Customer Reviews

Our Man in Paris

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

 

 

While Dexter Gordon originally planned to play a set of his own tunes for this gig, he changed to an all-standards line up to accomodate the rhythm section, which was unfamiliar with his tunes. The section featured Bud Powell (piano), Kenny Clarke (drums), and Pierre Michelot (bass). Between Gordon's simple yet complex improvisation that falls between Bop and Swing, Powell's melodic intensity, Clarke's clever accentuation, and Michelot's flawless harmonic support, this album both cooks and simmers with Stellar improvisation and interaction: Jazz at its Best.

Gordon is at his muscular, swinging best with this 1963 release. He takes on a set of well-known tunes, but infuses each with a fresh sound that leaves no doubt as to both his technical control and his ability to fashion eloquent improvisational statements.

"Our Man in Paris" also features Gordon playing with a superb supporting cast, including the mercurial Bud Powell on piano, the great Kenny Clarke on drums and the fine bassist Pierre Michelot. The four move seamlessly through such standards as "Willow Weep for Me," "Stairway to the Stars," and "Our Love Is Here to Stay." Gordon's blend of power and lyricism is best displayed on "Stairway to the Stars." On this lovely tune, you can hear Gordon warming to his theme, expanding on each idea, exploring the contours of the melody. In his ability to explore ballads, Dexter's playing rivaled that of Coltrane's.

The CD also includes a wonderful version of "Like Someone in Love," with Gordon laying out and Powell leading the remaining trio. Bud's opening statement of the theme is one of the loveliest solo intros I have heard on record. After Clarke and Michelot join him, he embarks on a stimulating romp through the tune's changes before exiting by recapitulating his solo statement. It's a great addition to the CD, and offers a completely satisfying end to the set.

I put Dexter on the short list of great modernists who transformed jazz during the '60s. "Our Man in Paris" reveals his original sound and his mastery of the standard repertoire of jazz. Recommended for anyone interested in adding to his collection or in exploring the foundations of modern jazz.

If you're into bop, this issue is an absolute must. Very high spirited, very entertaining, very inspiring, you'll hang on every note. Clearly one of Mr. Gordon's best works

This 1963 album finds Dexter Gordon in sparkling form. He is backed by Bud Powell on Piano, Pierre Michelot bass and Kenny Clarke drums. Its one of the best sessions Gordon ever recorded and is an essential purchase for any Jazz fan.

Dexter Gordon is in fine form throughout the album. Just take the opening Charlie Parker classic 'Scrapple from the Apple'. The theme is stated and Gordon takes the first solo. Three and a half minutes later he finishes. Theres no apparent repetition here, or use of a stock of standard riffs that you might hear with a lesser musician. Throughout this solo he is inventive using the full range of the Saxophones marvellous palette. The other stand-out track on here for me is his version of 'A Night in Tunisia'. Whether he's throwing in a quote from 'Summertime' or bending notes on this form Gordon was up there with the very best. On a few moments in his solo on Tunisia I was reminded of Coltranes Soprano solos. Whilst there is no doubt that in his early career Gordon was an undoubted influence on Coltrane I wonder if at this stage Gordon was actually being influenced by Coltrane.

Its worth mentioning the appearance of Bud Powell on the album. He was the most important Jazz pianist before Bill Evans arrived in the late 1950's. Sadly he suffered from mental health problems and his playing later in his career (from the late 1950's onwards) could be erratic. On this recording he isn't the whirlwind of 10 years earlier, but his playing is mostly consistent and considered of sufficient standard for 'Like Someone In Love' to be put out as a bonus track on the CD.

This is my first and still favorite jazz record of all time. My son introduced my to it and I can listen to it over and over. This guy blows sax like nobody's business. Right up there with Coltrane. My regret is that I didn't listen soon enough or was interested enough earlier in my life. I have the movie 'Round Midnight and don't doubt that Dexter looked better than anyone in a suit including Miles Davis. A must have album for a jazz collection.

I have no disagreement with the other writers about mr. Gordons awesome tenor power, but I would like to mention that Bud Powell is not really at his best anymore on this record. His very reason of moving to paris were his mental problems and problems with narcotics. From mid-fifties onwards he was never quite the same as in 49-50, wich I consider his best years. Untill his death in -66 his playing was at times just plain terrible. On special occasions, like this recording for example, he seemed to cheer up a bit and could at times give us short glimpses of the genius he once was, but other times... The reason I'm making such an issue out of this is that had he been at his best, this record would truely stand out as a landmark. However on this record he was unable to play like he once did. Hence only four stars from me.

Dexter's playing is first rate stuff, but there seems to be something that hasn't quite jelled with the rhythm section. Something seems a little ragged at up tempo, not quite cohesive and not quite swinging. It's a letdown after hearing Dexter backed by the superb rhythm sections on Go, A Swingin' Affair, Dexter Calling, Doin' Alright, and One Flight Up. On the plus side, Willow Weep for Me and Stairway to the Stars are superb ballad tracks and the trio tracks showcase Bud Powell playing in better form than he had been in some years. Whatever problems the rhythm section was having, I wouldn't lay them at the feet of Bud.

I would recommend this album only to round out a collection that already includes the other titles mentioned in this review.