#001 (12”) (INTERDISC, FONTANA)   

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　　　Between the years 1944 and 1947 Billy Eckstine led an incredible band which was far in advance of any of its contemporaries.  Dizzy, Miles, Fats Navarro, Kenny Dorham, Gene Ammons, Lucky Thompson, Bird, Leo Parker, Art Blakey – and Dexter Gordon al spent varying periods with the band during its existence.  In the winter of 1944 this wild young sixteen-piece band went into the recording studios in New York to make six sides for the now defunct De Luxe label.  It was on this session that tour man Dexter Gordon made his first recorded appearance as a soloist – in a saxophone tandem feature (Blowin’ the blues away) with fellow tenorman, Gene Ammons. 

　　　Dexter’s eighteen-month stay with the Eckstine orchestra was not, in fact, his first big band experience.  In 1940 at the tender age of seventeen he went with Lionel Hampton’s road band.  Exter did not however have any big part to play with Hampton – the feature tenorman at that time being none other than Illinois Jacquet.  After his three years with Hampton Dexter had yet another six months big band experience in early 1944 with Louis Armstrong’s short lived orchestra. 

　　　After Exkstine, Dexter was to work mainly with small bands both in New York and Los Angeles.  Nineteen forty-five and 1946 saw Dexter playing on 52nd street in the illustrious company of such bebop luminaries as Charlie Parker, Fats Navarro, Bud Powell, Miles Davis and Max Roach.  These were prolific years for Dexter in the recording studios he made many sessions (both as leader and sideman) mainly for Savoy in New York and Dial in Los Angeles. 

Whereas Lester Young’s influence was certainly great on Dexter during his early days, by late 1945 the influence of Parker and the characteristics of bop were unmistakable.  Two of his solos on Sir Charles Thompson’s session for Apollo in September ’45 sound like the perfect juxtaposition of the basic Lester Young and Charlie Parker styles. By the late forties Dexter’s style had moulded and personalized to the extent that he was beginning to influence certain of the next generation of saxophone players.  It is, however, only comparatively recently that the full measure of Dexter’s contribution to the unfolding story of jazz has come to be fully recognized.  Many musicians were touched, albeit briefly, with the influence of Dexter, but it is mainly in the work of Rollins and Coltrane that today we can see lasting evidence of Dexter’s influence. 

　　　Dexter’s famous “battles” on the Coast with the great Wardell Gray, kept him in the spotlight at the turn of the fifties.  But hard times were in store.  West Coast jazz was in the ascendancy and hard swingers like Wardell and Dexter suddenly went out of fashion. 

Dexter’s personal problems in any case kept him off the scene for long periods of time, and in eight years he made only one brief flurry of recordings – in late 1955. 

However, in 1960 Dexter emerged from the shadows.  He became part of Jack Gelber’s “The Connection” – a play about narcotics addiction, in which Dexter handled a main speaking part as well as leading his quartet on stage.  The experience gave Dexter the renewed confidence he needed, and the subsequent years have seen his star continually in the ascendant. 

　　　This session then was Dexter’s first for five years.  The boppish Dolo based on the chords of “Got Rhythm” was written by pianist Charles Coker.  Dexter fairly charges into a long, up tempo romp to which one can apply all the time worn jazz adjectives – virile forceful, rhythmic, emotional, compelling – they all fit perfectly.  Humorous too, with his quoted of “Popeye” and Shine on Harvest Moon” and complete with tongue in cheek ending! 

Dexter’s masculine ballad mastery is put on display in Jodi, his own composition named after his wife.  Long, easy, lazy melodic phrases delivered with that big fat tone, laced with a beautiful controlled and moving coda, add up to a classic ballad performance. 

　　　After in Havana brings into the spotlight the fine writing and arranging talents of composer/ pianist, Coker.  Coker’s brightly percussive piano is heard in the album several times to good effect notably here and on “Jodi.”  Dexter in exploratory mood roams the entire range of the horn and trumpeter Martin Backs contributes his best solo. Dexter hits his own Home run hard and true, quickly sttling down to some good honest twelve bar blues wailing. 

　　　Lovely Lisa and Field day are further examples of the composing and arranging skills of Charles Coker.  On the former, Coker’s impressive voicing produces a rich colourful ensemble sound which coupled with skillful arranging and the strength of the soloists, make one realize that this working band of Dexter’s was, indeed, a very good one.  Dexter continues to move with the times, drawing from the never drying well of jazz inspiration.  His awareness of the latterday contribution of Coltrane and company is reflected in his playing on this and his subsequent Blue Note albums.  However, for all this, Dexter is still vey much his own man – the one and only Dexter – long may he remain so! 

ALAN BATES

Cover Photo: J. Selzer

Backliner Photo: W. van Swoll

PRODUCED BY RIVERSIDE RECORDS, INC. 

235 West 46th Street New York City 36, New York

Made and sold by Fontana records under rights from Interdisc S.A.

Printed in Holland

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