Dexter Gordon & Kenny Drew & Niels-Henning Orsted Pedersen

I'm really enjoying this today, particularly the second song, "Fried Bananas" (based on the changes of "It Could Happen To You"). It's a delight to hear Niels-Henning and Kenny Drew live with another jazz legend. I believe the drummer is the legendary South African Makaya Ntshoko, too. I need to find some books on the Jazz Diaspora in Europe...

Stairway to the Stars

"Stairways to the Stars" is my favorite track from Gordon's Our Man in Paris, an album featuring Bud Powell. I must admit, I find Powell's playing in the 1960s sub-par compared to the heights he reached in the 1940s and 1950s, but this ballad works surprisingly well. Gordon, who is usually too tame for my tastes, excels on ballads and slow numbers with his characteristically suave style. Gordon's rendition of "A Night in Tunisia" is also a classic, though pales in comparison with Powell's trio recording with Max Roach on drums, which features a stronger 'Afro-Cuban' homage. No disrespect to Kenny Clarke intended, but I prefer Roach.  

Dexter Gordon on Blue Bossa

Dexter Gordon's take on Joe Henderson's "Blue Bossa" would make the latter proud. 

Dexter Gordon's A Swingin' Affair

1. “Soy Califa” is a samba-infused number with a Spanish title, meaning “I am Caliph,” when the title should actually be in Portuguese. This is a fun, funky song, but the head is actually not that great, really only shining in Gordon’s solo and the drummer, Billy Higgins, who is clearly having fun switching from a samba-esque drive to swing seamlessly. Sonny Clarke’s piano solo also adds a nice touch, with a celebratory tone reminiscent of the song’s Latin and Islam allusions in the title. Higgins, when he solos, makes the song though, responding to his African-sounding drum with fast snare work as accompaniment until Gordon concludes. Billy Higgins has a way with fusing Latin rhythms and swing, especially evident in his work with Ornette Coleman and Bobby Hutcherson on “Una Muy Bonita.”

2. “Don’t Explain,” a ballad composed by Billie Holiday, is a slow, pensive piece recalling the somber mode of a lover begging for their partner to not explain infidelity or false excuses, which, unfortunately, was the life of Billie Holiday. Nothing unusual or “new” sticks out here, just a ballad delivered in the typical hard bop school. Nevertheless, Gordon lays it all out here, while Clarke’s accompaniment works well, too, very delicately playing behind Gordon’s longing saxophone.

3. “You Stepped Out of  a Dream,” a standard, is standard-fare, although Higgins keeps it interesting rhythmically with Latin-inflected rhythms well placed in the head. Gordon of course is conventionally brilliant throughout, but, alas, nothing wows.

4. “The Backbone” is my favorite track after “Soy Califa,” a fun, bossa nova-esque number with a touch of blues and funk. Higgins, once again, lays down a great beat; the bass is on point, and Gordon’s solo takes off, searing the ears of listener on a dark course, suggestive of the bluesy funk while retaining a hot Latin beat. Clarke brings the same quality to his piano round, reminiscent of minor blues-drenched romp for joy. Definitely the second-best song on A Swingin’ Affair.

5. “(It Will Have to Do) Until the Real Thing Comes Along” is another standard and a ballad, nice to listen to, but nothing stirring or amazing. Gordon’s penchant for balladry comes out strongly though, accentuating the melodic twists and turns with emotion. Sonny Clarke on piano adds a nice, gentle touch, too. Very nice to listen to, but not like “The Backbone” or “Soy Califa.”

6. “McSplivens” ends the decent album in a typical bluesy hard bop jam where Higgins expertly keeps rhythm, supplementing Gordon’s soaring highs and lows on the saxophone register. A very nice way to conclude an acceptable hard bop release, though nothing phenomenal. I would give this entire album 3.5 stars, mostly because of "Soy Califa" and "The Backbone."