Jazz Classics

Album Sleeve Notes

Dexter Gordon: Tall Tales on Tenor Sax

Long tall Dexter was indeed a tall man. On stage at Copenhagen’s famed Jazzhus Montmartre, his head would barely miss the artistic low ceiling over the stage, and a single office lamp would give enough light for us to see the changes in his facial expression during his long, long solos, from smile to intense concentration, his light green eyes tightly closed. When he opened them it was like he came back from a long trip and had to re-orientate himself. In all his years in Copenhagen – from 1962 to 1976 - that little stage was his home away from home and the club was synonymous with the name DEX. Gordon was a handsome, sexy and graceful man. The women would swoon when he looked directly at them, maybe through a smoke ring from his cigarette – he smoked two packs a day. He oozed a kind of exotic super charm in then-so-innocent little Denmark.

Born in 1923, Dexter began playing clarinet, but joined Lionel Hampton’s band just a few months after picking up the tenor sax at the age of 17. After that it was Fletcher Henderson, Louis Armstrong and Billy Eckstine. In Eckstine’s band he developed his powerful bebop and ‘invented’ the long tenor battles with Gene Ammons, a trademark he would nourish throughout his entire career with anyone who had the guts to challenge him. Gordon had a special way of wobbling his knees while playing, and he would say, “You have to keep your wobbling in shape if you play the tenor.”

This recording will give you a comprehensive impression of Gordon’s mastery in his artistic trajectory.

The reason for Dexter Gordon’s lusty playing in the three numbers here – the hardest bop, the swingiest Afro-inspired music, the most tender of ballads – is without doubt that his stay in Copenhagen brought out the best and most powerful playing of his whole career. Gordon himself acknowledged this several times publicly in radio and TV interviews. Just recently (2014) DRTV (Danish Public Television) aired four 40-minute programmes dealing specifically with Dexter Gordon and Ben Webster in Copenhagen, with several quotes by a bright and optimistic Gordon about his wellbeing, as well as the known and dreaded picture of a man trying hard to escape his addiction. His ‘crime’ gave him a ton of legal problems with work permits and no access to France or Great Britain for a long while, but a group of jazz intelligentsia – if there is such a label – convinced the Danish Justice Department that Gordon was an important cultural figure in Denmark and thus fixed his permit, etc. As payback, Gordon offered to bring his knowledge of music out to schools and music institutions with small live sessions, teaching in his broken-but-charming slow Danish.

The media was friendly to Gordon - and to all jazz in those days, for that matter. Two years of direct weekly radio transmissions from the Montmartre club was a natural. Dexter was also the main character and soloist in at least seven TV specials and features – very much like the other expatriate, Ben Webster. Dexter knew he was the beloved ‘Lord Mayor of Jazz in Copenhagen’ and the mutual respect with the media resulted in rewards like the session on this record.

Magleaas is an old school in the tradition of what we call ‘højskole’, a special Danish invention from around 1900, a place for people who seek further input or wisdom in artistic, musical, literary or gymnastic pursuits. Once a year in the summer there is – still - a good week for professional or semipro jazz musicians to meet and have mostly American ‘stars’ as teachers. Enter Dexter Gordon and his quintet in August 1967 before an enthusiastic crowd of young musicians-to-be. Bam! It was a bull’s-eye on a bright afternoon, the Danish TV was there and the sound is now on your vinyl. The group came from almost two months at the Montmartre in the unusually hot summer of ‘67. Pictures show Tootie Heath topless behind the drums, and I have solid memories of those nights that never seemed to end. Dexter would play from 9 pm to 3 am if the feeling was there – and it often was. Johnny Griffin had gigs at the Montmartre as well, and he told me once: “Oh God, do I have to climb this mountain again tonight?”, meaning that Dexter would come for Griffin’s last set and destroy him in a tenor battle, with ‘The Blues Up And Down’ as the favoured duelling grounds. Gordon’s towering tremendous solo on the B-side of this album explains why Griff dreaded going against the tallest of all tenor players. Here you have a five-minute exhilarating solo where everybody gets a bite before Dex re-enters for a stunning chase with Heath.

In Montmartre Dexter had what he called “the best rhythm group in Europe”, which included old friend and dope compatriot Kenny Drew, who also chilled out and went clean in ‘Copenheaven’, as he called it. Add to this the now legendary – then almost adolescent (21 years old) – Niels-Henning Ørsted Pedersen (in non-Danish jazz media known has NHOP), plus the eminent drummer, Alex Riel, forever young and still playing with everybody at the Montmartre. But it got even better. Dexter often mentioned that he needed a New York drummer to kick his behind, a different attitude than the European drummers’ very schooled and maybe polite, polished way of playing. Enter Albert ‘Tootie’ Heath, who also settled in Copenhagen for a while and saw to it that everybody had a ball. He prescribed Dexter the right medicine, as one can hear on these tracks. He came here to play again in December 2013 and can be seen in Niels Lan Doky’s documentary ‘Between a Smile and a Tear’, reminiscing with Johnny Griffin about the old Montmartre.

According to NHOP, Kenny Drew was one of the finest - but often underrated – pianists in the world. Listen to his beautiful solo on ‘The Shadow’ and you’ll know what he meant. NHOP himself was right on the spot every time. Dexter Gordon used this ballad often. “It seems like a plain ballad, but it has some challenging changes. And it’s a good song with catchy lyrics,” Dexter explained about this tune by Johnny Mandel, from the film, ‘The Sandpiper’.

My personal friendship with Dexter was not tight; few people came too close for comfort, except, of course, his Danish family. We partied and socialized often, before and after hours. When we talked about music, he had his heroes ready: Billy Eckstine and Duke Ellington. Style and elegance meant a lot to Dexter, and now and then he would try his vocal baritone on ‘Hello Baby’ and other Eckstine imitations. It was fun when experienced live, but not for recording, and one is spared Dex’s singing on this session. Perhaps surprisingly, Gordon’s personal guru was Basie’s grand tenor, Herschel Evans, and not Lester Young, as one might think. Evans was a compassionate teacher for Gordon during the formative years in Los Angeles and Dex never forgot him. Still, he named his son Benjie, after Ben Webster.

These selected live recordings bring back Dexter Gordon in full flight, like we want to remember him: the elegant, concentrated tenor, the wobbly knees and the will to express a world of feelings from deep inside.

Henrik Wolsgaard-Iversen,
Jazz writer, radio commentator
Chairman of the Ben Webster Foundation, DK.

Dexter Gordon: tenor saxophone
Kenny Drew: piano
Niels-Henning Ørsted Pedersen: double bass
Albert ‘Tootie’ Heath: drums

Recorded on August 5, 1967, live at Magleaas High School, by Danish TV. 
Producer: Jørgen Nissen

Dexter Gordon - The Shadow Of Your Smile

With the release of their self-titled debut album, Berlin-based Australian duo a.s.o. – made up of DJ and producer Tornado Wallace (AKA Lewie Day) and singer-songwriter Alias Error (AKA Alia Seror-O’Neill) – fleshed out their nostalgic, dreamy and trip-hop-skewing sound across 11 emotive tracks described as “torch songs for club freaks”.

Across their Sunday Mix, the pair untangle their knot of influences for an hour-long mix that features a selection of music they’d choose to listen to while “trapped inside on a rainy Berlin Sunday”.

Find out more on crackaud.io: crackm.ag/3KtYbZa
If you’re a fan, become a Supporter: crackmagazine.net/subscriptions

Sunday Mix: a.s.o.

Orchestra diretta dal maestro Luca Rizzo al Viva Sporting di Bracciano  - 23 luglio 2014

Lake Jazz Orchestra - The Lady Is A Tramp

Bye-Ya (Thelonious Monk)

A deep dive into scenes, record labels and genres from around the world. 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/the-nts-guide-to/episodes/the-nts-guide-to-contemporary-holy-minimalism-15th-january-2025

NTS Guide to: Contemporary Holy Minimalism 150125

Two hours of twilit and soulful sounds from the influential Bristol band Portishead. 

Selected by [Dr. Mystery.](https://www.nts.live/shows/dr-mystery)
 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/in-focus/episodes/in-focus-portishead-28th-february-2025

In Focus: Portishead 280225

Join Errol and the Touching Bass family every month for regular voyages into inner-city, concrete jungle productions plus astral-facing funk, jazz, broken beat and anything else with a soulful pulse. 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/touching-bass/episodes/touching-bass-7th-april-2025

Touching Bass w/ Errol & Alex Rita 070425

An auditory exploration with SF native Mishka ranging from synth pop and balearic to softrock and global dance gems. One hour, once a month, with love.  
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/mishka/episodes/mishka-25th-april-2025

Mishka 250425

This is a recording of KOOLMFL live show during 7hinner 6roove at Mago, Nagoya which was the first night of '7hinner Tour' back in 2024 . .

We also have a juicy Thinner Groove party happening soon at,
Shhhh.. secret location  🍇  featuring a live show of KOOLMFL

Save your dates and come to Secret Location, Nishiazabu Tokyo 
on May 5th, starts 23:00- sharp. 
https://www.instagram.com/p/DIB98cJy9jl/?img_index=1

Bandcamp

KOOLMFL -  Live at Thinner Groove (2024)

A very special guest today on YOUNG's show... 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/young-turks/episodes/young-turks-7th-may-2025

Young w/ Sampha  070525

A tidal wave of ambient, dream pop, new age, and library music, submerging you into the deep, deep blue. 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/jocelyn-romo/episodes/jocelyn-romo-2nd-july-2025

Heaven and Earth Magic w/ Jocelyn Romo 020725

VERSION SPECIAL 1

passing it clockwise is good luck,
anyone can join the joy of joint, just choose a time and post !

Passing it clockwise (13:00 - Flatic)

Info and Interview at:
http://www.gal-dem.com/guest-mix-003-alex-rita/
https://www.instagram.com/galdemzine/

tracklist:
United Vibrations - intro
Ronald Snijders -Dagoe Sji Jorka
Aka Pygmées - Dikoboda Sombe I
Roland P. Young - Crystal Motions
Eberhard Weber - The Colours Of Chloë
The Pyramids - Queen of the Spirits
The Rationals - Glowin’
Black Star - Brown Skin Lady
Quinteto Ternura - Baby
Edmony Krater - Tijan
Nujabes - Windspeaks (feat Uyama Hiroto)
Milton Banana Trio - Jesus Cristo
Dwele - A Pimp's Dream
Digable Planets - Black Ego
SIlenJay x Jace XL - Rockabye
Duval Timothy - Passing

ALEX RITA 4 GAL-DEM - MIX 003

Demo

Everything I Love - Peter Rubie, solo guitar

For the August edition we've invited Donna Leake from London who handed over a high spirited 2 hour mix. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hi Donna, welcome to the series. How's your day so far? Does your day normally involve music from the moment you wake up?

DL: Hi. Thanks so much for having me. My day so far has been real sweet. I woke up at 6:30am and all I’ve done is make coffee, listen to and dig for music, draw and paint. It’s now 13:30. Not every day is like this though! 

MFM: Before lockdown, was DJing the only thing that brought food on the table? How is that now, did you revise your approach or strategy after the whole live events scene collapsed?

DL: Yes it was the only thing bringing money in and turned out it was one of the main things keeping my soul full and my spirit high. So I’ve had to re strategise a few areas of my life recently. I haven’t come up with anything solid yet, I’ve always just gone with the wind. But I think now there is a sense of urgency to save myself getting into more debt because of this! But I did gain something massive and far more valuable than money since losing it, a new perspective as to what it was we were doing and what I was a part of. I now appreciate the beauty of people making the effort to gather and listen and share music together and the industry and all it's efforts more than ever. I always had thanks, but I guess you can really check in on something more closely when you stop and look at it from the outside.

MFM: Do you then also feel positive about the future of nightlife and culture?

DL: Yes I feel positive about it. The force of music is so strong and what it does to people is unstoppable. It may take some time and maybe it will change, but that might even be a good thing. We all got an opportunity to check in with ourselves and stop and even though this was a disaster for the economy and the effects of that will last a while, the essence of art and music have nothing to do with money and that’s where it should restart. If anything it might have a wonderful impact. Art can sometimes be richer if we’ve been through some heavy experiences. 

MFM: What in your opinion actually makes a DJ stand out?

DL: Most importantly, and this probably applies to everything, I think is to be yourself which will naturally be unique if you are able to harness your true essence. I know that sounds obvious but it’s often a journey to feel as though you know or to find yourself, but I think being true and present in every moment of that journey is how you’ll be able to tap into what’s unique about what you do. Being fully present and playing with the times whether that’s trying to express what's going on inside you or a response to what’s happening in the world. Also not to think but feel your way through. This will often be more accurate since our heads are pretty full and busy! Authenticity and truth can be applied to any taste and style. For me I like to go on a ride with twists, turns and surprises and hear a story with a variety of feelings from the lowest to the highest, but keeping it coherent and without being too much of a mess. Although a bit of mess is all right too!

MFM: Thanks a lot for your contribution. Can you take us through your process of recording mixes?

DL: I would say all of the above is the general process for any mix, or at least as much of this as possible is considered. But since recording mixes is the only way I’ve been sharing music recently and I’ve made so many, I have started to try to give each mix more of a focus. For example one I did recently was called music for chess. And this mix has a particular focus on psych. This is because I can feel summer ending is just around the corner and it’s been the most hazy, mind bending, deep, confusing but colourful and dream like summer I’ve ever had and I’ve never felt so inside and removed from my head and the world at the same time as I have this summer!

MFM Mix 019: Donna Leake

Touchingbass / Calm Roots
I sometimes  make things.
Grew up in in a forrest by the sea. Atm residing in south east London 

bookings : info@touchingbass.co.uk

ALEX RITA 4 GAL-DEM - MIX 003

Alex Rita

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