Dexter Gordon

Dexter was seriously the worse for wear-his drinking by that stage had become epic. He swayed noticeably. Most of the tunes he chose to play were ballads; before each of them he recited the full lyrics in his trademark mellifluous growl. He went on to play each tune majestically. Dexter was insistent on appreciating the lyrics to the tunes he played, and I think you can hear his deep commitment to the lyrics as much as the harmonic possibilities in his playing.

The Sound. The truly great saxophonists have a sound that is instantly recognisable. In Dexter’s case it is deep verging on cavernous, matured, unhurried with every note, every sound full of meaning, sometimes multiple meanings. Dexter’s sound has been often copied but never replicated. To my mind, more than anything, it is the key to his genius.

Telling a story.  In the 70’s I listened to Dexter repeatedly, particularly his classic Blue Note recordings. Then I found myself listening to him more rarely, I’m not entirely sure why. Now that I have returned playing the saxophone, I listen to him all the time. Why? Because every Dexter improvisation tells a story. As an example, listen to his solo on Dizzy Gillespie’s Night in Tunisia in the video, each note each idea, the transition between ideas, the subtle return to the tune at the end are all carefully weighted, yet all played with an effortless impression. Believe behind Dexter’s supremely hip public face would have been thousands of hours of practice, playing, listening, and jamming. Dexter’s ability as a jazz storyteller is one of the qualities that marks him out as true jazz original.

I’ll return to Dexter Gordon again, not least through reference to the excellent biography The Life and Legacy of Dexter Gordon written by his widow Maxine Gordon.

Here’s a brief selection of Dexter Gordon cuts from an early two tenor recording with Wardell Grey and examples of his playing in the early 1960’s. It is worth noting that towards the end of his life, in 1986 Dexter was, to his astonishment nominated for an Oscar for his acting role in Bertrand Tavernier’s film Round Midnight. One of the best jazz movies.