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Editorial Reviews

This single CD anthology is chock-full of the mighty Dexter Gordon (tenor sax) as leader or as primary participant in seven selections showcasing his surprisingly wide array of interpretive skills within the blues. While the majority of the contents have been culled from Gordon's late-'60s and early-'70s Prestige output, the update of Jay McShann's "The Jumpin' Blues" as well as Gordon's own "Sticky Wicket" are both alternate takes that weren't available prior to the all-inclusive 11-disc Complete Prestige Recordings (2004) box set. The latter opens the compilation as the double-sax assault of Gordon and James Moody (tenor sax) is supported by Barry Harris (piano), Buster Williams (bass), and Albert "Tootie" Heath (drums). The mid-tempo and minor chord changes have a menacing effect as the two tenors bounce ideas off one another. "The Panther" swings with a sinuous syncopated flow thanks to Larry Ridley (bass) and especially Alan Dawson (drums). Tommy Flanagan (piano) is also along for the ride and lays down a few classy lines of his own, which are punctuated by a brief solo from Williams. Gordon joins forces with Junior Mance (piano) at the 1970 Montreux Jazz Festival for a live cover of Thelonious Monk's "Blue Monk." Martin Rivera (bass) and Oliver Jackson (drums) are a solid, yet transparent rhythm section well-suited to frame Gordon's soulful and expressive sonic tug of war with Mance's refined ivories. The hot and driving "Lonesome Lover Blues" finds Gordon, Gene Ammons (tenor sax), Jodie Christian (piano), Rufus Reid (bass), and Wilbur Campbell (drums) blowing away the blues of guest vocalist Vi Redd -- daughter of drummer Alton Redd -- who was not only an alto saxophonist in her own right, but as evidenced by the contributions heard here, Redd was a dynamic soul shouter as well. The previously alluded to "alternate" of "The Jumpin' Blues" is from an upscale confab featuring Wynton Kelly (piano), Sam Jones (bass), and Roy Brooks. "Oh! Karen O" is definitely a keeper. Thad Jones (trumpet/flugelhorn) goes head to head with Gordon as Stanley Clarke (bass), Hank Jones (piano), and Louis Hayes (drums) give them plenty of space for their winding and expressive ventures. Clarke's interchanges are interesting as they weave and entwine harmonically with Gordon. Jimmy Heath's "Gingerbread Boy" returns listeners to the stage of the Montreux Jazz Festival. It is three years later and the personnel of Hampton Hawes (keyboards), Bob Cranshaw (bass), and Kenny Clarke (drums) provide a cool, laid-back groove as Gordon's sax underscores his keen and sensitive abilities as a wordless narrator who can create sonic portraits with the hues and shades of his empathetic tenor. For that reason alone Blue Dex: Dexter Gordon Plays The Blues is a worthy investment. Lindsay Planer, All Music Guide

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