During a period of
Dexter Gordon's (tenor sax) life -- when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight,
Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise
Daddy Plays the Horn (1956). Joining him as key constituents of the credited
Dexter Gordon Quartet are
Kenny Drew (piano),
Leroy Vinnegar (bass), and
Larry Marable (drums). While the support team provides
Gordon top-notch contributions throughout, it is unquestionably
Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the
Gordon-penned title composition "Daddy Plays the Horn." In fact it could be argued that
Drew enhances the tenor to the point of practically being a co-leader. The update of
Charlie "Bird" Parker's bop standard "Confirmation" is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody.
Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation.
Drew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on
Daddy Plays the Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. "Darn That Dream" embraces the warmth of
Gordon's tenor as his sensual phrasing leaves just enough space for
Drew to sonically bridge the gap with his own unhurried and stylish chords. The generically monikered "Number Four" is anything but ordinary. The
Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone.
Drew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist
Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. "Autumn in New York" -- the album's other essential ballad -- is proof that despite
Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between
Gordon and
Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, "You Can Depend on Me" rounds out the platter with a bang. Each bandmember gets a final opportunity to shine -- which they individually take full advantage of. In 2005, the Shout! Factory label reissued
Daddy Plays the Horn, placing the six selections in the correct running order, and the digital remastering by
Randy Perry has the classic sounding better than ever.