Sealed LP: Dexter Gordon & Orchestra: More than You Kno

$

25

Dexter Gordon: More than You Know

FACTORY SEALED LP

• Naima
• Good Morning Sun
• Girl With the Purple Eyes
• This Happy Madness (#)
• Ernie's Tune
• Tivoli
• More Than You Know

• Ole Molin: Guitar
• Vincent Nilsson: Trombone
• Bjarne Boie Rasmussen: Viola
• Alex Riel: Drums
• Benny Rosenfeld: Trumpet, Flugelhorn
• Idrees Sulieman: Trumpet, Soloist, Flugelhorn
• Per Walther: Violin
• Axel Windfel: Trombone (Bass)
• Nils Winther: Producer, Photography
• Per Grunnet: Design
• Luba Boschenko: Harp
• Preben Garnov: French Horn
• Klaus Nordsøe: Percussion, Conga
• Sanne Salomonsen: Voices
• Age Knudsen: Violin
• Mogens Holm Larsen: Violin
• Kenneth Knudsen: Synthesizer
• Richard Boone: Trombone
• Allan Botschinsky: Trumpet, Flugelhorn
• Erling Christensen: Cello
• Freddy Hansson: Engineer
• Niels-Henning Ørsted Pedersen: Bass, Bass (Electric)
• Bent Larsen: Flute, Flute (Bass), Flute (Alto)
• Thomas Clausen: Piano, Piano (Electric)
• Dexter Gordon: Sax (Soprano), Sax (Tenor), Main Performer, Liner Notes
• Palle Mikkelborg: Trumpet, Conductor, Arranger, Voices
• Ed Thigpen: Drums

• Dexter Gordon's SteepleChase recordings of the early- to mid-'7s are among the most rewarding of his career. This particular session (which finds Gordon backed by a string orchestra arranged by Palle Mikkelborg) is one of the lesser items from this fertile period. Dexter is in memorable form on "Naima" and "More than You Know" but the backup orchestra has little interplay with Gordon and the lush charts offer few surprises. This set does not quite live up to its potential although Dexter Gordon fans will still find moments to enjoy. ~ Scott Yanow, All Music Guide

• Dexter Gordon had such a colorful and eventful life (with three separate comebacks) that his story would make a great Hollywood movie. The top tenor saxophonist to emerge during the bop era and possessor of his own distinctive sound, Gordon sometimes was long-winded and quoted excessively from other songs, but he created a large body of superior work and could battle nearly anyone successfully at a jam session. His first important gig was with Lionel Hampton (1940-1943) although, due to Illinois Jacquet also being in the sax section, Gordon did not get any solos. In 1943, he did get to stretch out on a recording session with Nat King Cole. Short stints with Lee Young, the Fletcher Henderson Orchestra, and Louis Armstrong's big band preceded his move to New York in December 1944 and becoming part of Billy Eckstine's Orchestra, trading off with Gene Ammons on Eckstine's recording of "Blowin' the Blues Away." Gordon recorded with Dizzy Gillespie ("Blue 'N' Boogie") and as a leader for Savoy before returning to Los Angeles in the summer of 1946. He was a major part of the Central Avenue scene, trading off with Wardell Gray and Teddy Edwards in many legendary tenor battles; studio recordings of "The Chase" and "The Duel" helped to document the atmosphere of the period.
• After 1952, drug problems resulted in some jail time and periods of inactivity during the '50s (although Gordon did record two albums in 1955). By 1960, he was recovered and soon he was recording a consistently rewarding series of dates for Blue Note. Just when he was regaining his former popularity, in 1962 Gordon moved to Europe where he would stay until 1976. While on the continent, he was in peak form and Gordon's many SteepleChase recordings rank with the finest work of his career. Gordon did return to the U.S. on an occasional basis, recording in 1965, 1969-1970, and 1972, but he was to an extent forgotten in his native land. It was therefore a major surprise that his return in 1976 was treated as a major media event. A great deal of interest was suddenly shown in the living legend with long lines of people waiting at clubs in order to see him. Gordon was signed to Columbia and remained a popular figure until his gradually worsening health made him semi-active by the early '80s. His third comeback occurred when he was picked to star in the motion picture 'Round Midnight. Gordon's acting was quite realistic and touching. He was nominated for an Academy Award, four years before his death after a very full life. Most of Dexter Gordon's recordings for Savoy, Dial, Bethlehem, Dootone, Jazzland, Blue Note, SteepleChase, Black Lion, Prestige, Columbia, Who's Who, Chiaroscuro, and Elektra Musician are currently available.
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Wardell Gray biography by Scott Yanow, All Music Guide

• Wardell Gray was one of the top tenors to emerge during the bop era (along with Dexter Gordon and Teddy Edwards). His Lester Young-influenced tone made his playing attractive to swing musicians as well as younger modernists. He grew up in Detroit, playing in local bands as a teenager. Gray was with Earl Hines during 1943-1945, recording with him (1945). That same year, he moved to Los Angeles and he became a major part of the Central Avenue scene, having nightly tenor battles with Dexter Gordon; their recording of "The Chase" was popular. Gray recorded with Charlie Parker in 1947 and yet his style appealed to Benny Goodman, with whom he played the following year. Among his own sessions, his solos on "Twisted" (1949) and "Farmer's Market" (1952) were turned into memorable vocalese by Annie Ross a few years later. Back in New York, Gray played and recorded with Tadd Dameron and the Count Basie septet and big band (1950-1951); "Little Pony," his showcase with the Basie orchestra, is a classic. Gray was featured on some Norman Granz jam sessions ("Apple Jam" has a particularly heated solo) and recorded with Louie Bellson (1952-1953). Ironically, Wardell Gray, who in the late '40s was an inspiration to some younger musicians due to his opposition to drug use, himself became involved in drugs and died mysteriously in Las Vegas on May 25, 1955, when he was just 34.

FINE PRINT

• All pictures are of the exact item being sold.
• This record came from a record store called "Phantasmagoria" which was located in Allentown, Pennsylvania. Phantasmagoria went out of business in 1978. I purchased most of their leftover inventory some years later when I owned a new & used record store in Catasauqua called "Music Madness".
• Phantasmagoria used round colored stickers to indicate the price of the albums. They had a sign on the wall with the color sticker combinations for the customers to use so they knew the price of the albums. Most of the albums still have these stickers on them, and in some rare cases, the stickers are written on. Some of the records have prices on them. This is the price you would have paid for the record in 1978 if you would have bought it at Phantasmagoria. Please don't confuse these prices with their current value.
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