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notes, Dexter morgan: serial killer

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I have been on the committee of the Cambridge student societies The Archimedeans, CUPS, the SRCF and the RCSA. Gordon won the 1971 Down Beat Critics Poll for top tenor saxophonist on the strength of his four LPs with Schlitten, and signed his third and final contract with Prestige on July 14, 1971, to do two more albums. On various New York visits in ́41 and ́42, the aspirant heard trumpet modernists Dizzy Gillespie, Benny Harris, and Victor Coulson.

He chose ‘Those Were the Days’ and ‘Meditation,’ which he recorded that week, and ‘Some Other Spring,’ which he didn’t. On the hard-charging “Home Run,” the front line slams out three bars of a chord not dissimilar to the opening of Thelonious Monk’s “Little Rootie Tootie” before resolving into the form of Ray Brown’s “Two Bass Hit. Pres stayed around ninths—he must have listened to Ravel and Debussy—but Bird went all the way up the scale.J. Johnson blues first recorded for Savoy on December 19, 1947 by a septet under the nominal leadership of baritone saxophonist Leo Parker, joined by Johnson, Gordon, Leo Parker, Joe Newman, Hank Jones, Curly Russell, and Shadow Wilson. Over the next four years, he did several tours on a circuit that took him from Western Canada to his native Los Angeles. In the Sixties he was up on his articulation and up on the beat, and his tone and presence and interaction with the rhythm section changed. Dexter has also displayed guarding issues in his previous homes, and as such, he needs a controlled introduction to visitors in his new home. Instead of just adding the code that lets you put dex into the inventory, I replaced it with the base.

Springboarding off Bird’s rumba-like intro to his famous 1950 recording of “Star Eyes,” Gordon launches another graceful solo over a rolling, medium-up 4/4, breaking up his phrases and moving easily up and the down the horn.To keep the weapon from disappearing, I had to create it twice, once when the sim starts walking to the victim, then just before the killing animations starts. The band picks up where they left off with Thelonious Monk’s “Rhythm-a-ning,” beginning with an intense 7:30 solo by Gordon. But hey, at least we got a handful of additional lows out of him on this album, including a new second octave note even! Midway through his decade-long stint as Ella Fitzgerald’s pianist and musical director, Flanagan follows the leader’s sturdy arcs and planes with a graceful sketch. On the road with Hampton, Gordon mastered the ritualistic dueling tenors function, telling ebullient stories with pretty notes, Lester Young style, in counterstatement to the brash, declarative Herschel Evans tales of Illinois Jacquet.

To me, they sounded a little more hip, and I guess they were, because he was much younger than them, and he came onto the scene with a new breath of air, so to speak. A staple of Gordon’s late Seventies repertoire, “Polka Dots and Moonbeams” does not appear in his discography until an October 1969 TV broadcast with the Oscar Peterson Trio.On the alternate take of “Sticky Wicket,” a minor blues by Gordon, Moody responds disjointedly to Gordon’s quotefest; on the master take, Gordon concocts a new invention, and Moody plays only on the opening and closing unisons. Soon after, he went to Lincoln Square Center to see his idol at a welcome-home party for the Billy Eckstine band.

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