Leather notes unfold, evoking a sense of mystery and intrigue, like the worn pages of an ancient manuscript. Until recently I primarily just make my own decks with Mathjax feature from textbooks and lecture notes.

Out of Philadelphia, Timmons had risen to prominence a decade earlier with Art Blakey, for whom he composed such soul jazz classics as “Moanin’” and “’Dat Dere.

The six-hour session ends with another brawny, architectonic Gordon solo on Clifford Brown’s “Blues Walk. In New York’s RCA studios three weeks later with Tommy Flanagan (1930-2001) on piano, Larry Ridley on bass, and Alan Dawson on drums for his first formal session of the summer, Gordon has chiseled out a point of view on “The Panther. The result is Resurgence, and a fine album it is, though the back story described by trumpeter Martin Banks (b. When he resurfaced with Blue Note in the early Sixties, he was already playing with heavier articulation and swaggering swing, and more so by the late Sixties. While on the continent, he was in peak form and Gordon’s many SteepleChase recordings rank with the finest work of his career.

Composed by Henry Mancini for a Jack Lemmon–Lee Remick vehicle directed by Blake Edwards, “Days of Wine and Roses” is an extended ballad feature for the tenorist, who constructs his solo over Higgins’s inimitable medium bounce, before giving way for several well-conceived Walton choruses. You can be certain that the fragrance worldview of the OG is it's a masterpiece of perfumery from Xerjoff.S. government made good on its notes at one percent of face value, while Massachusetts paid its own notes at par. Inspired by the loose camelwalk tempo, Gordon—now 46—digs deep into the nostalgic lyric (“Once upon a time there was a tavern, where we used to raise a glass or two; Remember how we laughed away the hours, and dreamed of all the great things we would do.

He wasn’t a person that you knew for playing an abundance of notes, though that didn’t mean he couldn’t. Dexter made a great contribution to the bebop language; in fact, I think he defined it during a certain period. Roberta Flack won the 1972 Grammy for Song of the Year and Album of the Year with “The First Time Ever I Saw Your Face,” and Gordon sticks close to the melody, again channeling the manly, warm mid-register voice that his fans could never get enough of. Dexter came to my little studio on the Grand Concourse, and went through a batch of sheet music that I had there, took out his horn, and started to play all these different songs. Coltrane, Benny Golson, and myself all were keyed into his sound, and we all were listening to his records, because we were so impressed with the way he adapted the bebop style for the tenor saxophone.The final chapter of Dexter: The Storyteller reveals a rich and complex denouement with its base notes. 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. He transcribed a lot of the stuff that Bird was doing, and brought that approach to the tenor without being a copier. Around this time, Don Schlitten—who went on to produce four of the albums that appear on this collection—first saw Gordon at a Sunday afternoon jam session at the Club 845 on Prospect Avenue and 160th Street in the Bronx.