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Our Man in Paris
Dexter Gordon
Our Man in Paris
Genres: Jazz, Pop
 
  •  Track Listings (7) - Disc #1

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...  more »

     
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CD Details

All Artists: Dexter Gordon
Title: Our Man in Paris
Members Wishing: 0
Total Copies: 0
Label: Blue Note Records
Release Date: 10/25/1990
Genres: Jazz, Pop
Style: Bebop
Number of Discs: 1
SwapaCD Credits: 1
UPC: 077774639422

Synopsis

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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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CD Reviews

A Stellar Rhythm Section with Dexter at his best
08/23/1998
(5 out of 5 stars)

"While Dexter Gordon originally planned to play a set of his own tunes for this gig, he changed to an all-standards line up to accomodate the rhythm section, which was unfamiliar with his tunes. The section featured Bud Powell (piano), Kenny Clarke (drums), and Pierre Michelot (bass). Between Gordon's simple yet complex improvisation that falls between Bop and Swing, Powell's melodic intensity, Clarke's clever accentuation, and Michelot's flawless harmonic support, this album both cooks and simmers with Stellar improvisation and interaction: Jazz at its Best."
Cliche-free blowing
Tyler Smith | Denver, CO United States | 12/27/2000
(5 out of 5 stars)

"Gordon is at his muscular, swinging best with this 1963 release. He takes on a set of well-known tunes, but infuses each with a fresh sound that leaves no doubt as to both his technical control and his ability to fashion eloquent improvisational statements."Our Man in Paris" also features Gordon playing with a superb supporting cast, including the mercurial Bud Powell on piano, the great Kenny Clarke on drums and the fine bassist Pierre Michelot. The four move seamlessly through such standards as "Willow Weep for Me," "Stairway to the Stars," and "Our Love Is Here to Stay." Gordon's blend of power and lyricism is best displayed on "Stairway to the Stars." On this lovely tune, you can hear Gordon warming to his theme, expanding on each idea, exploring the contours of the melody. In his ability to explore ballads, Dexter's playing rivaled that of Coltrane's.The CD also includes a wonderful version of "Like Someone in Love," with Gordon laying out and Powell leading the remaining trio. Bud's opening statement of the theme is one of the loveliest solo intros I have heard on record. After Clarke and Michelot join him, he embarks on a stimulating romp through the tune's changes before exiting by recapitulating his solo statement. It's a great addition to the CD, and offers a completely satisfying end to the set.I put Dexter on the short list of great modernists who transformed jazz during the '60s. "Our Man in Paris" reveals his original sound and his mastery of the standard repertoire of jazz. Recommended for anyone interested in adding to his collection or in exploring the foundations of modern jazz."
Great Dexter, but Bud...
pessi | 03/08/2001
(4 out of 5 stars)

"I have no disagreement with the other writers about mr. Gordons awesome tenor power, but I would like to mention that Bud Powell is not really at his best anymore on this record. His very reason of moving to paris were his mental problems and problems with narcotics. From mid-fifties onwards he was never quite the same as in 49-50, wich I consider his best years. Untill his death in -66 his playing was at times just plain terrible. On special occasions, like this recording for example, he seemed to cheer up a bit and could at times give us short glimpses of the genius he once was, but other times... The reason I'm making such an issue out of this is that had he been at his best, this record would truely stand out as a landmark. However on this record he was unable to play like he once did. Hence only four stars from me."