
DEXTER GORDON - Soul Sister
SteepleChase SCCD36039
Tracks 1-3:
Dexter Gordon (tenor sax); Bent Axen (piano); Niel-Henning Orsted Pedersen (bass); William Schiopffe (drums)
Tracks 4-6:
Dexter Gordon (tenor sax); Einar Iversen (piano); Erik Amundsen (bass); Jon Christensen (drums)
Tracks 1-3 recorded on February 24, 1963 in Copenhagen, Denmark. Tracks 4-6 recorded on November 24, 1962 in Oslo, Norway
The fifties, a bad time for Dexter Gordon, his life was marred by time in jail for drug offences. Playing and recording time was restricted. Dexter Gordon’s life in the 1960s, especially in his European period, is reflected in his playing here as a joyous freedom and he seems energised by his colleagues. The invention is there, the consistency is unrelenting.
There are two sets one recorded in Copenhagen in 1963 and one in Oslo in 1962. They are particularly important because there are few recordings at the start of his 14 year residency in Europe. Coltrane and Rollins were influenced by Gordon who in turn was influenced by Coleman Hawkins and Lester Young. Coltrane and Rollins never equalled Gordon’s majestic presence or his structural construction of solos.
‘A Night in Tunisia’ has a typical relaxed, spoken introduction from Dexter who enunciates every syllable. The audience seems unsure how to respond to his words: the solo has a texture that is almost organic, you could grow tobacco in the richness and depth of his tone. I have heard many ‘Tunisias’ from Dexter but he does things here that are completely new. Dexter embellishes the piece with his own rhythm. The directness and logic of his improvisation and the build of the solo has an assurance that alters the rhythm. Bent Axen also played with Stan Getz and there is the young Niel-Henning Orsted Pedersen who plays an idiosyncratic solo.
A brief poem introduces ‘Soul Sister’ and Dexter produces the rhythm of the sister. In a strange way Dexter captures the melancholic aspect of the woman and Axen extends the mood. Dexter’s rhythm section is in his head and determines the way that he uses his own tempo while the rhythm section adheres to the tempo that they started with. It is a heartfelt solo.
Bertrand Tavernier who directed the film ‘Round Midnight’ and gave Dexter Gordon the central part, was obviously captivated by the man who is the epitome of a jazz musician. In the film and on this CD you can sense the grace, the poise, the exquisite effortless perfect timing. Thankfully, Nils Winther, the producer, has left in Dexter’s announcements. You will remember the pronunciation of ‘Tunisia’. Such music in words.
‘Second Balcony Jump’ was initially recorded earlier that year in the album ‘Go’. ‘Ernie's tune’ was written for ‘The Connection’, a ground breaking off Broadway play by Jack Gelber with Dexter playing the leading part of Ernie in the Los Angeles production. The whole play was about addiction. The ballad eventually had lyrics which have never been issued.
Jon Christensen on drums, preparing to be a star for ECM, propels ‘Stanley the Steamer’. It was written in 1955 for a session led by Stanley Levey. Levey had worked with Charlie Parker Dizzy Gillespie and Stan Kenton. it is a twelve-bar blues taken at medium temple which eventually became part of Dexter's repertoire. It is an example of Dexter's short stay on the west coast in the fifties and was one of the few recordings he made at that time.
This is a valuable addition to Dexter’s archive. His reputation deservedly continues to grow.
Reviewed by Jack Kenny
SteepleChase SCCD36039
Tracks 1-3:
Dexter Gordon (tenor sax); Bent Axen (piano); Niel-Henning Orsted Pedersen (bass); William Schiopffe (drums)
Tracks 4-6:
Dexter Gordon (tenor sax); Einar Iversen (piano); Erik Amundsen (bass); Jon Christensen (drums)
Tracks 1-3 recorded on February 24, 1963 in Copenhagen, Denmark. Tracks 4-6 recorded on November 24, 1962 in Oslo, Norway
The fifties, a bad time for Dexter Gordon, his life was marred by time in jail for drug offences. Playing and recording time was restricted. Dexter Gordon’s life in the 1960s, especially in his European period, is reflected in his playing here as a joyous freedom and he seems energised by his colleagues. The invention is there, the consistency is unrelenting.
There are two sets one recorded in Copenhagen in 1963 and one in Oslo in 1962. They are particularly important because there are few recordings at the start of his 14 year residency in Europe. Coltrane and Rollins were influenced by Gordon who in turn was influenced by Coleman Hawkins and Lester Young. Coltrane and Rollins never equalled Gordon’s majestic presence or his structural construction of solos.
‘A Night in Tunisia’ has a typical relaxed, spoken introduction from Dexter who enunciates every syllable. The audience seems unsure how to respond to his words: the solo has a texture that is almost organic, you could grow tobacco in the richness and depth of his tone. I have heard many ‘Tunisias’ from Dexter but he does things here that are completely new. Dexter embellishes the piece with his own rhythm. The directness and logic of his improvisation and the build of the solo has an assurance that alters the rhythm. Bent Axen also played with Stan Getz and there is the young Niel-Henning Orsted Pedersen who plays an idiosyncratic solo.
A brief poem introduces ‘Soul Sister’ and Dexter produces the rhythm of the sister. In a strange way Dexter captures the melancholic aspect of the woman and Axen extends the mood. Dexter’s rhythm section is in his head and determines the way that he uses his own tempo while the rhythm section adheres to the tempo that they started with. It is a heartfelt solo.
Bertrand Tavernier who directed the film ‘Round Midnight’ and gave Dexter Gordon the central part, was obviously captivated by the man who is the epitome of a jazz musician. In the film and on this CD you can sense the grace, the poise, the exquisite effortless perfect timing. Thankfully, Nils Winther, the producer, has left in Dexter’s announcements. You will remember the pronunciation of ‘Tunisia’. Such music in words.
‘Second Balcony Jump’ was initially recorded earlier that year in the album ‘Go’. ‘Ernie's tune’ was written for ‘The Connection’, a ground breaking off Broadway play by Jack Gelber with Dexter playing the leading part of Ernie in the Los Angeles production. The whole play was about addiction. The ballad eventually had lyrics which have never been issued.
Jon Christensen on drums, preparing to be a star for ECM, propels ‘Stanley the Steamer’. It was written in 1955 for a session led by Stanley Levey. Levey had worked with Charlie Parker Dizzy Gillespie and Stan Kenton. it is a twelve-bar blues taken at medium temple which eventually became part of Dexter's repertoire. It is an example of Dexter's short stay on the west coast in the fifties and was one of the few recordings he made at that time.
This is a valuable addition to Dexter’s archive. His reputation deservedly continues to grow.
Reviewed by Jack Kenny