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| L.T.D. Live at The Left Bank [ ÉLŐ ] |
| Dexter Gordon |
| első megjelenés éve: 2006 |
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CD |
Kérjen
árajánlatot! |
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| 1. | Broadway
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| 2. | Boston Bernie
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| 3. | In a Sentimental Mood
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| 4. | Blues Up and Down
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Jazz
Dexter Gordon - Sax (Tenor)
Bobby Timmons - Piano
Percy Brice - Drums
Victor Gaskin - Bass
* David Luke - Digital Editing, Transfers
* Gilles Margerin - Design
* Jamie Putnam - Art Direction
* Joe Tarantino - Mastering
* Tony Lane - Photography
What a gem this previously unearthed spice box is. Who would have thought that in 1969, with a New York pick-up band -- comprised of Bobby Timmons on piano, Victor Gaskin on bass, and Percy Brice on drums -- long, tall Dexter Gordon could take a classic like "Broadway," which he recorded a near-definitive version of in 1963 on Our Man in Paris, and completely leave it in the dust six long years later? And this is the opening track. While it's not a speeding bullet train, "Broadway" has a fine head of engine steam in its mid-tempo to up-tempo range of post-bop stomp on a Tin Pan Alley standard. While the rhythm section comes loping out of the gate, Gordon takes the solo into a series of intervallic and scalular chord changes that eliminate all but the tune's skeleton. He takes the melody around the block twice and then moves through no less than 11 choruses, almost all in double-time. Timmons, whose right hand was always one of the wonders of the world, does not disappoint here, either. He comps himself while trilling his way into the intricacies of two-handed counterpoint. The blues are always present but he's not afraid of a little dissonance either, as he takes the solo right to the top of the instrument's register and keeps it there. Gordon's "Boston Bernie" was erected from the chords of "All the Things You Are," though its tempo is a bit quicker and the chordal structure for Timmons is both dense and luminous. Gordon's own solo over seven or eight choruses comes out of John Coltrane's blues period, where he had discovered Coleman Hawkins -- whom Gordon had as an early influence, so its flighty whisking glide is convoluted yet so beautifully revealing of his lyricism there is no awkwardness. There is a bit of honking and squeaking at the end of his solo, but it was the '60s after all. The remaining two tunes -- "In a Sentimental Mood," which is a relatively short ballad (in this set anyway) at just under nine minutes, is all warm, silver-tongued Gordon, with Timmons providing some of the most lush scales and chords of his career through the intervals. Finally, with "Blues Up and Down," there's the full, rounded picture of Gordon in 1969, a musician at the absolute peak of his abilities. His blowing and phrasing turned the form inside out and on its head out of reverence not as a need to reinvent it. His scalular challenges to Timmons are intimidating as hell and the pianist compensates by cutting through and extending chord sequences without changing the phraseology of the tune. Gordon just blows his ass off, digging deep into the feeling of those 12 bars, reaching for anything at all he hasn't unearthed before, and when he finds it, he screams it out of the horn with the shout of an Illinois Jacquet and the tenderness of Lester Young with speed and proficiency of Charlie Parker. Prestige is to be commended for pulling this treasure out of the tape heap and doing a fine job of mastering a less than perfectly recorded performance -- though it is more than merely adequate, it's plenty good enough for your stereo or anybody else's. L.T.D. is now an audible and visible part of the history of one of the music's greatest stylists and most enduring hipster personalities.
--- Thom Jurek, All Music Guide
Dexter Gordon
Active Decades: '40s, '50s, '60s, '70s and '80s
Born: Feb 27, 1923 in Los Angeles, CA
Died: Apr 25, 1990 in Philadelphia, PA
Genre: Jazz
Styles: Bop, Hard Bop
Dexter Gordon had such a colorful and eventful life (with three separate comebacks) that his story would make a great Hollywood movie. The top tenor saxophonist to emerge during the bop era and possessor of his own distinctive sound, Gordon sometimes was long-winded and quoted excessively from other songs, but he created a large body of superior work and could battle nearly anyone successfully at a jam session. His first important gig was with Lionel Hampton (1940-1943) although, due to Illinois Jacquet also being in the sax section, Gordon did not get any solos. In 1943, he did get to stretch out on a recording session with Nat "King" Cole. Short stints with Lee Young, the Fletcher Henderson Orchestra, and Louis Armstrong's big band preceded his move to New York in December 1944 and becoming part of Billy Eckstine's Orchestra, trading off with Gene Ammons on Eckstine's recording of "Blowin' the Blues Away." Gordon recorded with Dizzy Gillespie ("Blue 'N' Boogie") and as a leader for Savoy before returning to Los Angeles in the summer of 1946. He was a major part of the Central Avenue scene, trading off with Wardell Gray and Teddy Edwards in many legendary tenor battles; studio recordings of "The Chase" and "The Duel" helped to document the atmosphere of the period.
After 1952, drug problems resulted in some jail time and periods of inactivity during the 1950s (although Gordon did record two albums in 1955). By 1960, he was recovered and soon he was recording a consistently rewarding series of dates for Blue Note. Just when he was regaining his former popularity, in 1962 Gordon moved to Europe where he would stay until 1976. While on the continent, he was in peak form and Gordon's many SteepleChase recordings rank with the finest work of his career. Gordon did return to the U.S. on an occasional basis, recording in 1965, 1969-1970, and 1972, but he was to an extent forgotten in his native land. It was therefore a major surprise that his return in 1976 was treated as a major media event. A great deal of interest was suddenly shown in the living legend with long lines of people waiting at clubs in order to see him. Gordon was signed to Columbia and remained a popular figure until his gradually worsening health made him semi-active by the early '80s. His third comeback occurred when he was picked to star in the motion picture 'Round Midnight and, even if his playing by then was past its prime, Gordon's acting was quite realistic and touching. He was nominated for an Academy Award, four years before his death after a very full life. Most of Dexter Gordon's recordings for Savoy, Dial, Bethlehem, Dootone, Jazzland, Blue Note, SteepleChase, Black Lion, Prestige, Columbia, Who's Who, Chiaroscuro, and Elektra Musician are currently available.
---Scott Yanow, All Music Guide |
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