Dexter Gordon's second recording for Blue Note is a solidly swinging affair, yet constantly full of surprises. It's not unexpected that
Gordon's tenor at this time (1961) was one of the most enjoyable in mainstream jazz, but his transition from the cool California scene to the hotter music environs of New York City had energized his sound and attitude. A first-time pairing with bassist
Paul Chambers has something to do with this, but it also inspires pianist
Kenny Drew to a great extent, while drummer
Philly Joe Jones is his reliable, energetic self, and always works well with
Gordon. Where
Gordon's fluent melodic sense is perfectly demonstrated during the simple-as-pie groove waltz "Soul Sister," the steady, steamy bopper "I Want More," and the familiar
Charlie Chaplin evergreen "Smile," his sense of expanding the specific line upon soloing is truly remarkable. He constantly keeps the song form in mind, riffing on and on without violating the basic note structures, constantly reharmonizing, shuffling the chords like a card dealer and updating the song form. "The End of a Love Affair" takes this concept into an area where his deep, subtle voice is translated directly into the low-slung voicings of his horn. The remarkable "Modal Mood" combines hard bop with
Drew's three-chord piano repetitions and
Gordon's soulful, simplified sax, while the equally impressive "Clear the Dex" steamrolls the competition as the band -- cued by
Jones -- skillfully pushes or pull tension and release elements, then busts loose into joyous swinging in a true signature tune that is immediately recognizable as only the long, tall tenor man. The sad ballad "Ernie's Tune" is based on a yin/yang theme via
Freddie Redd's stage play The Connection and the crazy character that ran wild or tame. The excellent band, solid musicianship, and memorable music on every track make this one of the more essential recordings of
Gordon's career.