| Our Man in Paris | 
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Avg. Customer Rating:   (based on 9 reviews)
Sales Rank: 6863
Category: Music
Artist: Dexter Gordon
Publisher: Blue Note Records
Studio: Blue Note Records
Manufacturer: Blue Note Records
Label: Blue Note Records
Format: Extra Tracks, Original Recording Reissued, Original Recording Remastered
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 80914
UPC: 724358091427
EAN: 0724358091427
ASIN: B0000AC8N4
Release Date: August 5, 2003
Availability: Usually ships in 1-2 business days
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| Tracks:
| • | Scrapple from the Apple | | • | Willow Weep for Me | | • | Broadway | | • | Stairway to the Stars | | • | Night in Tunisia | | • | Love Is Here to Stay [*] | | • | Like Someone in Love [#][*] |
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| Editorial Reviews:
Album Description
Dexter Gordon had been a European resident for two years when he made this create session, one of the greatest of his career, which reunited him with Bud Powell and Kenny Clarke for the first time since the '40s. DEXTER GORDON: Tenor Sax
BUD POWELL: Piano
PIERRE MICHELOT: Bass
KENNY CLARKE: Drums
* bonus track, not part of original LP.
Amazon.com
Recorded in 1963, this record finds tenor saxophonist Dexter Gordon at the top of his game during his Blue Note days. Leading a high-profile quartet comprised of pianist Bud Powell, drummer Kenny Clarke, and bassist Pierre Michelot, Gordon leaps through the complex "Scrapple from the Apple" with youthful aplomb and then nestles deep inside the bluesy lyricism of "Willow Weep for Me." Gordon's strengths as a balladeer resonate beautifully on "Stairway to the Stars," while his bebop prowess flexes mightily on "A Night in Tunisia." The rhythms crackle, the solos fly; Our Man In Paris is essential Dexter. --John Murph
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| Customer Reviews: Read 4 more reviews...
Dexter Gordon brings sax jazz full circle...and front and center July 23, 2008
2 out of 2 found this review helpful
There is a lot to like about this CD. Recorded in Paris with Kenny Clarke and Pierre Michelot as the rhythm section, this captures a flavor and sound of jazz that, while certainly not uncommon, was starting to lose its influence thanks to John Coltrane redefining the concept of saxophone jazz. But this recording takes things back to the roots of saxophone jazz, with the first six tracks of this recording being completely unapologetic about featuring virtually nothing but Gordon's lively, full tone sax, both to lay down the melody and then to pick up the solos. The effect is that you get a LOT of saxophone, and it is recorded very "hot", so the vibrancy and richness of Gordon's tenor comes right out and stomps on everything. I'm not much of a jazz historian (yet), but to me, this is sort of the definitive jazz saxophone music and sound that I expect from a saxphone player. Which is not to say that the sax rules all else, because in addition to the aforementioned rhythm section, you have the always exciting Bud Powell on piano. And what really makes this CD for me is that unlike Bud Powell's own recordings, this one is not riddled with hiss and pops and other noise. You still get Bud muttering and singing here and there (which never bothered me that much), but with Rudy Van Gelder's (always reliable) remastering, the instruments are equalized just right, leaving Dexter's sax out front and Bud's piano in the back, that way it should be. Until, that is, you get to track seven, "Like Someone in Love", which starts off and ends up with Bud Powell soloing on piano, and lets him lead the way through the song. Again, for me, this is perfect, because just when I think I've had about enough of the sax, Gordon sits out the majority of the song so the incredible and fascinating lyricism that Powell creates on the piano becomes the exclamation point to the session. I don't give five stars casually, but I don't see how I can give this anything less than the highest possible rating. It's a fantastic piece of jazz music that belongs in the collection of all jazz fans, sax fans, and Gordon fans. It would also make a good choice for broadening a musical collection that is not jazz oriented, as it is very approachable and does not require a "jazz ear" to enjoy. Highly recommended.
What's to be said, we're talking about Dexter Gordon here... May 15, 2008
1 out of 1 found this review helpful
I'm enjoying this CD. Unfortunately I can't elaborate in terms of the composition and harmonic balance, etc because I'm not that sophisticated a listener, but I feel he's a fantastic musician and this CD captures the spirit of his genius well.
Superb July 2, 2007
1 out of 2 found this review helpful
This 1963 album finds Dexter Gordon in sparkling form. He is backed by Bud Powell on Piano, Pierre Michelot bass and Kenny Clarke drums. Its one of the best sessions Gordon ever recorded and is an essential purchase for any Jazz fan.
Dexter Gordon is in fine form throughout the album. Just take the opening Charlie Parker classic 'Scrapple from the Apple'. The theme is stated and Gordon takes the first solo. Three and a half minutes later he finishes. Theres no apparent repetition here, or use of a stock of standard riffs that you might hear with a lesser musician. Throughout this solo he is inventive using the full range of the Saxophones marvellous palette. The other stand-out track on here for me is his version of 'A Night in Tunisia'. Whether he's throwing in a quote from 'Summertime' or bending notes on this form Gordon was up there with the very best. On a few moments in his solo on Tunisia I was reminded of Coltranes Soprano solos. Whilst there is no doubt that in his early career Gordon was an undoubted influence on Coltrane I wonder if at this stage Gordon was actually being influenced by Coltrane.
Its worth mentioning the appearance of Bud Powell on the album. He was the most important Jazz pianist before Bill Evans arrived in the late 1950's. Sadly he suffered from mental health problems and his playing later in his career (from the late 1950's onwards) could be erratic. On this recording he isn't the whirlwind of 10 years earlier, but his playing is mostly consistent and considered of sufficient standard for 'Like Someone In Love' to be put out as a bonus track on the CD.
Parisian Soul Music June 2, 2006
11 out of 11 found this review helpful
I've given up trying to choose my favorite Dexter album, because it's always the one I happen to be playing. I thought I might be able to pass this one up--not close enough to the culmination of Dexter's resurgence, too late in Bud's career, too far from the Blue Note studios, too dependent on a French (or expatriate) rhythm section.
Strike all of the above. Dexter never played with "abandon," but this recording is probably as close as he comes to it. He's on fire for each of the tunes, complete and fresh phrases flowing from his horn in musical narratives containing more than the usual number of serendipitous quotes and allusions. At times it seems like no end is in sight, as the master storyteller is in Homeric, epic form. He handles the four-bar break on "Night in Tunisia" as impressively as Bird but with half the number of notes.
I wouldn't call the performances on this album superior to Dexter's "Love for Sale" (on "Go!"), "Tanya" or "King Neptune" (on "One Flight Up") or "Body and Soul" (on "The Panther"), but it's definitely in the same league and should be essential not just for fans of L.T. but for anyone who's serious about the art of improvisation.
Powell loses his place a couple of times (forgetting whether he's on the first, second or fourth chorus of a 32-bar song) but makes quick, virtually undetectable recoveries. Moreover, his fingering is precise, his melodic lines fluid and complex yet swinging. And the fact that the original recording was made by a French engineer insures that the piano, though somewhat distorted (see below), has a "realistic" or personal and natural quality distinguishing it from the usual Blue Note piano sound.
Count this one among Dexter's top 3-4 recordings, which is high praise indeed for a player as consistently brilliant as he. Dexter in Paris must be the next best thing to April in Paris. If there's a caveat, it's the quality of the audio. I was so hopeful that the "RVG Remastered Edition" would be an improvement over both the LP and preceding CD version, that I shelled out for the session for a third time. Disappointingly, Dexter's tenor still sounds compressed, compartmentalized, and even grating, and Bud's piano still carries that trace of distortion. In spite of these obstacles, the substance of this recording simply will not be denied.
SENSATIONAL February 2, 2005
2 out of 4 found this review helpful
Dexter is in great form here and rate the record as highly as his sentational "Go" album. Buy it and and you will enjoy this great music.
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