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Jazz - Erschienen am 1. Januar 1962 | Blue Note

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Jazz - Erschienen am 1. Dezember 1963 | Blue Note (BLU)

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Jazz - Erschienen am 1. Januar 1962 | CM BLUE NOTE (A92)

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Jazz - Erschienen am 1. Januar 1962 | CM BLUE NOTE (A92)

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Jazz - Erschienen am 1. Oktober 1964 | Blue Note Records

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Jazz - Erschienen am 27. August 2013 | Bethlehem Records

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Jazz - Erschienen am 1. Dezember 1963 | Blue Note (BLU)

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Original Soundtrack - Erschienen am 1. Januar 1986 | Columbia - Legacy

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This is the official soundtrack from the movie Round Midnight. Although tenor saxophonist Dexter Gordon (who is actually on only five of the 11 songs) was past his prime, his realistic acting gained him a nomination for an Oscar. In addition to Gordon, this historic and generally well-rounded album has performances by pianists Herbie Hancock and Cedar Walton, vocalist Bobby McFerrin, bassists Ron Carter and Pierre Michelot, drummers Tony Williams and Billy Higgins, guitarist John McLaughlin, trumpeters Freddie Hubbard and Chet Baker, Wayne Shorter on tenor and soprano, vibraphonist Bobby Hutcherson, and a vocal by Lonette McKee. [The 2002 reissue adds a live version of the title cut.] © TiVo
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Jazz - Erschienen am 1. Januar 1990 | SteepleChase

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Jazz - Erschienen am 1. Januar 1991 | Blue Note Records

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Jazz - Erschienen am 6. Mai 1961 | CM BLUE NOTE (A92)

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The title of this Blue Note set, Doin' Allright, fit perfectly at the time, for tenor saxophonist Dexter Gordon was making the first of three successful comebacks. Largely neglected during the 1950s, Gordon's Blue Note recordings (of which this was the first) led to his rediscovery. The tenor is teamed with the young trumpeter Freddie Hubbard, pianist Horace Parlan, bassist George Tucker, and drummer Al Harewood for a strong set of music that is highlighted by "You've Changed" (which would become a permanent part of Gordon's repertoire), "Society Red" (a blues later used in the film Round Midnight), and "It's You or No One." © Scott Yanow /TiVo
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Jazz - Erschienen am 1. Januar 1964 | CM BLUE NOTE (A92)

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When he expatriated to Scandinavia just before this session in Paris was recorded, Dexter Gordon said he was liberated in many ways, as a jazz musician and as a human being. This is reflected in the lengthy track on this album, a testament to that newly found freedom, addressing the restrictions the American music scene placed on artists to do the two- to three-minute hit. With the nearly 18-minute "Tanya" and the 11-minute "Coppin' the Haven," Gordon and his quintet, featuring trumpeter Donald Byrd, were able to jam at length with no thought of being edited, and they fully prolong their instrumental remarks in a way few other musicians -- jazz or otherwise -- would allow themselves. Yes, it would be difficult to hear these tracks on the radio, but the tradeoff was a listening experience for their fans that would also showcase a rare commodity in the lexicon of their style of post-bop mainstream jazz -- consistency. The simple, sweet, and lightly swinging "Tanya" has become a classic song, and it is a staple in most saxophonists' diets, even though the supportive chord structures from pianist Kenny Drew and Byrd's up-front brass are more attractive or noticeable than Gordon's bluesy tenor. Memorable for many reasons, Drew's brilliant composition "Coppin' the Haven" is textbook modern jazz, a modal minor-key delight as Byrd again dominates with a shining, gliding melody tacked on to an easy swing that exemplifies the song form for jazz in its best sense. Gordon steps up apart from the trumpeter on the great ballad "Darn That Dream," and is at his best, wringing every regretful emotion out of his horn as only he can. The CD version contains the bonus track "Kong Neptune" sans Byrd, a good swinger that cops from no other influences, merging the mythical strengths of the two creatures in its title via Gordon's muscular, lithe, and athletic on-land and at-sea horn. At around 47 substantive minutes of music, One Flight Up stands as a testament to Dexter Gordon's viability as a bandleader and teammate, while his individualism is somewhat sublimated. It's a good listen to digest all the way through, especially if you are as patient as the performers, who have a lot to say. © Michael G. Nastos /TiVo
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Jazz - Erschienen am 1. Januar 1979 | CM BLUE NOTE (A92)

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Although tenor saxophonist Dexter Gordon had moved to Europe in 1962, he made a return visit to the U.S. in 1965 that resulted in both this album and Gettin' Around. Gordon teams up with trumpeter Freddie Hubbard, pianist Barry Harris, bassist Bob Cranshaw and drummer Billy Higgins for three of his originals, two obscurities, and a standard that ended up being the date's most memorable performance: "I'm a Fool to Want You." It is excellent music if not quite essential. © Scott Yanow /TiVo
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Jazz - Erschienen am 1. Oktober 1964 | CM BLUE NOTE (A92)

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Jazz - Erschienen am 21. April 1969 | MPS

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Jazz - Erschienen am 1. August 1966 | Blue Note Records

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Jazz - Erschienen am 1. August 1966 | CM BLUE NOTE (A92)

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Jazz - Erschienen am 1. August 1961 | Blue Note Records

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Bebop - Erschienen am 6. November 2020 | Storyville Records

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Jazz - Erschienen am 1. Dezember 1962 | Blue Note Records