Customer Reviews

Dexter Calling

5 star:		(3)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

"Go" is widely reputed to be Dexter's best Blue Note album, and his best overall. But, in truth, any of his Blue Notes are extremely high quality, and this is no exception. Lovely post-bop blowing, and the rhythm section is faultless. Nobody plays like this anymore. The fact that I found this CD for $2.99 in a Florida used CD store makes me feel like I found buried treasure.

With Dexter fronting a rhythm section of Kenny Drew , Paul Chambers and Philly Joe Jones you would expect nothing less than the results here. The playing is absolutely solid throughout and Dexter's tone and improvisational skill are both in full effect. There isn't one oustanding track in the sense that all of the selections are deftly handled by this quartet of consummate professionals. Nothing more nothing less.

After a brief absence, it is great to have "Dexter Calling" returned to the Blue Note catalog via the RVG series. The albums Dexter Gordon made for Blue Note in the 60s revived his career, and I believe they are his greatest lasting achievement. Since Dex had left the U.S. for Europe, he made his first four Blue Note albums in pairs during trips stateside. "Dexter Calling" and "Doin' Alright" were recorded days apart using different lineups, but getting the same excellent results, with the former only slightly behind in terms of overall quality. From the opening smooth bars of "Soul Sister," the band of Kenny Drew, Paul Chambers and Phily Joe Jones backs Dex with power and finesse. This rhythm trio knew how to treat a great tenor player -- they were responsible for backing 'Trane on "Blue Train" (see my review). My personal favorite song from the album is "Ernie's Tune," a lovely ballad that alternates between passion and tension for striking results. In conclusion, when Dexter's calling, we should all come over.

This is a solid, competent, worthwhile album. Dexter Gordon is in fine form and is swinging hard. Paul Chambers, Philly Joe Jones (and whatever piano player who is with them) was the finest rhythm section in the 50's, bar none. In this case, the pianist is Kenny Drew, one of my favorites, and his solos are easily as luminous as the leader's. A good album, all the tunes are well played.

However, the reader should know that this is by no means an inspired cd. There are no "high points," and nothing that is especially memorable or "wow." That said, however, it is still worthwhile. Other Dexter Gordon albums are probably worth listening to first, however.

With Paul Chambers and Philly Joe and Drew this focused tight set is simply a must have if you dig bop. Classic album cover. Historic. Good recording quality.

One of the missing links between the hard swinging tenor heros of the big band era and bebop, in this era, Dexter Gordon and Sonny Rollins definitely reigned supreme as the quintessential masters of the tenor- - and both had some similarities as well, for example, they had big fat tones, swung hard, and even though they had their own voices, were definitely impacted by Charlie Parker --in addition, the playing of both these masters has always stood up to the test of time... Furthermore, both were edgy players who could make profound statements without going too far outside, yet still had a pretty mean in your face intensity. That said, it should be noted that this session isn't a Sonny Stitt style "blow your butt off"-a-thon... if anything Dexter is mellow and in the pocket on this one... as a result, don't necessarily expect to have your mind blown each and every second... do, however, expect to observe the works of a master in the moment... Playing the comparison game, even if you consider Mobley a lesser player - - I'd still liken this to a Mobley session... a strength of Mobley being that even though he was a solid tenor player, a key strength of his was how well he worked with his ensembles... That said, my only criticism of this session is that unlike many of the Mobley sessions of that era, I wouldn't call the tunes or arrangements jaw droppingly memorable... still... Dexter's blowing reminds me of flavors like root beer and licorice... they're tasty and stay on the palate a long time, giving you a lot to savor and take in, are as sweet as molasses but have that spicy after kick - - Furthermore, it is a delight to hear Philly Joe as he both works and works around the pocket... Mr. PCs effortlessly cool bass playing and Kenny Drew's unintrustive yet swinging comping circa that era.

High points of the album include Dexter's solos on Kenny Drew's Modal Mood and End of A Love Affair, an excellent original swinger called Clear The Dex in which Kenny Drew also takes a nice solo over Philly Joe's rock solid ride and Max Roach style Titty Booms... - - I also love the theme and changes on I WANT MORE, which also provide a good opportunity for the ensemble to cook. Dex's SOUL SISTER, in turn, is a gospelly soul Jazz number (almost reminds me of something that Cannonball and Bobby Timmons would have done.) - - There's also a sweet ballad called Ernie's Tune (a Dexter Gordon original.) I like Philly Joe's brush work on it as he holds the rhythm and maintains the mood with a type of balance that's demonstrates just how truly lost REAL brush playing is now-a-days.

The session closes with Charlie Chaplin's SMILE, always a great vehicle as a finger poppin'/toe tappin' swinger when done just up, but not too up (Dex takes a really good one on it too!) - - Though he doesn't solo, am I the only one who feels that Philly Joe subtly steals the show on this one?

All in all, the album was recorded in 1961 just when Jazz was beginning to change... The album is not invigoratingly original, cooking or over the top but what it lacks in cutting edge, it more than makes up for in mood, swing and in-the-moment timelessness.