notes, Dexter morgan: serial killer

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A. educator Lloyd Reese, Gordon joined Hampton in December 1940, two months before his 18th birthday. Although he retained Young’s horizontal phrasing and low-vibrato tone, he gradually shed the skin of his idol, projecting a robust timbre and surging attack that appealed to audiences in Southern tobacco warehouses, Western dance halls, and soul lounges in Northern inner cities.

For the first time ever, Blue Note is offering archival-quality, framed canvas prints in dynamic scale. This is the popular uncanny — this play between the same and new, surprise and familiarity, and doubles of doubles. Europe has been very good because my lifestyle is much calmer and relaxed,” Gordon told Down Beat in 1972. But, moreover, thank-you very much for posting these notes – they made a most enjoyable read with which to celebrate Dexter’s birthday! Both sets were recorded for posterity, and Fantasy released them on the CDs LTD and XXL in 2001 and 2002, respectively.

He was very urbane and appreciated the finer things in life, but he had a common touch with people—he got along with a whole spectrum. Named for the title character of a 1942 film in which Greer Garson was the female lead, the third original, “Mrs. Vanilla, like a lingering memory, adds a touch of sweetness, while musk envelops the fragrance in an alluring sensuality. A week later, Gordon entered Van Gelder’s studio with a quintet of jazz virtuosos, and recorded seven tunes, several of blatantly commercial intent. In honor of Blue Note Records’ 80th Anniversary in 2019, the legendary Jazz label has launched a new series of limited-edition wall art that celebrates the iconic imagery of Blue Note’s classic era.

The album you refer to as “The Group” (Quintet with Freddie Hubbard, Cedar Walton, Buster Williams and Dexter’s favorite drummer, Billy Higgins) I’ve always known as “Generation” – and it’s a great one too! Coker’s “Lovely Lisa” is a tipping blues with a Basie flavor, tight three-horn voicings, and nice changes that Gordon gobbles up; Boone’s vocalized solo crosses Bennie Green fluency with raspy Henry Coker tone. Recording with Jay McShann in 1941 for Decca, Bird introduced his concept to the world with pungent solos on “The Jumping Blues” and “Hootie Blues.Dexter did things when he was living in Copenhagen that he never was able to do before,” says Maxine Gordon. By 1965 he’d recorded four freewheeling albums under Don Schlitten’s supervision, two with an anything-goes rhythm section—iconoclastic stride-to-avant pianist Jaki Byard, virtuoso bassist Richard Davis and Boston drum giant Alan Dawson. Here he uncorks a solo as long and effervescent as his personality, quoting “Santa Claus Is Coming to Town” and “Here Comes the Bride” along the way. Six-and-a-half feet tall and bronze-complected, with sculpted, florid cheekbones, full lips, and lidded, ironic eyes, Gordon oozed charisma. As this is still a work in progress, I'm open for suggestions if anybody has an idea of an animation that might work here better.

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. Midway through 1941, Hampton’s band came to New York to work Harlem’s Savoy Ballroom opposite Jay McShann, whose alto saxophonist was a 21-year-old virtuoso named Charlie Parker. I wear it as much as I can but my wife loves the smell Lingering Honey, Lavender slightly fresh opening fades quickly to give you the Honey Tobacco with Lavender being around in the background. Shortly after his first jail stay, Gordon penned “Stanley the Steamer” for a 1955 Bethlehem date led by West Coast bop drummer Stan Levey.

Leonard Feather and Shorty Rogers and all sorts of people were in the control room,” Banks told a reporter in Austin, Texas, his hometown, where he currently lives and plays. A. engagement in July 1973, documented on the Up Front label, Gordon revisited the music he’d written for The Connection 13 years before with old friend Hampton Hawes on piano, Bob Cranshaw on bass, and ur–bop drummer and fellow expat Kenny Clarke. Midway through his decade-long stint as Ella Fitzgerald’s pianist and musical director, Flanagan follows the leader’s sturdy arcs and planes with a graceful sketch. They don't sound too different from the E5s from "Pretty Fly (for a White Guy)", for what it's worth. He relocated to California in 1949, spent 1953 and 1954 incarcerated at the Chino State Penitentiary, and went back to jail soon after his encounter with McLean.

The release of the Left Bank tapes would be worthwhile if only for Gordon’s sensual tenor reading of Duke Ellington’s “In a Sentimental Mood,” which he would record on soprano sax for Steeplechase in March 1975.who was then too busy in the New York commercial studios to get around much any more to serious jazz dates. He was advised to send bed warmers—used to heat beds in the cold New England winters—for resale in the West Indies, a tropical area. More a tango than a rumba, “Affair In Havana” affords everyone a solo, while “Field Day” finds Coker presenting his own take on the vocabulary of Tadd Dameron—Gordon’s strutting, pellucid solo is a highlight. The word "expository" refers to the lack of originality, as opposed to any claim of comprehensibility or correctness.