Porter, and bassist Harry Babasin. The 19-plus minute jam on “Bopera” (aka Coleman Hawkins’ “Disorder at the Border”) is a stunning cutting session featuring burning solos from the players. The other orchestras on this amazing evening included Wild Bill Moore’s — which starred pianist Russ Freeman and tenor man Gene Montgomery — and Earl Coleman with the Al Killian Orchestra, featuring Gray, Freeman, Criss, Kessel, and Red Callender. In addition, the loose, one-night-only collective the Bopland Boys was an amalgam of the McGhee group and the rhythm section from the Killian orchestra. Over the three discs here are stretched-out blowing sessions, woolly blues, and stridently played standards — all with top-notch soloing. What is most significant, aside from having this material assembled together for the first time, is that this is the first time anywhere listeners have gotten to hear the much-rumored extended take of “Perdido” until now. Over 20 minutes in length and played by the Moore band, it is one of the highlights of recorded jazz in the 1940s. Add to this the startlingly brutal “Bopland” (aka “Byas-A-Drink”), the slippery “Bop After Hours,” and the beautiful and swinging “What Is This Thing Called Love,” and you have one amazing package. Given the venue and the different cutting lathes (these were cut straight to 16″discs from the inside out), there are some quality problems; the overall fidelity is decent but certainly not more than that — but nothing to seriously mar the offering. Recommended.
By Thom Jurek. AMG.
Three discs which make up almost three hours of music. Digitally remastered with the noise reduction system used judiciously. The sound itself suffers from initial recording problems ,to occasional musicians being off-mic. The sound is a bit flat,but is very acceptable. After saying the above,I would have to say if you like/love jazz,and want to hear the beginnings of hard-bop jazz on the West Coast-buy this.

In one package you have the entire concert/dance the way it was played. Some of the music was not recorded-the stylus was simply lifted off the acetate discs,for whatever reason,however,it’s not missed. What there is,is a good look at jazz in Los Angeles in the late 1940’s. There are several bands that consist of a revolving group of players. People like Howard McGhee-trumpet,Sonny Criss-alto sax,Dexter Gordon and Wardell Gray-tenor saxes,Barney Kessel-guitar,Hampton Hawes and Russ Freeman-pianos,plus several others who make up some swinging groups. Be aware that a lot of the unreleased material is very short and doesn’t really add a great deal to the music. Saying that,it’s nice to have it all in one place because it gives a real feel for the times.

The tracks of most interest are quite lengthy-13-21 minutes or so in length. The booklet notes break down the solos on these pieces so that the listener will know without a doubt who’s playing. This is ideal and I wish it was done in more instances. It’s amazing to think that Dexter Gordon was in his twenties,along with several others,when this was recorded. The contrast between the younger players and the older,more traditional players gives the music a real appeal because the merging of styles came together in such a fine way.

The booklet is informative in giving the listener a bit of insight into the era in which this music was recorded. The graphics on the packaging too,are in keeping with the era. All in all,a very nice package. This is one of those instances where good jazz,combined with historical interest comes together to make a set of significance-it should be more well known.
By Stuart Jefferson.
This set catches Dexter in an early exciting phase of his playing. He has always been really special. There was a lot of write ups of Dexter Gordon’s duels with Wardell Gray. You just did not get the feel of it from their duel record which came from a couple of 78’s.

When you hear the audience greet Wardell Gray, they are reasonably enthusiastic and welcoming. When Dexter Gordon is announced, the crowd goes crazy. The set it worth it just for the moment when Dexter is announced. For a moment, you are really going back in time when Dexter was really cutting his teeth.

The music is fine. It is a jam session with all of the sloppiness of an unrehearsed session, but with all of the excitement of the unknown and surprise.

This is a set worth having, but it is really for collectors and specialists. Fans that heard Dexter in the 1970’s during his American comeback when he was playing with a modern, post-bop rhythm section with players of extraordinary technique and facility may be disappointed.

If you want to hear Dexter with a modern band (George Duke, Rufus Reid, and Eddie Gladden) in a club mileau with virtuoisity and flare to spare, buy Dexter Gordon at the Both/And Club. The sound is not perfect. Apparently, George Duke rescued the tape from obscurity and decrepidness, but it is a hell of a ride.
By L. Topper.
Despite its mixed sonic quality, Bopland is a historic three-CD treasure. It contains as much as could be gleaned from surviving acetates of a July 6, 1947 jazz summit featuring some of the West Coast’s finest emerging musicians at the time. It was a mere two to three years after Charlie Parker and his collaborators began changing the face of modern jazz, principally in New York.
This evening concert at the Elks Club in L.A.—billed as an evening for dancers as much as pure listeners—featured four different combinations of players. Among the featured soloists were saxophonists Dexter Gordon, Wardell Gray, and Sonny Criss; trumpeters Howard McGhee and Al Killian; trombonist Trummy Young, guitarist Barney Kessel, and teenage pianist Hampton Hawes.

Gordon’s extended solo showcase on “Cherokee” (called “Geronimo” here) and “Bop After Hours” are among the highlights. A 20-minute version of “Perdido” (featuring veteran tenor players Bill Moore and Gene Montgomery) seemed to get the wildest crowd response that night. It pales in musical comparison to an 18-minute version of “The Hunt” that was primarily an extended tenor sax battle between the younger Gordon and Gray.

The latter tune soon surfaced in an eight-part series of 78 rpm recordings on producer Ralph Bass’ Bop! Records. The inventiveness and ideas make the music fresh and interesting, even 57 years later. And it makes me wonder if they were recordings that caught the ear of Ellington tenor great Paul Gonsalves. The raw energy of those solos predated his historic one-man, 27-chorus tenor “battle” at Newport in 1956.
By Ken Franckling.
Howard McGhee Orchestra,
Bill Moore Orchestra,
Al Killian Orchestra and
The Bopland Boys featuring combinations of;

Dexter Gordon, Wardell Gray, Wild Bill Moore, Gene Montgomery- Tenor Saxophone;
Sonny Criss- Alto Saxophone
Al Killian, Howard McGhee- Trumpet;
Trummy Young- Trombone;
Hampton Hawes, Barney Kessel- Guitar;
Russ Freeman- Piano;
Red Callender, Harry Babasin, Shifty Henry- Bass;
Roy Porter, Tim Kennedy, Leroy Gray- Drums;
Earl Coleman- Vocals.
01. Tune-Up/Announcement 2:44
02. Bopera (Disorder at the Border) (Hawkins) 20:53
03. What Is This Thing Called Love ? (Porter) 15:36
04. Body and Soul [#/take] (Green) 1:50
05. Back Breaker [#/take] (Eyton, Green, Heyman, Sour) 16:22

01. Tune-Up/Announcement 2:09
02. Bopland (aka Byas-A-Drink) (Byas) 20:09
03. Bop After Hours (After Hours Bop) [#] (Unknow) 18:31
04. The Hunt (aka Rocks ‘n’ Shoals) (McGhee) 18:08

01. Perdido [#] (Drake, Langsfelder, Tizol) 21:24
02. Merry Go Round Blues [#] (Unknow) 0:14
03. Blowin’ With Bass [#/take] (Unknow) 6:02
04. Blow, Blow, Blow [#/take] (Unknow) 14:10
05. Geronimo (Cherokee) (Noble 21:25
06. Unknown Theme [#] [take 1] 0:51
07. Unknown Theme [#] [take 1] 0:53

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Dexter GORDON – Mosaic Select 2005

Posted in Dexter GORDON, JAZZ on December 4, 2010 by whoisthemonk

Dexter GORDON – Mosaic Select 2005
Label: Mosaic Select
Recorded live at the Keystone Korner, San Francisco Recorded on
May 13 (A), May 16 (B), September 16 (C), September 17 (D), 1978 and
March 23 (E), March 24 (F), March 27 (G), 1979


These live 1978 and 1979 sessions from San Francisco’s Keystone Korner show tenor sax player Dexter Gordon at his best with a fine rhythm section of George Cables on piano, Rufus Reid on bass and Eddie Gladden on drums. The musicians stretch out for eight to 20 minutes on each of the 14 tunes in this three-disc set, giving themselves ample time to improvise. After 16 years in Europe and elsewhere, Gordon had returned to the U.S. about a year before these tunes were recorded. Like all Mosaic products, this box is a top-quality effort. The thee-disc Mosaic Select issues are quickly gaining the same status as the company’s larger box sets, which have been the standard for classy jazz for many years.
By  Steve Emerine
Nights at the Keystone dates from a couple of years after Dexter Gordon had returned triumphantly to America (1978-79). He took strong solos on several lengthy performances. One can fault the occasional excess of song quotes (especially “Laura,” which seemed to pop up in every solo) but Gordon’s authoritative sound, freshness of ideas and confident explorations easily compensated. Pianist George Cables was often in dazzling form (check out “Tangerine”) and was continually inventive. Bassist Rufus Reid and drummer Eddie Gladden were perfect in support. In addition, the ambience of the late, lamented Keystone Korner, San Francisco’s top jazz club and possessor of one of the most knowledgeable jazz audiences anywhere, can be felt. Mosaic has packaged all three volumes into a single box as number 14 in its limited-edition Select Series. It features gorgeously remastered sound, original sequencing, and a 16-page booklet with copious notes and full session information.
By Scott Yanow and Thom Jurek. AMG.
Dexter Gordon- Tenor Sax
George Cables- Piano
Rufus Reid- Bass
Eddie Gladden- Drums
01. It’s You Or No One (B) (J. Styne-S. Cahn) 10:26
02. Sophisticated Lady (E) (Ellington-Parish-Mills) 12:32
03. Antabus (A) (Dexter Gordon) 7:41
04. Easy Living (F) (L. Robin-R. Rainger) 17:19
05. Backstairs/LTD (F) (Dexter Gordon) 14:30

01. The Panther (E) (Dexter Gordon) 17:09
02. Tangerine (B) (V. Schwertzinger-J. Mercer) 13:10
03. More Than You Know (G) (Youmans-Rose-Eliscu) 11:11
04. Gingerbread Boy (D) (Jimmy Heath) 12:07
05. Come Rain Or Come Shine (B) (H. Arlen-J. Mercer) 19:30

01. You’ve Changed (F) (B. Carey-C. Fischer) 18:32
02. Body And Soul (C) (Green-Heyman-Sour-Eyton) 16:59
03. I Told You So (D) (George Cables) 13:42
04. As Time Goes By (F) (Herman Hupfield) 15:23

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Dexter GORDON – Dexter Rides Again 1958

Posted in Dexter GORDON, JAZZ on December 2, 2010 by whoisthemonk

Dexter GORDON – Dexter Rides Again 1958
Recorded between October 30, 1945 and December 11, 1947
1996 Issue. MG-12130


Taken from three separate sessions from 1945-’47, Dexter Rides Again showcases prime bebop sides Gordon cut for Savoy. His unique adaptation of Charlie Parker’s alto conception to the tenor saxophone is displayed throughout, revealing a mix of fluid, hard-toned lines and a vibrato-heavy and vaporous ballad sound. And while Gordon’s ballad mastery would come to the fore on his come-back albums for Blue Note in the ’60s, the tenor saxophonist primarily sticks to up-tempo material here, a standard for most bebop sets. Abetted by a collective cast including the fine, yet rarely heard trumpeter Leonard Hawkins, baritone saxophonist Leo Parker, pianists Tadd Dameron and Bud Powell, and drummers Max Roach and Art Blakey, Gordon is in top form on a typical collection of self-penned, utility tunes, dispensing of involved head statements in favor of solo space. Standouts include “Dexter’s Deck,” the lone ballad “I Can’t Escape From You,” and the jam session number “Settin’ The Pace” (Gordon recorded many extended cuts like this with fellow bebop tenor star Wardell Gray, and here teams up with Leo Parker for something like a baritone and tenor cutting contest). For those interested in where elements of both Sonny Rollins and John Coltrane’s distinct style came from, check out these fine Gordon sides; besides the history lesson on wax, there’s a consistent run of top-notch bebop sides to enjoy. For completists, these tracks, plus alternate takes and an excellent session featuring Fats Navarro, are included on Denon’s Savoy reissue package, Settin’ the Pace.
By Stephen Cook, All Music Guide.
From the cover photo of Gordon (in a cowboy hat, saxophone slung over his shoulder, riding away on a horse) to the personnel (which includes Bud Powell, Max Roach and Art Blakey), DEXTER RIDES AGAIN is a classic album. There are fine performances all around, and the album has the edgy, melody-conscious, tightly-knit ensemble feel of the best early bebop records. Gordon’s own compositions, neglected as his career wore on, come to the fore here. They are relatively short, and largely theme-driven in the style of the time.

Gordon was still in his formative years here, and his playing is somewhat less showy than on later recordings–he seems less inclined to extended phrases and rapid-fire flurries, making more use of space and repeated single notes. The approach is appealing, and his famously rich, delicate tone is, even here, oozing all over the place. While neither seminal nor groundbreaking, DEXTER RIDES AGAIN is a fine album of spirited, swinging playing.
This CD of 1940s performances by Dexter Gordon offers a glimpse of “Mister Dexter”‘s daring, explosive energy long before he became the popular, sleepy-eyed tenor sax icon known and adored by the masses. Dexter Gordon was one of the most fascinating bridges between the swing tenor giants (Coleman Hawkins, Lester Young, Ben Webster) and tenors to follow (Rollins, Coltrane, Mobley, etc. etc.), taking some of Charlie Parker’s innovations but firing up his own sound. Of particular importance: tracks 4-7 are Gordon’s 1946 collaborations with the great Bud Powell. Also, the work of Tadd Dameron, underappreciated baritone saxophonist Leo Parker on tracks 1-3. For any Gordon novices who are only familiar with his big bleating sound from the 1970s on, learn how he sounded when younger.
Bass- Curly Russell (tracks: 1 to 7) , Gene Ramey (tracks: 8 to 11)
Drums- Art Blakey (tracks: 1 to 3) , Ed Nicholson (tracks: 8 to 11) , Max Roach (tracks: 4 to 7)
Piano- Argonne Thornton* (tracks: 8 to 11) , Bud Powell (tracks: 4 to 7) , Tadd Dameron (tracks: 1 to 3)
Saxophone [Baritone]- Leo Parker (tracks: 1 to 3)
Saxophone [Tenor]- Dexter Gordon
Trumpet- Leonard Hawkins (tracks: 4 to 7)
01. Dexter’s Riff (Gordon) 2:43
02. Settin’ the Pace, Pts. 1 & 2 (Gordon) 5:52
03. So Easy (Gordon) 2:38
04. Long Tall Dexter (Gordon) 3:00
05. Dexter Rides Again (Powell, Gordon) 3:14
06. I Can’t Escape from You (Robin, Whiting) 3:13
07. Dexter Digs In (Gordon) 2:56
08. Dexter’s Minor Mad (Gordon) 2:40
09. Blow Mr. Dexter (Gordon) 2:55
10. Dexter’s Deck (Gordon) 2:54
11. Dexter’s Cuttin’ Out (Gordon) 3:06

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Dexter GORDON – Live in ('63 & '64) 2007 (AVI)

Posted in Dexter GORDON, JAZZ, MOVIES on November 27, 2010 by whoisthemonk

Dexter GORDON – Live in (’63 & ’64) 2007 (AVI)
Holland, Switzerland and Belgium

YOU BETTER WATCH THIS…and not only once.
Jazz Icons Dexter Gordon features three concerts filmed in 1963 and 1964 in Holland, Switzerland and Belgium that highlight the bebop legend’s classic style and silky tone. Filmed while Dexter was living in Europe, these shows feature legendary side musicians such as Art Taylor (drums) and Kenny Drew (piano) and jazz classics Blues Walk, A Night In Tunisia, Body And Soul and others. One of the most influential saxophonists in jazz history (both John Coltrane and Sonny Rollins claim him as an influence), Dexter Gordon is captured in sharp form and style on this 70-minute tour de force.
Dexter Gordon fans will find plenty to love on this DVD of three European TV shows filmed in the 1960s. Dexter is in top form on seven songs, really stretching out and getting the lion’s share of the solo time.

The band on “Second Balcony Jump” and “You’ve Changed” consists of Dexter, Kenny Drew(p), Gilbert “Bibi” Rovere(b), and Art Taylor(d). The rest of the program has George Gruntz(p), Guy Pedersen(b), and Daniel Humair(d) backing Dexter on “A Night in Tunisia”, “What’s New”, Clifford Brown’s “Blues Walk”, “Lady Bird”, and “Body and Soul”. The ballads are masterful and gorgeous (of course). I think “You’ve Changed” is even better here than on his “Doin’ Alright” album.

You can find some of these performances on youtube if you want an idea of what you’ll get, just keep in mind the picture and sound quality are much better on the DVD (quite good in fact). Also, the liner notes by Dexter’s widow are excellent- informative and very entertaining.

If you’re a fan of Dexter’s Blue Note albums you won’t be disappointed. If you’re unfamiliar with this tenor giant, this is a good place to start.
By  Waylon Feedback.
One easily understand why Dexter Gordon loved living in Europe during the 1960s and ’70s. He had regular opportunities to play and record, lots of devoted fans, and no one was concerned about his race. This Jazz Icons DVD showcases the tall tenor saxophonist at the peak of his powers, recorded in three separate live performances in 1963 and 1964, during which he unleashes an intense version of “A Night in Tunisia” that takes it far from normal avenues. Gordon’s majestic treatment of “You’ve Changed” should be required listening for saxophone students, with thoughtful embellishments that never lose sight of the melody. Gordon’s percolating interpretation of “Ladybird” and majestic “Body and Soul” also merit strong praise. The two rhythm sections supporting Gordon do an excellent job as well. Like other Jazz Icons DVDs, this edition has detailed liner notes (in this volume, the saxophonist’s widow Maxine Gordon contributed them), vintage photographs, and a thorough discography. Warmly recommended.
By Ken Dryden. AMG.
Jazz Icons: Dexter Gordon features three concerts filmed in 1963 and 1964 in Holland, Switzerland and Belgium that highlight the bebop legend’s classic style and silky tone. Filmed while Dexter was living in Europe, these shows feature legendary side musicians such as Art Taylor (drums) and Kenny Drew (piano) and jazz classics “Blues Walk”, “A Night In Tunisia”, “Body And Soul” and others. One of the most influential saxophonists in jazz history (both John Coltrane and Sonny Rollins claim him as an influence), Dexter Gordon is captured in sharp form and style on this 70-minute tour de force.
Kenny Drew- Piano
Gibert “Bibi” Rovère, Guy Pedersen- Bass
Art Taylor, Daniel Humair- Drums
George Gruntz- Piano
Holland, 1964:
01. A Night In Tunisia.
02. What’s New.
03. Blues Walk.

Switzerland 1963:
04. Second Balcony Jump.
05. You’ve Changed.

Belgium 1964:
06. Lady Bird.
07. Body and Soul.

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Dexter GORDON – Blues A La Suisse 1973

Posted in Dexter GORDON, JAZZ on November 25, 2010 by whoisthemonk

Dexter GORDON – Blues A La Suisse 1973
P 10079
Montreux Jazz Festival, “Casino De Montreux”, Switzerland, July 7, 1973


This is a fantastic set. The last disc is taken from the album “Dexter Gordon – Blues a la Suisse”, which
was only available on vinyl until the release of this box set. In my opinion this album is unbelievable, it is fantastic!!! Some of Dexter’s best playing. And the reviewer’s comment that the electric piano doesn’t soundright, this is ridiculous. Hampton Hawes totally KILLS IT! So in summary,don’t listen to this reviewer(John Kelman) when he says; the last disc is weak. It is just the in the set!!!!
By Fred Phone.
Thanks for writing Fred. I’m certainly no Luddite, so the idea of electric piano in and of itself is by no means a problem for me, but when I reviewed this box (gee, nearly three years ago, I’d almost forgotten I’d written it!), I felt that it kinda stuck out like a sore thumb. I’ll have to go back and listen to it again to see if I still feel that way.

One of the perils of doing large box set reviews like this is that you immerse yourself in such a large volume of music over a relatively short period of time (if you want to get a review out in a timely fashion, you don’t have the luxury of “living with it” for a period of weeks or months), that certain things seem apparent that might not otherwise, were the music to be absorbed in smaller chunks. So it’s certainly possible that, taken on its own and not in the context of all the other music in the box (and it *was* a lot of fine music!), I might find myself feeling differently about it.

In either case, thanks – a differing opinions is one of the reasons why we have MY AAJ, so readers can post their own views on a review and, in some cases, even kick the reviewer’s ass! 🙂
By John Kelman.
How about that?????
Dexter Gordon- (Tenor Sax)
Hampton Hawes- (Piano, Electric Piano)
Bob Cranshaw- (Electric Bass)
Kenny Clarke- (Drums)
A1. Gingerbread Boy (Heath) 12:48
A2. Blues a la Suisse (Gordon) 10:29
B2. Secret Love (Fain, Webster) 6:05
B1. Some Other Spring (Herzog, Jr.,Kitchings) 14:30
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Dexter GORDON & Wardell GRAY – The Hunt 1947

Posted in Dexter GORDON, JAZZ, Wardell GRAY on November 24, 2010 by whoisthemonk

Dexter GORDON & Wardell GRAY – The Hunt 1947
1977 Reissue. SJL 2222. 2 x Vinyl, LP.
Recorded at the Elks Auditorium in Los Angeles, on July 6, 1947


By 1945, Gordon had left the Eckstine band and was resident in New York, where he was performing and recording with Charlie Parker, as well as recording under his own name. Gordon was a virtuoso particularly famous for his titanic saxophone duels with fellow tenorman Wardell Gray, that were a popular live attraction and that were documented in several albums including **The Hunt** between 1947 and 1952.
This really should have been released when recorded! Wow! Several of the best musicians in the 40s is on this record, led by the two sax giants Dexter Gordon and Wardell Gray. On their own these two giant has made legendary records, such as Gordon’s Go!, Our Man In Paris and One Flight Up. Wardell Gray’s discography, though not very big, includes brilliant records The Chase And The Steeplechase, Memorial Vol. I and II. Well, fuck. You know what? I ain’t gonna write anymore than that. This is a fucking great record and all should try to get a hold of it. It’s quite rare but I don’t care if you have to download it or anything! It is life altering.
By Peter Svendsen.
Bass- Harry Babison (tracks: A, D) , Red Callender (tracks: B, C)
Drums- Connie Kay (tracks: B to D) , Ken Kennedy (tracks: A)
Guitar- Barney Kessel
Piano- Hampton Hawes
Saxophone [Alto]- Sonny Criss
Saxophone [Tenor]- Dexter Gordon , Wardell Gray
Trombone- Trummy Young
Trumpet- Howard McGhee
A. Disorder At The Border 19:20
Written-By – C. Hawkins
B. Cherokee 21:12
Written-By – R. Noble
C. Byas-A-Drink 19:15
Written-By – D. Byas
D. The Hunt (A/K/A Rocks ‘N Shoals) 18:05
Written-By – O. Cadena

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