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Accueil arrow JAZZ arrow COLLECTION QUINTESSENCE arrow DEXTER GORDON
 
Réf. : FA3067

DEXTER GORDON

THE QUINTESSENCE NEW YORK - ENGLEWOOD CLIFFS - HOLLYWOOD 1945-1962

DEXTER GORDON
Direction artistique : ALAIN GERBER AVEC DANIEL NEVERS ET ALAIN TERCINET
Nombre de CD : 2

LIVRAISON GRATUITE ET EXPEDITION SOUS:

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Prix 29.99 €
 
West Coast, Dexter was contacted thanks to Thaler. Not only to compose the stage-music and perform it, but also to appear in the production at the Grand Comedy Theater, alongside Robert Blake and Gavin MacLeod, playing the role of Ernie. For “The Hollywood Connection” he hired Dolo Coker (piano), George Morrow (bass) and Lawrence Marable (drums). With the exception of Down Beat, the press was full of praise for it, particularly with regard to Dexter.    During this period, Cannonball Adderley, more or less a ‘headhunter’ for Orrin Keepnews, had discovered Wes Montgomery. In Los Angeles he realized that Dexter Gordon, by now forgotten in New York, was a long way from throwing in the towel and so he decided to set up a session with him for Jazzland, Riverside’s sub-label. The team from “The Hollywood Connection” was there, but did he really have to add Martin Banks, a somewhat colourless trumpeter, and trombonist Richard Boone? You can only wonder. However, the album christened “The Resurgence of Dexter Gordon” completely justified its title, as witnessed by this recording of Home Run. While every musician from “The Hollywood Connection” was present in the studio (save George Morrow, who was replaced by Charles Green), none of the compositions related to the play was actually recorded. For that, people would have to wait for Dexter’s second Blue Note album, “Dexter Calling”, on which they could hear Soul Sister, I Want More and Ernie’s Tune especially. The latter is one of Dexter’s most moving performances; it is also one of his most beautiful compositions, and also the only one to become a song. At actor Robert Blake’s suggestion, Morgan Ames added lyrics to the melody but Ernie’s Tune was never recorded in that form. At the end of the year Dexter decided to return to New York. The jazz scene there had greatly changed in his absence. Ornette Coleman’s quartet had appeared at The Five Spot and John Coltrane was getting ready to record “Africa Brass”. Soon, following in the wake of Stan Getz and his “Jazz Samba”, bossa nova madness would overtake more or less everyone. Dexter kept a reasonable distance from the sirens of Brazil, however; he also remained foreign to the mystical elan of Coltrane and the libertarian furia which was about to be unleashed. At the age of thirty-eight he saw no reason to turn his discourse upside down. He was the man who had shown the way, and therefore not one to walk in the steps of his followers. Not that he remained deaf to their proposals. Bop seemed solid enough for him to be enriched by it without losing any of his specificity. Nevertheless, when playing Kenny Drew’s composition Modal Mood, Dexter would take good care not to put his feet anywhere near Coltrane’s loafers; it would earn him a reproach for “anachronism” from critic Richard Cook. In an interview he gave to Chuck Berg in 1977 for Down Beat, Dexter made things quite clear, saying, “Again, it’s the same line - Lester to Bird to Dexter to Trane. There was evolution, of course, but really the same line.” In no way did Dexter represent the weak link in that chain.     Due to his various terms of imprisonment, Dexter Gordon was unable to obtain the famous “New York City Cabaret Identification Card”, which was mandatory for a musician to be paid to play in places selling liquor, i.e., the only places where a musician had a chance to find any work. Fortunately, Ike Quebec, improvising as artistic director for Blue Note, suggested to Alfred Lion that the label should sign a recording-contract with Gordon. For his first session, Dexter met up with Freddie Hubbard, who had taken part in “Free Jazz” under the aegis of Ornette Coleman only to become a “Jazz Messenger” a few months later. Perfectly at home, and despite their age-difference, the pair of them could communicate in the same love of that pure, solid jazz that cared little for compromise. Playing Gershwin’s theme I Was Doing All Right, Freddie Hubbard begins his solo as the continuation of Dexter’s; it testifies to the mutual understanding they enjoyed, one which is confirmed in their final conversation.A year later the pair met up again, this time on a session for Herbie Hancock that produced “Takin’ Off”, the pianist’s first album. Dexter was one of the artisans behind the success of Watermelon Man, and Alone and I provided the opportunity for him to sign one of those slow-tempo improvisations of which he was a master. He renewed the exploit on I Guess I’ll Hang My Tears Out to Dry and Until the Real Thing Comes Along, two standards taken respectively from “Go!”, an album which also had the particularly bracing Cheese Cake, and “A Swinging Affair”, which contained the fragrant calypso number Soy Califa. Those albums came from two sessions he did with Sonny Clark, Butch Warren and Billy Higgins. While the instrumentation was identical to that of the Coltrane quartet, the use made of it was totally different: with Dexter Gordon, the rhythm-section had to form a whole opposite the soloist, a concept that was to be perpetuated by a number of tenors, among them some of the most contemporary. On August 29th, a few hours after he’d finished taping that album “A Swingin’ Affair”, Dexter Gordon boarded a flight to London, England. “In 1962 I moved to New York […] for six or seven months. I met Ronnie Scott at the musicians’ bar called “Charlie’s”, and he introduced himself and asked if I’d come to London. I said “Yeah, sure”. So I gave him my address and he said he’d be in touch. A couple of weeks later he offered me a month’s work in his club and a couple of weeks around England.”10 His stay in Europe actually lasted until 1976. Whether he was playing in clubs or giving concerts, his stay was more than long enough for Dexter to show himself in his true light: a charismatic giant of the tenor saxophone who had a tremendous sense of humour. He invented a new language for his instrument, filled with neo-bop mannerisms whose rules of grammar and conjugation were all his own work. There was only one “label” to which he laid claim: “What I’m doing—I prefer to call that jazz, because to me it is not a dirty word; to me, it’s a beautiful word—I love it.”     Adapted by Martin Davies from the French text of Alain Tercinet © 2016 Frémeaux & Associés(1) Ira Gitler, “Jazz Masters of the Forties”, Da Capo Press, NYC, 1983.(2) ibid (1)(3), (4) Stan Britt, “Dexter Gordon”, Da Capo Press, NYC, 1989.(5) In the sleevenotes for the LP “Dexter: The Dial Sessions”, Storyville.(6) Ib Skovgaard Peterson, “Daddy Plays the Horn”, Jazz Hot N° 300, December 1973.(7), (8), (9) ibid (6)(10) Thorbjørn Sjøgren, “Long Tall Dexter – The Discography of Dexter Gordon”, Copenhagen, 1986.« DEXTER S’ÉLÈVE TEL UN CONDOR SURVOLANT LES ANDES, AVEC NOBLESSE ET EN FAISANT PREUVE D’UNE FORMIDABLE ENDURANCE. »IRA GITLER“Dexter soars like a condor over the Andes, with grandeur and great staying power.    IRA GITLERCD 1 (1945-1955)DEXTER GORDON QUARTET / QUINTET (Savoy & Blue Note sessions, 1945-1947)1 BLOW Mr. DEXTER (master take)    2’582 DEXTER RIDES AGAIN (master take)    3’163 DEXTER DIGS IN (master take)    2’574 MISCHIEVOUS LADY (take D)    2’445 THE CHASE (Parts I & II)    6’35 6 BLUES BIKINI    3’38RED NORVO NINE (Capitol session, 30/11/1947)7 BOP !    3’03DEXTER GORDON QUARTET / QUINTET (Blue Note & Savoy sessions, Dec.1947)8 GHOST OF A CHANCE (take E)    3’029 SETTIN’ THE PACE (Parts I & II)    6’0110 DEXTER’S RIFF (master take)    3’0111 DEXTIVITY    3’03 12 DEXTROSE    2’52DEXTER GORDON QUARTET “Daddy Plays the Horn” (18/09/1955) 13 DADDY PLAYS THE HORN    9’0514 AUTUMN IN NEW YORK    6’28STAN LEVEY SEXTET “This Time the Drums on Me” (27-28/09/1955) 15 LA CHALOUPÉE (“Les Contes d’Hoffmann”)    5’2216 STANLEY THE STEAMER    6’44CD 2 (1955-1962)DEXTER GORDON QUINTET “Dexter Blows Hot and Cool” (Bethlehem sessions, 11-12/11/1955)1 I SHOULD CARE    2’462 SILVER PLATED    4’03DEXTER GORDON SEXTET “The Resurgence of Dexter Gordon” (Jazzland session13/10/1960) 3 HOME RUN    5’06 DEXTER GORDON QUARTET “Doin’ Allright” (Blue Note session, 6/05/1961)4 I WAS DOING ALL RIGHT    9’16DEXTER GORDON QUARTET “Dexter Calling…” (Blue Note session, 9/05/1961)5 MODAL MOOD    5’236 ERNIE’S TUNE    4’16HERBIE HANCOCK QUINTET “Takin’ Off” (Blue Note session, 28/05/1962)7 WATERMELON MAN    7’058 ALONE AND I    6’27DEXTER GORDON QUARTET “Go !” “A Swingin’ Affair” (Blue Note, 27-29/08/1962)9 CHEESE CAKE    6’3310 I GUESS I’LL HANG MY TEARS OUT TO DRY    5’2211 SOY CALIFA    6’2712 UNTIL THE REAL THING COMES ALONG    6’49

« Dexter s’élève tel un condor survolant les Andes, avec noblesse et en faisant preuve d’une formidable endurance. » Ira GITLER

Les coffrets « The Quintessence » jazz et blues, reconnus pour leur qualité dans le monde entier, font l’objet des meilleurs transferts analogiques à partir des disques sources, et d’une restauration numérique utilisant les technologies les plus sophistiquées sans jamais recourir à une modification du son d’origine qui nuirait à l’exhaustivité des informations sonores, à la dynamique et la cohérence de l’acoustique, et à l’authenticité de l’enregistrement original. 
Chaque ouvrage sonore de la marque « Frémeaux & Associés » est accompagné d’un livret explicatif en langue française et d’un certificat de garantie.

“Dexter soars like a condor over the Andes, with grandeur and great staying power.” Ira GITLER

Frémeaux & Associés’ « Quintessence » products have undergone an analogical and digital restoration process which is recognized throughout the world. Each 2 CD set edition includes liner notes in English as well as a guarantee. This 2 CD set present a selection of the best recordings by Dexter Gordon between 1945 and 1962.

DIRECTION ARTISTIQUE : ALAIN GERBER AVEC DANIEL NEVERS ET ALAIN TERCINET
DROITS : FREMEAUX & ASSOCIES.

CD 1 (1945-1955) : DEXTER GORDON QUARTET / QUINTET (SAVOY & BLUE NOTE SESSIONS, 1945-1947) : BLOW MR. DEXTER (MASTER TAKE) - DEXTER RIDES AGAIN (MASTER TAKE) - DEXTER DIGS IN (MASTER TAKE) - MISCHIEVOUS LADY (TAKE D) - THE CHASE (PARTS I & II) - BLUES BIKINI • RED NORVO NINE (CAPITOL SESSION, 30/11/1947) : BOP ! • DEXTER GORDON QUARTET / QUINTET (BLUE NOTE & SAVOY SESSIONS, DEC.1947) : GHOST OF A CHANCE (TAKE E) - SETTIN’ THE PACE (PARTS I & II) - DEXTER’S RIFF (MASTER TAKE) - DEXTIVITY - DEXTROSE (…). 

CD 2 (1955-1962) : DEXTER GORDON QUINTET “DEXTER BLOWS HOT AND COOL” (BETHLEHEM SESSIONS, 11-12/11/1955) : I SHOULD CARE - SILVER PLATED • DEXTER GORDON SEXTET “THE RESURGENCE OF DEXTER GORDON” (JAZZLAND SESSION13/10/1960) : HOME RUN • DEXTER GORDON QUARTET “DOIN’ ALLRIGHT” (BLUE NOTE SESSION, 6/05/1961) : I WAS DOING ALL RIGHT • DEXTER GORDON QUARTET “DEXTER CALLING…” (BLUE NOTE SESSION, 9/05/1961) : MODAL MOOD - ERNIE’S TUNE • HERBIE HANCOCK QUINTET “TAKIN’ OFF” (BLUE NOTE SESSION, 28/05/1962) : WATERMELON MAN - ALONE AND I • DEXTER GORDON QUARTET “GO !” “A SWINGIN’ AFFAIR” (BLUE NOTE, 27-29/08/1962) : CHEESE CAKE - I GUESS I’LL HANG MY TEARS OUT TO DRY - SOY CALIFA - UNTIL THE REAL THING COMES ALONG.
- « Une sonorité chaleureuse et un style nonchalant » par Jazz Magazine
L’inconvénient des compilations, c’est qu’elles manquent souvent de cohérence, en particulier si la carrière du musicien s’est étalée dans le temps. Rien de tel avec Dexter Gordon dont la sonorité chaleureuse et le style nonchalant bien calé au fond du temps n’ont guère évolué entre « Blow Mr ;Dexter » (1945) par lequel débute celle-ci et « Until The Real Thing Comes Along (1962) qui la conclut. Qu’import le label ou les partenaires, le saxophoniste resta invariablement fidèle au bop, et cette constance est loin d’être un défaut !Par Jonathan GLUSMAN – JAZZ MAGAZINE
- RECOMMANDÉ PAR JAZZ MAGAZINE
RECOMMANDÉ PAR JAZZ MAGAZINE
Liste des crédits sur ce CD :
Dexter Gordon, Dexter Gordon , K. Norvo , V. Young , Vernon Duke , J. Offenbach , Stordhal , G. And I. Gerschwin , K. Drew , Herbie Hancock , S. Styne , S. Cahn , Gordon Dexter , M. Holiner , A. Nichols
CDPisteTitreArtiste principalDuréeEnregistré en
11Blow mr. dexter (master take) Dexter Gordon00:02:581945
12Dexter rides again (master take) Dexter Gordon00:03:161946
13Dexter digs in (master take) Dexter Gordon00:02:571946
14Mischievous lady (take d) Dexter Gordon00:02:441947
15The chase (parts i&ii) Dexter Gordon00:06:351947
16Blues bikini Dexter Gordon00:03:381947
17Bop Dexter Gordon00:03:031947
18Ghost of a chance (take e) Dexter Gordon00:03:021947
19Settin' the pace (parts i&ii) Dexter Gordon00:06:011947
110Dexter's riff (master take) Dexter Gordon00:03:011947
111Dextivity Dexter Gordon00:03:031947
112Dextrose Dexter Gordon00:02:521947
113Daddy plays the horn Dexter Gordon00:09:051955
114Autumn in new york Dexter Gordon00:06:281955
115La chaloupée (“les contes d'hoffmann”) Dexter Gordon00:05:221955
116Stanley the steamer Dexter Gordon00:06:441955
21I should care Dexter Gordon00:02:461955
22Silver plated Dexter Gordon00:04:031955
23Home run Dexter Gordon00:05:061960
24I was doing all right Dexter Gordon00:09:161961
25Modal mood Dexter Gordon00:05:231961
26Ernie's tune Dexter Gordon00:04:161961
27Watermelon man Dexter Gordon00:07:051962
28Alone and i Dexter Gordon00:06:271962
29Cheese cake Dexter Gordon00:06:331962
210I guess i'll hang my tears out to dry Dexter Gordon00:05:221962
211Soy califa Dexter Gordon00:06:271962
212Until the real thing comes along Dexter Gordon00:06:491962
Label : FREMEAUX & ASSOCIES

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