Dexter Gordon

[DukeCity]

This has been a fun thread to read. I would like to extend my personal thanks to Allen for not being the biggest LTD fan. He sold a couple of Black Lion sides to me a few weeks ago, and I have been digging them quite a bit!

[marcello]

On the subject of Dexter, how bad is the "Cool Summer" DVD? It could have been a tade longer with some more information. Has anyone here seen the "Cool Summer" DVD?

Not familiar with Cool Summer or tade. Can you 'splain?

Cool Summer: Dexter Gordon & McCoy Tyner (2002)

From a online review:

When Dexter Gordon takes the stage, he deflects the audience's applause to his horn, but there's a bit of false modesty there, I'd guess. The disc gets right to it, and he sounds great. His performance is intercut with backstage interview footage of him; he doesn't have anything especially revealing to say, and the clips only impede the sense of flow, as they're spliced into the first song in his set. You never really get the feeling of what it's like to be on stage, or even in the audience, but man, Gordon can blow that horn. Unfortunately, we get only a truncated little set, running less than half an hour, of three songs—they are:

Cheesecake

Skylark

Backstage at the Village

Skylark is probably the best of these, a plaintive sax rendition of a torch song standard.

I remember seeing this when it was broadcast on TV (the series was called Harvest Jazz, from 1982 ) and was not very impressed.

The other portion has McCoy Tyner with Bobby Hutcherson, that I have not seen.

Edited January 2, 2006 by marcello

[Jim R]

Ok, don't listen to me, how about Scott Yanow the main bop/hard bop reviewer of AMG, read his reviews of "Strings and Things" and "More Than You Know" I own 80 of his sessions. This includes all of the Blue Notes, all of the Prestige, and with the exception of the above two, all of the SteepleChase plus sessions from Black Lion/1201, his comeback period on Columbia, his early sessions in L.A. with Wardell Gray and Teddy Edwards, the two Bethlehem sessions. The two above SteepleChase sessions pale in comparison the the rest of his discography. But hey, if you like it more power to you and enjoy............................

Just some random thoughts...

I wouldn't even begin to use Yanow's opinions (or any at AMG) as a way of backing up my own.

Believe it or not, there are people here who own more than 80 Dexter recordings.

IMO, "Strings and Things" and "More Than You Know" do not "pale" in comparison to Dexter's other work in terms of quality... they're just different (like "Something Different"). For me, that quartet recording with George Duke is kind of "pale", though. I was never real crazy about that budget album with Lionel Hampton, either.

Fun thread. I have no problem with Allen's posts, either. He's entitled to his opinion, even if there is something seriously wrong with him (but we already knew that).

As usual, it's pretty tough to add anything profound after Sangrey has posted. So, I'm with Jim, Stereojack, Dan, John L... and basically everybody else (except Allen, but he may yet someday own over 100 Dexter recordings).

BTW, the Steeplechase recordings span from 1962 to 1976, and include some great sidemen in addition to the lesser-knowns. I've forgotten exactly why I felt a need to say that, so take it fwiw. Whoever it was that recommended the "Swiss Nights" series as a great example of post-'74 Dexter... BIG

The "Cool Summer" series DVD is worth picking up. Dexter was in good form, and even sported a wine red jacket for the folks at Paul Masson. Cheesy packaging, though.

[marcoliv]

Dexter is my favorite tenor, period!

MCO

[MartyJazz]

On the subject of Dexter, how bad is the "Cool Summer" DVD? It could have been a tade longer with some more information. Has anyone here seen the "Cool Summer" DVD?

Not familiar with Cool Summer or tade. Can you 'splain?

Cool Summer: Dexter Gordon & McCoy Tyner (2002)

From a online review:

When Dexter Gordon takes the stage, he deflects the audience's applause to his horn, but there's a bit of false modesty there, I'd guess. The disc gets right to it, and he sounds great. His performance is intercut with backstage interview footage of him; he doesn't have anything especially revealing to say, and the clips only impede the sense of flow, as they're spliced into the first song in his set. You never really get the feeling of what it's like to be on stage, or even in the audience, but man, Gordon can blow that horn. Unfortunately, we get only a truncated little set, running less than half an hour, of three songs—they are:

Cheesecake

Skylark

Backstage at the Village

Skylark is probably the best of these, a plaintive sax rendition of a torch song standard.

I remember seeing this when it was broadcast on TV (the series was called Harvest Jazz, from 1982 ) and was not very impressed.

The other portion has McCoy Tyner with Bobby Hutcherson, that I have not seen.

The "Cool Summer" DVD of separate sets of Dexter & McCoy is available now on eBay, little time left, for $11.96 + $4.50 for domestic shipping. The fact that there is a cutaway from a performance in order to interview is a turnoff to me but perhaps not to others.

Here.

[Hardbopjazz]

On the subject of Dexter, how bad is the "Cool Summer" DVD? It could have been a tade longer with some more information. Has anyone here seen the "Cool Summer" DVD?

Not familiar with Cool Summer or tade. Can you 'splain?

Cool Summer: Dexter Gordon & McCoy Tyner (2002)

From a online review:

When Dexter Gordon takes the stage, he deflects the audience's applause to his horn, but there's a bit of false modesty there, I'd guess. The disc gets right to it, and he sounds great. His performance is intercut with backstage interview footage of him; he doesn't have anything especially revealing to say, and the clips only impede the sense of flow, as they're spliced into the first song in his set. You never really get the feeling of what it's like to be on stage, or even in the audience, but man, Gordon can blow that horn. Unfortunately, we get only a truncated little set, running less than half an hour, of three songs—they are:

Cheesecake

Skylark

Backstage at the Village

Skylark is probably the best of these, a plaintive sax rendition of a torch song standard.

I remember seeing this when it was broadcast on TV (the series was called Harvest Jazz, from 1982 ) and was not very impressed.

The other portion has McCoy Tyner with Bobby Hutcherson, that I have not seen.

The "Cool Summer" DVD of separate sets of Dexter & McCoy is available now on eBay, little time left, for $11.96 + $4.50 for domestic shipping. The fact that there is a cutaway from a performance in order to interview is a turnoff to me but perhaps not to others.

Here.

The cut away is a big issue with me. Let the tune finish, then cut away for the interview.

[JamesJazz]

First, thanks to Allen Lowe for expressing his viewpoint - prompted me to listen to more Dex! And I (think) I hear what Allen's talking about. Interesting.

My favorite Dexter material are the Dials, Blue Notes and some of his later things. I love his sound, phrasing, drive and spirit...to me those qualities overwhelm any glibness or superficiality (laziness?) that surfaces occasionally.

[JamesJazz]

First, thanks to Allen Lowe for expressing his viewpoint - prompted me to listen to more Dex! And I (think) I hear what Allen's talking about. Interesting.

My favorite Dexter material are the Dials, Blue Notes and some of his later things. I love his sound, phrasing, drive and spirit...to me those qualities overwhelm any glibness or superficiality (laziness?) that surfaces occasionally.

[Guest akanalog]

i have been listening to a lot of late 70s early 80s live dexter gordon recordings recently and let me say i like his choice for sidemen. he seems to stick with the same guys, but i think kirk lightsey/george cables sometimes on piano and eddie gladden on drums are interesting choices. i am having a brain stink right now so i can't remember the bassist on most of this stuff but i think it is rufus reid and he also sounds good. i like that gordon used someone like eddie gladden who has come from some different experiences rather than someone great like ben riley, who i think would have brought something totally fine but different to the equation. same with using lightsey over someone like cedar walton...

[Chuck Nessa]

I have enjoyed (not an adequate word) for over 45 years. My favorite discs are the Black Lions. These seem to capture what I "love" about his playing. All 4 cds are a great portrait of him as an "artist".

I have had more than a few personal experiences with him and think everything posted above applies to him. This life and art ain't easy.

Thanks DG.

[marcello]

Chuck - Did you see at this time in Chicago?

(From my tape collection)

Dexter Gordon

Just Jazz TV Chicago, ILL.

1971

1. Band Introductions 1:19

2. Love For Sale 9:04

3. Sticky Wicket 5:49

4. The Shadow Of Your Smile 6:20

5. Rhythm A Ning 5:23

6. Station Outro 0:58

Dexter Gordon - Tenor

John Young - Piano

Rufus Reid - Bass

Wilbur Campbell - Drums

[Jim R]

Chuck - Did you see at this time in Chicago?

(From my tape collection)

Dexter Gordon

Just Jazz TV Chicago, ILL.

1971

1. Band Introductions 1:19

2. Love For Sale 9:04

3. Sticky Wicket 5:49

4. The Shadow Of Your Smile 6:20

5. Rhythm A Ning 5:23

6. Station Outro 0:58

Dexter Gordon - Tenor

John Young - Piano

Rufus Reid - Bass

Wilbur Campbell - Drums

Fwiw, Sjøgren lists that as from July, 1970, station WTTW "Just Jazz" program... and with slightly different timings. #1 listed as "Long Tall Dexter (theme)". Issued on "Charlie Mingus/Dexter Gordon/Charlie Parker" (J for Jazz JFJ 802).

[Lazaro Vega]

Wow. Just happened to be featuring Dexter Gordon tonight on Jazz From Blue Lake and took up Chuck's advice by cueing a smoking "Sonny Moon for Two" from an old Black Lion LP. God love Kenny Drew.

I thought Dexter got his behind-the-beat phrasing from Lester Young, and who was hipper than Pres? Not Dexter, but he gave it a go; he and Jug.

Heard news that Dex's 1987 Chicago Jazz Festival appearance with Bobby Hutcherson was available on some bit torrent web stream here about a week ago. Sorry, no details. I remember driving by the Petrillo Music Shell stage that night while hearing WBEZ's broadcast of the performance on the car stereo and seeing Dexter riling the out of their minds crowd. Nessa was in there. Had to split and drive to Detroit to get sleep the next day then get up and help anchor the national broadcast of the Detroit Montreux Jazz Festival (the first and only time for such an honor). Here he was larger than life a year after appearing in "Round Midnight" and you can't imagine the adulation from Chicago.

Dexter's solo with Eckstine on "Lonesome Lover Blues" and the way he blends in and riffs with Sonny Stitt, Budd Johnson, Gene Ammons and Leo Parker under the trombone solo, well...no one swings like that anymore. The development of that solo's riff as "Long Tall Dexter" (with Bud Powell's solo extending the idea to a point where all the pearls are about to drop from the string), is great stuff: it swings like mad. Dexter's extended "Cherokee" solo from that live 1947 Central Avenue marathon with Wardell -- he surpassed that at times in the 60's at Monmartre, but there's something about him looping the "High Society" quote in 1947 before punching a riff down the scale, then picking up a variation on "High Society" that's new and surprising. There are "Dexterisms" but those are not limitations in his music, no more than they were in Pres's or Tricky Sam Nanton's, for that matter.

There are many examples of bebop coming out of Pres (Four Brothers), but where did they get the idea for that? The way Gordon "boots" the low notes during his solo on Herbie's "Watermelon Man" shows that Pres influence hung on for a long time. Catch a ride with Pres.

Can only imagine that Dexter, like Young, was into Sinatra. Dex's "Guess I'll Hang My Tears Out To Dry" is melodically sophisticated against Sinatra's purely phrased version, I mean, my God, what an imagination. The extended version of "Guess I'll..." from the Dexter in Radio Land series on Steeplechase is a knockout, too. Same basic arrangement but even more development.

There's no denying the 50's were not his decade (from wence to Dooto) though the Bethlehem quartet recording (Daddy Plays the Horn) and his appearance on Stan Levey's Bethlehem date are memorable.

The Detroit bassist Jaribu Shahid just about wanted to kill me when he read a review I wrote in the Grand Rapids Press praising the Dexter Keystone Recordings that were issued in the 80's on Blue Note. And this was years after the review. Waiting at dinner with the Roscoe Mitchell band when Jaribu, out of the blue, said anyone who thought those Keystone Corner recordings were good didn't know Dexter's true music, that it wasn't the Dexter he knew. He couldn't imagine anyone hearing that as wonderful. My eyes about popped out because who in Detroit would ever see a copy of the Grand Rapids Press?

In Gordon's prime, though, he breaks up the phrases as much emotionally as he does musically...I mean Dexter's an entertainer, too, coming out of Louis Armstrong and Hampton's bands -- you can hear that in his solos. When Dexter cuts up it just makes me feel like he's thinking about BUSINESS as much as when his improvising makes clear his playful nature.

The ups and downs of the man's life and music lived on the world stage equaled his humanity. What more is there to hear?

Edited January 3, 2006 by Lazaro Vega

[marcello]

Chuck - Did you see at this time in Chicago?

(From my tape collection)

Dexter Gordon

Just Jazz TV Chicago, ILL.

1971

1. Band Introductions 1:19

2. Love For Sale 9:04

3. Sticky Wicket 5:49

4. The Shadow Of Your Smile 6:20

5. Rhythm A Ning 5:23

6. Station Outro 0:58

Dexter Gordon - Tenor

John Young - Piano

Rufus Reid - Bass

Wilbur Campbell - Drums

Fwiw, Sjøgren lists that as from July, 1970, station WTTW "Just Jazz" program... and with slightly different timings. #1 listed as "Long Tall Dexter (theme)". Issued on "Charlie Mingus/Dexter Gordon/Charlie Parker" (J for Jazz JFJ 802).

The timings are mine from my transfer from audio tape to cdr.

Long Tall Dexter is heard under the radio announcer introductions.

The date is what is on the tape that I received from the collector in the 70's.

I also have a Don Byas from the same show and time.

Edited January 3, 2006 by marcello

[AllenLowe]

"I thought Dexter got his behind-the-beat phrasing from Lester Young, and who was hipper than Pres?"

I want to make clear that I NEVER said that his behind the beat phrasing was related to drug use - and I assume that I keep seeing these references because of what I referred to as impairment related to substance abuse - what I was referring to was a certain langor in Dexter's playing; sometimes it does manifest itself in this way, and I certainly think that, because of his drug haze, he found this quite conducive - but what I hear as drug-related is an over-simplicity of harmonic response, a style of playing that is full of what I would call musical exclamation points, certain self-signals to pull him back into the tune and to fight his general disorientation. Sometimes this is musically quite appropriate - but I hear it, in the general sense, as monotony.

Edited January 3, 2006 by AllenLowe

[John L]

Allen: I guess that for us Dex lovers, ignorance is bliss. "Musical exclamation points" probably sound better when you don't hear them.

[JSngry]

It's the Tristano "ego vs id" thing. To which I say, be true to yourself either way.

[johnagrandy]

I saw Dexter at KK on, I think it was, the Homecoming tour, 79 or 80 (I could be wrong on this). For the 9PM set, at somewhere around 9:30 PM (typical start time at KK) Barkan announced the band as they walked on stage. Then he announced Dex, but in walked Dex -- not. The band members joked and played a few riffs for about 10-15 mins, at which point it became apparent that Dex was not in the house. The players left the stage.

People started getting restless. Todd made a number of announcements -- the one I remember most was maybe at 10:15 PM. Barkan said that they were out about town looking for Dex and were confident that they'd find him shortly. Time passed ... people had dinner (KK had this tunnel to a Moroccan (?) restaurant), people got drunk ... very few people left (I would say only a handful). The band actually came back on stage at one point but at least one of them got disgusted and walked off, and then the rest did. At 11:00 PM, I think, they let the 11PM ticket holders in, SRO, so it got really packed. It actually was quite an atmosphere. So much expectation.

Finally at 11:15 PM the band came on stage, more restlessness, maybe a little piano thing, but nobody stopped talking -- it was loud in there! But no Dex. Then at (at least) 11:30 PM (!) Dex staggers out onto the front of the stage. He was so drunk and/or high that the swaying was downright scary -- we we were nervous that he would fall on us in the first row. Seriously ! But he had this amazing presence: not apologetic, supremely confident, fully in character, as if this was all planned, and 11:30 PM was indeed the right and only time to begin a 9PM set. Just the sight of him made me (and I think most others) forget about the outside world and the concept of time. When he first made eye-contact with the audience it brought all the noise down to just about nothing, and, of course, the audience's forgiveness all came down to his first words.

"The following story ... involves a lovely restaurant bar ... at which I was a most welcome guest this evening for many hours ...... actually ... there is more than one bar in this story ...... but only one woman ... a very beautiful woman ... whose acquaintance tonight I am most grateful for."

It just cracked everyone up. I mean it was too funny. He'd let us all sit there in anticipation for 2 1/2 hours while he was out bar-hopping with some girl he'd just met.

So, I guess I might say that if you think what Dex did that night is not at all funny then maybe that's an indication that his playing is not for you. I don't know. Just throwing the thought out there "for your consumption" ....

Edited January 5, 2006 by johnagrandy

[AllenLowe]

funny somewhat but, honestly, I have dealt with a few alcoholic/self-destructing musicians in a gig situation, and this is only really amusing from the outside looking in - the band shold have left, they should have closed the place down, and they should not have paid him - anything else is just enabling behavior, IMHO -

[The Magnificent Goldberg]

funny somewhat but, honestly, I have dealt with a few alcoholic/self-destructing musicians in a gig situation, and this is only really amusing from the outside looking in - the band shold have left, they should have closed the place down, and they should not have paid him - anything else is just enabling behavior, IMHO -

I think it depends on whether Dex had a REPUTATION for this sort of behaviour. No one's perfect; we all get into work late from time to time. If it was an isolated incident, well that's no worse than you or me.

I never heard that Dex did this sort of thing a lot.

MG

[marcello]

Thanks for that story John.

Welcome Back!

[John L]

funny somewhat but, honestly, I have dealt with a few alcoholic/self-destructing musicians in a gig situation, and this is only really amusing from the outside looking in - the band shold have left, they should have closed the place down, and they should not have paid him - anything else is just enabling behavior, IMHO -

I think it depends on whether Dex had a REPUTATION for this sort of behaviour. No one's perfect; we all get into work late from time to time. If it was an isolated incident, well that's no worse than you or me.

I never heard that Dex did this sort of thing a lot.

MG

I must have seen Dex about 10 times at the KK from 1976-1978. When I was present, he was never late to the gig and never gave the impression of being drunk.

Edited January 5, 2006 by John L

[The Magnificent Goldberg]

funny somewhat but, honestly, I have dealt with a few alcoholic/self-destructing musicians in a gig situation, and this is only really amusing from the outside looking in - the band shold have left, they should have closed the place down, and they should not have paid him - anything else is just enabling behavior, IMHO -

I think it depends on whether Dex had a REPUTATION for this sort of behaviour. No one's perfect; we all get into work late from time to time. If it was an isolated incident, well that's no worse than you or me.

I never heard that Dex did this sort of thing a lot.

MG

I must have seen Dex about 10 times at the KK from 1976-1978. When I was present, he was never late to the gig and never gave the impression of being drunk.

As I thought - thanks John

MG

[JSngry]

I saw Dexter at KK on, I think it was, the Homecoming tour, 79 or 80 (I could be wrong on this). For the 9PM set, at somewhere around 9:30 PM (typical start time at KK) Barkan announced the band as they walked on stage. Then he announced Dex, but in walked Dex -- not. The band members joked and played a few riffs for about 10-15 mins, at which point it became apparent that Dex was not in the house. The players left the stage.

People started getting restless. Todd made a number of announcements -- the one I remember most was maybe at 10:15 PM. Barkan said that they were out about town looking for Dex and were confident that they'd find him shortly. Time passed ... people had dinner (KK had this tunnel to a Moroccan (?) restaurant), people got drunk ... very few people left (I would say only a handful). The band actually came back on stage at one point but at least one of them got disgusted and walked off, and then the rest did. At 11:00 PM, I think, they let the 11PM ticket holders in, SRO, so it got really packed. It actually was quite an atmosphere. So much expectation.

Finally at 11:15 PM the band came on stage, more restlessness, maybe a little piano thing, but nobody stopped talking -- it was loud in there! But no Dex. Then at (at least) 11:30 PM (!) Dex staggers out onto the front of the stage. He was so drunk and/or high that the swaying was downright scary -- we we were nervous that he would fall on us in the first row. Seriously ! But he had this amazing presence: not apologetic, supremely confident, fully in character, as if this was all planned, and 11:30 PM was indeed the right and only time to begin a 9PM set. Just the sight of him made me (and I think most others) forget about the outside world and the concept of time. When he first made eye-contact with the audience it brought all the noise down to just about nothing, and, of course, the audience's forgiveness all came down to his first words.

"The following story ... involves a lovely restaurant bar ... at which I was a most welcome guest this evening for many hours ...... actually ... there is more than one bar in this story ...... but only one woman ... a very beautiful woman ... whose acquaintance tonight I am most grateful for."

It just cracked everyone up. I mean it was too funny. He'd let us all sit there in anticipation for 2 1/2 hours while he was out bar-hopping with some girl he'd just met.

So, I guess I might say that if you think what Dex did that night is not at all funny then maybe that's an indication that his playing is not for you. I don't know. Just throwing the thought out there "for your consumption" ....

Only slightly more grand in scope than the one time I saw him (Jazz Showcase, Chicago, 1981). He was only an hour-and-a-half late, there were no false starts by the band, and he didn't give us an explanation (now I feel cheated!). But you're right - that presence, that charisma, was damn near overpowering from the second that he walked into the room.

If he'd have played even half as fucked up as he looked and acted (and probably was), I'd have felt cheated and been pissed. But he didn't - he was on, playing long, hard, never coasting. It was one of the most uplifiting gigs I've ever had the blessing of experiencing. And I wasn't the only one - damn near the entire room left out of there on a high.

Dex's lifestyle was definitely not one I'd recommend to amateurs (and to none but the most trained professionals, if you know what I mean...), but he was who he was and he did what he did. When he did it like he did it that night, it's all the proof that I need that sometimes gettting what you want, need, even, doesn't always come on your terms. If it's good enough (and that night it was more than good enough), you put up with whatever it is that you gotta put up with to get it. Those who ain't willing to do that are well within their rights, but when the night is over, what matters is where you end up, not what you had to go through to get there.

[Chuck Nessa]

Chuck - Did you see at this time in Chicago?

(From my tape collection)

Dexter Gordon

Just Jazz TV Chicago, ILL.

1971

1. Band Introductions 1:19

2. Love For Sale 9:04

3. Sticky Wicket 5:49

4. The Shadow Of Your Smile 6:20

5. Rhythm A Ning 5:23

6. Station Outro 0:58

Dexter Gordon - Tenor

John Young - Piano

Rufus Reid - Bass

Wilbur Campbell - Drums

This was from late July 1970. Dexter was in Chicago to play with Jug and Byas for a Joe Segal event. The Gordon/Ammons portions were recorded for Prestige. I helped with the sessions. I was not involved with the TV shows made that week and was not in the studio.