Dexter Gordon

Dexter Gordon (February 27, 1923 – April 25, 1990) was an American jazz tenor saxophonist, composer, bandleader, and actor. He was among the most influential early bebop musicians, which included other greats such as Charlie Parker, Dizzy Gillespie, and Bud Powell. Gordon's height was , so he was also known as "Long Tall Dexter" and "Sophisticated Giant". His studio and performance career spanned more than 40 years.

Gordon's sound was commonly characterized as being "large" and spacious and he had a tendency to play behind the beat. He was known for inserting musical quotes into his solos, with sources as diverse as "Happy Birthday" and well known melodies from the operas of Wagner. This is not unusual in jazz improvization, but Gordon did it frequently enough to make it a hallmark of his style. One of his major influences was Lester Young. Gordon, in turn, was an early influence on John Coltrane and Sonny Rollins. Rollins and Coltrane then influenced Gordon's playing as he explored hard bop and modal playing during the 1960s.

Gordon was known for his genial and humorous stage presence. He was an advocate of playing to communicate with the audience, which was his musical approach as well. His improvization was remarkably engaging and intelligent, but never gratuitously complex or unusual. It was always a conversation simultaneously delightful and intellectual. One of his idiosyncratic rituals was to recite lyrics from each ballad before playing it.

A photograph by Herman Leonard of Gordon taking a smoke break at the Royal Roost in 1948 is one of the iconic images in jazz photography. Cigarettes were a recurring theme on covers of Gordon's albums.

Gordon was nominated for an Academy Award for Best Actor in a Leading Role for his performance in the Bertrand Tavernier film '' Round Midnight'' ( Warner Bros, 1986), and he won a Grammy for Best Jazz Instrumental Performance, Soloist, for the soundtrack album '' The Other Side of Round Midnight'' ( Blue Note Records, 1986). He also had a cameo role in the 1990 film '' Awakenings''. In 2018, Gordon's album ''Go'' (Blue Note, 1962) was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant".

Life and career

Early life

Dexter Keith Gordon was born on February 27, 1923, in Los Angeles, California. His father, Dr. Frank Gordon, one of the first African American doctors in Los Angeles, arrived in 1918 after graduating from Howard University Medical School in Washington, D.C. Among his patients were Duke Ellington and Lionel Hampton. Dexter's mother, Gwendolyn Baker, was the daughter of Captain Edward Lee Baker, Jr. one of the five African American Medal of Honor recipients in the Spanish–American War.

Gordon began his study of music with the clarinet at age 13, then switched to the alto saxophone at 15, and finally to the tenor saxophone at 17. He studied with multi-instrumentalist Lloyd Reese while attending Thomas Jefferson High School, and studied with the school’s band director, Sam Browne. pp. 4, 26. While still at school, he played in bands with such contemporaries as Chico Hamilton and Buddy Collette.

Between December 1940 and 1943, Gordon was a member of Lionel Hampton's band, playing in a saxophone section alongside Illinois Jacquet and Marshal Royal. During 1944 he was featured in the Fletcher Henderson band, followed by the Louis Armstrong band, before joining Billy Eckstine. The 1942–44 musicians' strike curtailed the recording of the Hampton, Henderson, and Armstrong bands; however, they were recorded on V-Discs produced by the Army for broadcast and distribution among overseas troops. In 1943 he was featured, alongside Harry "Sweets" Edison, in recordings under Nat Cole for a small label not affected by the strike.

Bebop era recordings

By late 1944, Gordon was resident in New York, a regular at bebop jam sessions, and a featured soloist in the Billy Eckstine big band ("If That's The Way You Feel", "I Want To Talk About You", "Blowin' the Blues Away", "Opus X", "I'll Wait And Pray", "The Real Thing Happened To Me", "Lonesome Lover Blues", "I Love the Rhythm in a Riff"). During early 1945 he was featured on recordings by Dizzy Gillespie (''Blue 'n' Boogie'', Groovin' High) and Sir Charles Thompson (''Takin' Off, If I Had You, 20th Century Blues, The Street Beat''). In late 1945 he was recording under his own name for the Savoy label. His Savoy recordings during 1945-46 included ''Blow Mr. Dexter'', ''Dexter's Deck'', ''Dexter's Minor Mad'', ''Long Tall Dexter'', ''Dexter Rides Again'', ''I Can't Escape From You,''and ''Dexter Digs In''. He returned to Los Angeles in late 1946 and in 1947 was leading sessions for Ross Russell's Dial label (''Mischievous Lady, Lullaby in Rhythm, The Chase, Iridescence, It's the Talk of the Town, Bikini, A Ghost of a Chance, Sweet and Lovely''). After his return to Los Angeles, he became known for his saxophone duels with fellow tenorman Wardell Gray, which were a popular concert attraction documented in recordings made between 1947 and 1952 (''The Hunt, Move, The Chase, The Steeplechase''). ''The Hunt'' gained literary fame from its mention in Jack Kerouac's ''On The Road'', which also contains descriptions of wild tenormen jamming in Los Angeles. ''Cherokee, Byas a Drink, ''and'' Disorder at the Border'' are other live recordings of the Gray/Gordon duo from the same concert (all issued on the album '' The Hunt'' in 1977). In December 1947, Gordon recorded again with the Savoy label (''Settin' the Pace, So Easy, Dexter's Riff, Dextrose, Dexter's Mood, Index, Dextivity, Wee Dot, Lion Roars''). Through the mid-to-late 1940s he continued to work as a sideman on sessions led by Russell Jacquet, Benny Carter, Ben Webster, Ralph Burns, Jimmy Rushing, Helen Humes, Gerry Mulligan, Wynonie Harris, Leo Parker, and Tadd Dameron.

The 1950s

During the 1950s, Gordon's recorded output and live appearances declined as heroin addiction and legal troubles took their toll. Gordon made a concert appearance with Wardell Gray in February 1952 (''The Chase, The Steeplechase, Take the A Train, Robbins Nest, Stardust'') and appeared as a sideman in a session led by Gray in June 1952 (''The Rubiyat, Jungle Jungle Jump, Citizen's Bop, My Kinda Love''). After an incarceration at Chino Prison from 1953 to 1955, he recorded the albums '' Daddy Plays the Horn'' and ''Dexter Blows Hot and Cool'' in 1955 and played as a sideman on the Stan Levey album, ''This Time the Drum's on Me''. The latter part of the decade saw him in and out of prison until his final release from Folsom Prison in 1959. He was one of the initial sax players for the Onzy Matthews big band in 1959, along with Curtis Amy. Gordon continued to champion Matthews' band after he left Los Angeles for New York, but left for Europe before getting a chance to record with that band. He recorded '' The Resurgence of Dexter Gordon'' in 1960. His recordings from the mid-1950s onward document a meander into a smooth West Coast style that lacked the impact of his bebop era recordings or his subsequent Blue Note recordings.

The decade saw Gordon's first entry into the world of drama. He appeared as a member (uncredited) of Art Hazzard's band in the film '' Young Man with a Horn'' (1950). He appeared in an uncredited and overdubbed role as a member of a prison band in the movie '' Unchained'', filmed inside Chino. Gordon was a saxophonist performing Freddie Redd's music for the Los Angeles production of Jack Gelber's play '' The Connection'' in 1960, replacing Jackie McLean. He contributed two compositions, ''Ernie's Tune'' and ''I Want More'' to the score and later recorded them for his album ''Dexter Calling...''.

New York renaissance

Gordon signed to Blue Note in 1961. He initially commuted from Los Angeles to New York to record, but took up residence when he regained the cabaret card that allowed him to perform where alcohol was served. The Jazz Gallery hosted his first New York performance in twelve years. The Blue Note association was to produce a steady flow of albums for several years, some of which gained iconic status. His New York renaissance was marked by '' Doin' Allright'', '' Dexter Calling...'', ''Go!'', and '' A Swingin' Affair''. The first two were recorded over three days in May 1961 with Freddie Hubbard, Horace Parlan, Kenny Drew, Paul Chambers, George Tucker, Al Harewood, and Philly Joe Jones. The last two were recorded in August 1962, with a rhythm section that featured Blue Note regulars Sonny Clark, Butch Warren and Billy Higgins. Of the two ''Go!'' was an expressed favorite. The albums showed his assimilation of the hard bop and modal styles that had developed during his years on the west coast, and the influence of John Coltrane and Sonny Rollins, whom he had influenced before. The stay in New York turned out to be short lived, as Gordon got offers for engagements in England, then Europe, that resulted in a fourteen-year stay. Soon after recording ''A Swingin' Affair'', he left the United States.

Years in Europe

Over the next 14 years in Europe, living mainly in Paris and Copenhagen, Gordon played regularly with fellow expatriates or visiting players, such as Bud Powell, Ben Webster, Freddie Hubbard, Bobby Hutcherson, Kenny Drew, Horace Parlan and Billy Higgins. Blue Note's Francis Wolff supervised Gordon's later sessions for the label on his visits to Europe. The pairing of Gordon with Drew turned out to be one of the classic matchups between a horn player and a pianist, much like Miles Davis with Red Garland or John Coltrane with McCoy Tyner.

From this period come ''Our Man in Paris'', '' One Flight Up'', ''Gettin' Around'', and '' Clubhouse''. ''Our Man in Paris'' was a Blue Note session recorded in Paris in 1963 with backup consisting of pianist Powell, drummer Kenny Clarke, and French bassist Pierre Michelot. ''One Flight Up'', recorded in Paris in 1964 with trumpeter Donald Byrd, pianist Kenny Drew, drummer Art Taylor, and Danish bassist Niels-Henning Ørsted Pedersen, features an extended solo by Gordon on the track "Tanya".

Gordon also visited the US occasionally for further recording dates. ''Gettin' Around'' was recorded for Blue Note during a visit in May 1965, as was the album ''Clubhouse'' which remained unreleased until 1979.

Gordon found Europe in the 1960s a much easier place to live, saying that he experienced less racism and greater respect for jazz musicians. He also stated that on his visits to the US in the late 1960s and early 1970s, he found the political and social strife disturbing. While in Copenhagen, Gordon and Drew's trio appeared onscreen in Ole Ege's theatrically released hardcore pornographic film ''Pornografi – en musical'' (1971), for which they composed and performed the score.

He switched from Blue Note to Prestige Records (1965–73). For the label, he recorded bop albums like '' The Tower of Power!'' and ''More Power!