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Dexter Gordon - The Panther! (1992)

Posted By: Oceandrop
Dexter Gordon - The Panther! (1992)

Dexter Gordon - The Panther! (1992)
Jazz | EAC Rip | APE (image)+CUE+LOG | mp3@320 | 254 MB. & 108 MB.
300dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (1992) | Label: Prestige/OJC | Catalog# OJCCD-770-2(P-7829) | 43:50 min.

~allmusic
Dexter Gordon (tenor sax) entered the 1970s — as well as his career’s quarter-century mark — on a definite upstroke with the sly, sexy — and above else — stylish platter The Panther! (1970). Gordon commands a quartet whose membership boasts luminaries Tommy Flanagan (piano), Larry Ridley (bass), and Alan Dawson (drums). Remarkably — or perhaps simply a testament to Gordon and company’s prowess — the album’s half-dozen sides all hail from a single early July 1970 get-together. The material is divided between outstanding interpretations of the Great American Songbook classic “Body and Soul,” the Mel Tormé co-penned seasonal standard “The Christmas Song” aka “Chestnuts Roasting on an Open Fire,” Clifford Brown’s “Blues Walk,” and a trio of Gordon originals. The project gets underway on the exceptional title track “The Panther.” The loose and syncopated midtempo groove provides a decorous yet jaunty backdrop for the tenor to mold his soulful trademark leads.Flanagan counters with his own spirited rounds behind Ridley and Dawson’s mesmerizing rhythm. Comparably sublime — and the unquestionable highlight of the entire outing — is the cordially emotive “Body and Soul.” Gordon oozes a sensuality that is aimed straight for the heart as he manipulates the melody into a singular inspiration. As before, Flanagan’s light mellifluous touch is sublime in this context. “Valse Robin” is a playful waltz that is dedicated to Gordon’s daughter under a warm, almost assuaging timbre. By contrast, Gordon’s “Mrs. Miniver” is extroverted, bearing a refined swinging beat with both the tenor and the pianist rising to the occasion. Not to be missed is the cozy intimacy of “The Christmas Song” as his horn unfurls an affection that has rarely been equaled. The Panther! concludes with a frisky reading of “Blues Walk” that — in deference to the name — trots along at a brisk pace. The bandleader takes full advantage as he lets loose with a flurry of activity propelled by his hearty and vigorous command of the combo. Nowhere can that be experienced more aptly than when Gordon, Ridley, and Dawson go full steam and head-to-head as Flanagan briefly relinquishes the reigns. Those who are interested in hearing alternates of “The Panther,” “Valse Robin,” “Mrs. Miniver,” and “Blues Walk” from the same mammoth session are encouraged to check out Gordon’s 11-CD Complete Prestige Recordings (2004) box set — containing a total of 17 previously unreleased cuts among its total of 88.
Tracklist:
01. The Panther (6:30)
02. Body and Soul (11:01)
03. Valse Robin (5:56)
04. Mrs. Miniver (7:38)
05. The Christmas Song (5:23)
06. The Blues Walk (7:21)

Dexter Gordon - The Panther! (1992)

Personnel:
Dexter Gordon – tenor saxophone
Tommy Flanagan – piano
Larry Ridley – bass
Alan Dawson – drums

~allAboutJazz

Born: February 27, 1923 | Died: April 25, 1990 | Instrument: Tenor Saxophone

Dexter Gordon is considered to be the first musician to translate the language of Bebop to the tenor saxophone.

Dexter Keith Gordon was born on February 27, 1923 in Los Angeles, California. His father, Dr. Frank Gordon, was one of the first African American doctors in Los Angeles who arrived in 1918 after graduating from Howard 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 Baker, one of the five African American Medal of Honor recipients in the Spanish-American War.

He 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 music with Lloyd Reese and at Jefferson High School with Sam Browne. In his last year of high school, he received a call from alto saxophonist Marshall Royal asking him to join the Lionel Hampton Band. He left Los Angeles with the band, traveling down south and learning to play from fellow band members Illinois Jacquet and Joe Newman. In January 1941, the band played at the Grand Terrace in Chicago for six months and the radio broadcasts made there were Dexter’s first recordings.

It was in 1943, while in New York City with the Hampton band, that Dexter sat in at Minton’s Playhouse with Ben Webster and Lester Young. This was to be one of the most important moments in his long musical career as, as he put it, “people started to take notice.”

Back in Los Angeles in 1943, Dexter played mainly with Lee Young (Lester Young’s brother) and with Jesse Price plus a few weeks with the Fletcher Henderson Orchestra. In 1944, he worked with Louis Armstrong ‘s orchestra which was one of the highlights of his careers. Being in the company of the great trumpet master was inspiring and gave him insight into the world of music that he never forgot. It was during this period that Gordon made his first lengthy solo recordings as the leader of a quintet session with Nat “King” Cole as a sideman.

In 1944, Dexter joined the Billy Eckstine band, the source of many of the Bebop innovators of the time and many of the most prominent bandleaders in the future. He was surrounded nightly by Sarah Vaughan, Dizzy Gillespie, Fats Navarro, Sonny Stitt, Gene Ammons, Leo Parker, John Malachi, and other architects of the new music.

Dexter began to record for Savoy Records in 1945 with tunes such as Blow Mr. Dexter, Dexter’s Deck, Dexter’s Cuttin’ Out, Long Tall Dexter (none of which were named by the composer). These early recordings are examples of the development of his sound and his style which influenced many of the younger tenor players of that day, including Sonny Rollins and John Coltrane.

In 1947, Dexter recorded his historic sides for Dial Records, including “The Chase” with tenor saxophonist Wardell Gray. The two tenor “duels” became very popular at this time and Dexter commented that despite the differences in style, it was sometimes hard for him to tell where one left off and the other began. This recording was to become the biggest seller for Dial and further established Dexter as a leader and a recording artist.

In the late 40s, Dexter appeared on the famed 52nd Street in New York City with Charlie Parker, Fats Navarro, Max Roach, and many of the bebop innovators of the day. The classic photo of Dexter at the Royal Roost in 1948 has become the iconic photo of the bebop musician and has been reprinted on album covers, t- shirts, posters, and print ads.

In 1960, Dexter was approached by Alfred Lion to sign with Blue Note Records. For five years, he made on session after another, and they are all considered classics. When asked which of all his recordings was his favorite, Dexter said: “I would have to say it is Go! The perfect rhythm section which made is possible for me to play whatever I wanted to play.”

The Blue Note recordings allowed him the opportunity to record with Freddie Hubbard, Bobby Hutcherson, Barry Harris, Kenny Drew, Horace Parlan, Bud Powell, Billy Higgins. The Blue Note recordings are still available and are considered jazz classics.

A gig in 1962 at Ronnie Scott’s Club in London was a new experience for Dexter and he began to travel and work in Europe. Eventually, he settled in Copenhagen where he lived until his return to the U.S. in 1976. During that period in Europe, he traveled extensively, worked for long periods at the historic Jazzhus Montmartre and recorded for European labels as well as Prestige Records.

In 1976, Dexter enjoyed a hero's welcome in the U.S. when he made his return engagement at Storyville in New York City with Woody Shaw, Louis Hayes, Ronnie Mathews, and Stafford James. He subsequently played the Village Vanguard, signed with Columbia Records, and was officially back in town. He organized his first working band during this period with George Cables, Rufus Reid, and Eddie Gladden. He considered this band to be his best band and he toured extensively with them and recorded Live at the Keystone (Mosaic) and Manhattan Symphonie (CBS Sony) with the group.

In 1986, Dexter moved into his new career, acting, in the motion picture Round Midnight which was directed by Bertrand Tavernier. He was nominated for an Academy Award for Best Leading Actor in 1986 for his portrayal of Dale Turner, a character based on the lives of Lester Young and Bud Powell. The music for the film won an Oscar for musical director, Herbie Hancock. The film included fellow musicians Bobby Hutcherson, Billy Higgins, Cedar Walton, Freddie Hubbard, Tony Williams, Pierre Michelot, John McLaughlin, and Wayne Shorter.

Dexter Gordon’s last major concert appearance was with the New York Philharmonic in Ellingtones, a concerto written for him by acclaimed composer David Baker and conducted by James de Priest.

Dexter died on April 25, 1990 in Philadelphia, Pennsylvania.

Dexter Gordon - The Panther! (1992)

Dexter Gordon (1923 - 1990)

Produced by Don Schlitten
Recorded July 7, 1970
Recording Engineer: Paul Goodman (RCA)
Digital remastering, 1992 - Phil de Lancie (Fantasy Studios, Berkeley)
Photography by Don Schlitten
Liner notes by Ira Gitler (September, 1970)


EAC extraction logfile from 3. July 2005, 18:41 for CD
Dexter Gordon / The Panther

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Thanks to the original releaser.
Dexter Gordon - The Panther! (1992)

(ape links are interchangeable, mp3@320 = single link)