DEXTER GORDON - Montmartre 1964
Storyville
Dexter Gordon - tenor saxophone; Niels Henning Orsted Pedersen - bass; Tete Montoliu - piano; Alex Riel drums
Dexter Gordon lived in Europe for 14 years. It was obviously congenial because during that period he produced some of his best work. When Bertrand Tavernier wanted to include an iconic jazz figure in his film ‘Round Midnight’, Dexter was the obvious candidate: tall, hip, stylish, relaxed, the epitome of cool profundity, wreathed in cigarette smoke. Dexter in his European period was beyond innovating, he had come to rely on his great rhythmic sense and a tone as wide as a redwood, as warm as toast, as fluid as cognac and, above all authentic. Swirling in his wake was his time with Lionel Hampton, his duels with Wardell Grey, his bruising brush with narcotics.
NHOP was nineteen at the time of the recording, just at the beginning of a career that would take him to play with most of the major figures of the sixties and seventies. His bass sound at the period of the recording lacked the subtlety and intricacy that he would show later in life, here he was ensuring that the rhythm was solid and effective.
Tete Montoliu had a phenomenal technique. The ideas that occurred in his head could be transmitted instantly to his fingers. Why he was never better known is a jazz mystery.
House drummer at this time, at the Jazzhus, Alex Riel on this album shows a technique that veers from Syd Catlett to Tony Williams. He is asked mainly just to keep time.
Unusually, NHOP opens ‘King Neptune’ by Dexter with a two-minute bass solo., strange way to start an album. Preserved on the album is Dexter’s voice the timbre distinctive, the rhythm laid back and slooow. Listen to the intro to Erroll Garner’s ‘Misty’. Not just the introduction to the pieces but Dexter actually sings on the strangely titled ‘Big Fat Butterfly’. The lyrics do not make much sense but the novelty of Dexter’s singing is worth hearing. Dexter’s fluent solo is driven by Riel. Montoliu can sometimes be anonymous and his solo here is lacklustre.
In a spirited ‘Loose Walk’ Dexter creates a solo that moves from sprinkled quotes to an urgent exploration of the theme. He has the ability to construct a solo to pull his listeners into his thought processes so that they accompany the tall man all the way.
‘I Want More’ and ‘Cheesecake’ written by Dexter appeared frequently on his sets, both give him space to extend his solo spinning out his ideas. This tempo is Dexter at his best: confident, assured and sure of his direction. The bright tempo also brings out fresh ideas from Montoliu.
It was not unusual to hear ‘Manha de Carnaval’ by Luiz Bonfa In 1964. Dexter enjoys the rhythm and Riel drums well without dominating or becoming repetitive.
‘Misty’ has a big theme that appeals to Dexter and at first he does not move far from the melody. When he moves away his embellishments are intriguing, shadowing the theme. He is so confident, imperious, the way he moves forward.
There was no one like Dexter. This album is taken from a great night with the Dexter Gordon quartet. The players were used to each other and there is an ease about their relationship. If you were there you would not forget being in the presence of the charismatic giant who would have provided you with everything that you expected.
Reviewed by Jack Kenny
Storyville
Dexter Gordon - tenor saxophone; Niels Henning Orsted Pedersen - bass; Tete Montoliu - piano; Alex Riel drums
Dexter Gordon lived in Europe for 14 years. It was obviously congenial because during that period he produced some of his best work. When Bertrand Tavernier wanted to include an iconic jazz figure in his film ‘Round Midnight’, Dexter was the obvious candidate: tall, hip, stylish, relaxed, the epitome of cool profundity, wreathed in cigarette smoke. Dexter in his European period was beyond innovating, he had come to rely on his great rhythmic sense and a tone as wide as a redwood, as warm as toast, as fluid as cognac and, above all authentic. Swirling in his wake was his time with Lionel Hampton, his duels with Wardell Grey, his bruising brush with narcotics.
NHOP was nineteen at the time of the recording, just at the beginning of a career that would take him to play with most of the major figures of the sixties and seventies. His bass sound at the period of the recording lacked the subtlety and intricacy that he would show later in life, here he was ensuring that the rhythm was solid and effective.
Tete Montoliu had a phenomenal technique. The ideas that occurred in his head could be transmitted instantly to his fingers. Why he was never better known is a jazz mystery.
House drummer at this time, at the Jazzhus, Alex Riel on this album shows a technique that veers from Syd Catlett to Tony Williams. He is asked mainly just to keep time.
Unusually, NHOP opens ‘King Neptune’ by Dexter with a two-minute bass solo., strange way to start an album. Preserved on the album is Dexter’s voice the timbre distinctive, the rhythm laid back and slooow. Listen to the intro to Erroll Garner’s ‘Misty’. Not just the introduction to the pieces but Dexter actually sings on the strangely titled ‘Big Fat Butterfly’. The lyrics do not make much sense but the novelty of Dexter’s singing is worth hearing. Dexter’s fluent solo is driven by Riel. Montoliu can sometimes be anonymous and his solo here is lacklustre.
In a spirited ‘Loose Walk’ Dexter creates a solo that moves from sprinkled quotes to an urgent exploration of the theme. He has the ability to construct a solo to pull his listeners into his thought processes so that they accompany the tall man all the way.
‘I Want More’ and ‘Cheesecake’ written by Dexter appeared frequently on his sets, both give him space to extend his solo spinning out his ideas. This tempo is Dexter at his best: confident, assured and sure of his direction. The bright tempo also brings out fresh ideas from Montoliu.
It was not unusual to hear ‘Manha de Carnaval’ by Luiz Bonfa In 1964. Dexter enjoys the rhythm and Riel drums well without dominating or becoming repetitive.
‘Misty’ has a big theme that appeals to Dexter and at first he does not move far from the melody. When he moves away his embellishments are intriguing, shadowing the theme. He is so confident, imperious, the way he moves forward.
There was no one like Dexter. This album is taken from a great night with the Dexter Gordon quartet. The players were used to each other and there is an ease about their relationship. If you were there you would not forget being in the presence of the charismatic giant who would have provided you with everything that you expected.
Reviewed by Jack Kenny
