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 ’50s (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. 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
The Other Side Of Round Midnight - Dexter Gordon
Gettin’ Around - Dexter Gordon
Clubhouse - Dexter Gordon
SUMMER OF ’62: DEXTER GORDON’S “GO!” & “A SWINGIN’ AFFAIR”
Dexter Gordon, the tall tenor saxophonist from Los Angeles whose late-in-life acting role in the movie Round Midnight earned him an Oscar nomination, had a recording career that spanned five decades. From his earliest sessions under his own name in 1943 to his final album, The Other Side of Round Midnight, released in 1986, his fluid, behind-the-beat lines and full, spacious sound are instantly... read more
CLASSIC VINYL REISSUE SERIES 2025 TITLES ANNOUNCED
Blue Note Records has announced the next run of titles in the Classic Vinyl Reissue Series, which presents all-analog 180g vinyl reissues that are mastered by Kevin Gray from the original master tapes and manufactured at Optimal. Curated by Don Was and Cem Kurosman, the series continues its exploration of the... read more
ANNOUNCING THE TONE POET SOCIETY & 2025 LINE-UP
Blue Note Records announces the launch of the Tone Poet Society, a new subscription service dedicated to the Tone Poet Audiophile Vinyl Reissue Series. Today, we're also announcing the 2025 line-up of the acclaimed series which is produced by the “Tone Poet” Joe Harley and features definitive all-analog, 180g... read more
