Review by Scott Yanow:
Although
tenor saxophonist Dexter Gordon had moved to Europe in 1962, he made a
return visit to the U.S. in 1965 that resulted in both this album and
Gettin' Around. Gordon teams up with trumpeter Freddie Hubbard, pianist
Barry Harris, bassist Bob Cranshaw and drummer Billy Higgins for three
of his originals, two obscurities, and a standard that ended up being
the date's most memorable performance: "I'm a Fool to Want You." It is
excellent music if not quite essential.
Review by Chris Sheridan, Jazz Journal (UK), May 1980:
Of
their three collaborations, this is marginally the best Gordon/Hubbard
match, the former playing with relaxed authority, the latter with a
mature sparkle. Hanky is a son of Benny Golson's Blues March at Gordon's
favourite loping tempo. I'm A Fool is another consumate ballad to set
beside so many. The title track is a jaunty tipping of the hat to
Dameron. Devilette predates the better-known Black Lion version by two
years. Lady Iris B engenders an infectious bounce, though Hubbard loses
continuity. And Jodi, dedicated to Gordon’s first wife, is an update of
the tune on his "Resurgence” LP of 1960. Not a flawless LP, but a warm
and sunny one, currently being issued also in the USA as LT-989.
01 - Hanky Panky
02 - I'm A Fool To Want You
03 - Clubhouse
04 - Devilette*
05 - Lady Iris B
06 - Jodi
Freddie Hubbard (t) Dexter Gordon (ts) Barry Harris (p) Bob Cranshaw or Ben Tucker* (b) Billy Higgins (d)
Van Gelder Studio, Englewood Cliffs, NJ, May 27, 1965
Blue Note GXF 3055 (J)/LT 989 (US)/LBR 1022 (UK) [1979]
Extract from “Long Tall Dexter” by Stan Britt:
But
his next European experience was to have the most far-reaching
consequences for Dexter Gordon. This was a trip to Scandinavia, to
accept yet another comprehensive engagement, this time at the Montmartre
Jazzhus, in Copenhagen. The reception, once again, was extraordinary.
For the next two years, this latest American jazz musician to find
unexpected recognition and respect in Europe was more or less to divide
his time between Denmark and France, working with a regularity he must
have found to be almost unnatural. These gigs were interspersed with
periods of self-imposed inactivity, when the need to rid himself of the
pressures and pain of his inescapable habit resurfaced. There was always
someone to provide that magical (but never permanent) trip to euphoria.
But, then, some things cannot change, or be changed, overnight.
It
was probably only after re-reading Ira Gitler's Down Beat feature that
Dexter Gordon realized just how long ago he had made that initial
journey to London, just how much time had passed — and so quickly —
since he had seen his ex-wife and two daughters, still living in Los
Angeles. Suddenly, it seemed ages since he had performed in any North
American jazz joint, had met and blown with his musical friends; the old
ones and the newer, younger lions.
"I went back to the States, for about six months (in 1965). I was in New York for a couple of months. Then, I went out to LA for two or three months. I wanted to see my daughters and check out the domestic scene. But there were still sort of holes, - and I wasn't happy. At any rate, I had my return ticket."
In his heart, Gordon realized that if he used that return ticket it would be to resecure his European foothold. Periodic Stateside visits notwithstanding, he had a feeling it would be a long time before he would leave his new friends and security in Europe.
Note from grumpy: I've just revisited
the film "Round Midnight", made me think about Dexter's own European
experiences and his stateside returns - hence this post.
