True Blue is led in title under the auspices of Dexter Gordon as a welcome home party conducted by Don Schlitten for the expatriate tenor saxophonist in 1976. Essentially a jam session, this very talented septet features a two tenor-two trumpet front line, utilized to emphasize the soloing strength of the horns, not necessarily in joyous shouts or big-band like unison outbursts. The real star here is Barry Harris, and if you listen closely to his comping behind the soloist or his many colorful chords and single-line runs, you realize how brilliant he continued to be in his prime during this beyond-bebop time frame. The distinctly different, legato flavored sound of Al Cohn contrasts nicely to the broader range and richer tones of Gordon, while Blue Mitchell's warm West Coast trumpet phrasings also run aside but a little behind the animated and clipped brassy sounds of Sam Noto, a player deserving much wider recognition, and playing to the hilt on this recording. The session kicks off with the classic superimposed melodies of "Lady Bird" and "Half Nelson," with melodies split between the trumpet and tenor tandems.

This excellent Columbia album was recorded less than a year after Dexter Gordon's well-publicized tour of the United States following a dozen years spent living in Europe. With assistance from such other major players as trumpeters Woody Shaw and Benny Bailey, vibraphonist Bobby Hutcherson sounds in superlative form on Woody Shaw's "The Moontrane," four standards, and his own "Fried Bananas." In addition to the original program (which features Dexter with an all-star tentet), the 1997 CD reissue adds two 1979 features for vocalese singer Eddie Jefferson ("Diggin' It" and "It's Only a Paper Moon") that were originally released on Gordon's Great Encounters; trumpeter Shaw and trombonist Curtis Fuller co-star with Gordon. An excellent acquisition.

The talented Norwegian singer Karin Krog sings standards and her own "Blue Eyes" on this enjoyable collaboration with tenor saxophonist Dexter Gordon. Krog, a versatile vocalist, sounds perfectly at home on such tunes as "Some Other Spring," "How Insensitive," "Jelly, Jelly," and "Shiny Stockings." Dexter is in excellent form (he had lived in Europe at that point for eight years) and the group is completed by pianist Kenny Drew (who switches to organ on "Blue Eyes"), bassist Niels Pedersen, and drummer Espen Rud. This is one of the most accessible Karin Krog releases around and is recommended.

Dexter Gordon's mid-'60s period living in Europe also meant coming back to the U.S. for the occasional recording session. His teaming with Bobby Hutcherson was intriguing in that the vibraphonist was marking his territory as a maverick and challenging improviser. Here the two principals prove compatible in that they have a shared sense of how to create sheer beauty in a post-bop world. Add the brilliant Barry Harris to this mix, and that world is fortunate enough to hear these grand masters at their creative peak, stoked by equally extraordinary sidemen like bassist Bob Cranshaw and drummer Billy Higgins, all on loan from Lee Morgan's hitmaking combo. The subtle manner in which Gordon plays melodies or caresses the most recognizable standard has always superseded his ability to ramble through rough-and-tumble bebop…

15 original albums with Dizzy Gillespie, Fats Navarro, Buck Clayton, Freddie Hubbard, Charlie Parker, Gene Ammons, Wardell Grey, Melba Liston, Ben Webster, Duke Ellington, Bud Powell, Hampton Hawes, Billy Higgins, Max Roach, Billy Eckstine and Herbie Hancock, among others…

Recorded shortly before his triumphant return to the United States after a dozen years overseas, this Dexter Gordon album features him in a surprisingly sparse setting, accompanied only by bassist Niels Pedersen and drummer Alex Riel. Whether it be the humorous melody "Nursery Blues," Pedersen's title cut or the four jazz standards (of which "Good Bait" was first released on this CD reissue), he is up to the challenge and his lengthy solos never lose one's interest.

Elemental Music presents a complete previously unissued quartet performance by the great Dexter Gordon. This astonishing concert marked Gordon's first appearance ever in Japan, backed by an all-star rhythm section consisting of Kenny Drew on piano, Niels-Henning Orsted Pedersen on bass, and Albert Tootie Heath on drums. The album includes a 16 pg. booklet containing special essays by famed jazz producer Michael Cuscuna and Dexter's widow, Maxine Gordon. The CD version contains 2 bonus tracks, also previously unreleased.

Although tenor saxophonist Dexter Gordon seemed to have been largely forgotten in the U.S. during his long residence in Europe, he was playing in prime form during the period and made occasional trips back to America. On this CD reissue, Gordon teams up with pianist Wynton Kelly (one of his last recordings), bassist Sam Jones and drummer Roy Brooks for an obscure original ("Evergreenish"), "The Jumpin' Blues," the veteran ballad "For Sentimental Reasons" and three songs that were long a part of Gordon's repertoire: "Star Eyes," "Rhythm-A-Ning" and "If You Could See Me Now." Dexter Gordon is in fine form on the excellent straightahead bop set.

This 1963 date is titled for Dexter Gordon's living in self-imposed Parisian exile and recording there with two other exptriates and a French native. Along with Gordon, pianist Bud Powell and Kenny "Klook" Clarke were living in the City of Lights and were joined by the brilliant French bassman Pierre Michelot. This is a freewheeling bop date with the band working out on such categoric standards as "Scrapple from the Apple," and "A Night in Tunisia." In addition, American vernacular tunes such as "Willow Weep for Me" and "Stairway to the Stars" are included. Gordon is at the very top of his game here. His playing is crisp, tight, and full of playful fury. Powell, who at this stage of his life was almost continually plagued by personal problems, never sounded better than he does in this session…

This magnificent album of progressive jazz from the mid-'40s contains the earliest recordings released under Dexter Gordon's name. The opening session finds him in the company of Nat King Cole and Harry "Sweets" Edison. While Cole based much of his piano style on the creative accomplishments of Earl Hines, Gordon named Roy Eldridge and Lester Young as primary influences. The inspiration to emulate Prez, said Dex, "…came like a bolt out of the blue to me…I readily identified with his ideas and concepts…." This is superbly demonstrated in the relaxed jamming atmosphere of the first four tracks, particularly "I Blowed and Gone." Gordon said that by the time he joined the Lionel Hampton band in December of 1940, he'd been listening carefully to Prez "for three or four years"…

Dexter Gordon - "5 Original Albums" Dexter Gordon's early recordings for Blue Note from 1961 -65 that have all gained iconic status. [5 CD] Doin' Allright - Dexter Calling - A Swingin' Affair - One Flight Up - Gettin' Around

Along with Gene Ammons and Stanley Turrentine, Dexter Gordon was one of the top ballad players of the '60s. Having already made his name in the bebop era and as an expatriate in Europe, Gordon returned to the States to record a series of fine Blue Note discs during the first half of the decade. This edition of the label's Ballads series features Gordon at his peak and in the company of some of hard bop's best players. Whether melding nicely with trumpeter Donald Byrd from a Paris date in 1964 ("Darn That Dream") or locking in with the stellar rhythm section of Sonny Clark, Butch Warren, and Billy Higgins ("Don't Explain"), Gordon delivers his almost sleepy and smoke-filled solos with regal grace. The same can also be said of the rest of this incredible program, including a latter-day live cut from 1978.