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