The two releases from Elemental Records simply made me cry. How come no one sounds like this anymore?
And what is the “this” I’m talking about? Well, how about a gigantic, room filling tone, for starters? Then, a bel canto delivery that doesn’t rely on histrionics, a strong sense of melody, enough muscle for a Venice Beach weightlifter and a down to the marrow infused swing that doesn’t quit. Oh, yes, throw in a seductive dash of romance on the ballads. Is that asking for too much?
Gordon was essentially the first “bebop” tenor saxist, melding together Lester Young’s lyricism with Coleman Hawkins’ big tone and muscle. Coltrane and Rollins took Gordon’s ideas to the next step, but there’s nothing wrong with never getting past Long Tall Dexter. He had a few periods of “personal” issues that took him out of the scene, but every time he made a comeback it was with renewed vigor.
The 1975 gig has with all stars Kenny Drew/p, Niels-Henning Orsted Pederson/b and Albert “Tootie” Heath/dr, and they are in a swinging mood. Dexter is gloriously bopping on “Fried Bananas, “ luxurious on “Days of Wine and Roses” and delivers an aria of “Misty” before singing along to the vintage R&B hit “Jelly, Jelly Jelly,” A pair of songs from a ’77 gig with a different rhythm team has Dexter bouncing with delight on “Rhythm-a-Ning” and floating on “Old Folks.” WHEW!
From a 1977 gig in Paris, France, Gordon is supported by Al Haig/p, Pierre Michelot/b and proto-bopper Kenny Clarke/dr. He’s a bit more modern this time around, stretching out on “A La Modal” and “Antabus” while giving passionate intros to the standards “Body and Soul” and “Body and Soul” before baring his soul. Haig is in full fisted glory, particularly on “Sticky Wicket” and for his trio spotlight on “Round Midnight” whereas Clarke teams with Michelot to create deep rivulets as on “Oleo.” These guys play like they invented this…hey, wait, the DID!