Doin' Alright (Remaster) (CD)

Los Angeles-born Dexter Gordon, the premier tenor saxophone player of the bop era, began his career with Lionel Hampton and the legendary Billy Eckstine band in the 1940s. After a decade blighted by drug problems, he made a comeback in the '60s with a series of classic albums on Blue Note. The latter part of his career, including a film role in ROUND MIDNIGHT, sealed his reputation as one of the jazz's greatest ballad players. He passed away in 1990, leaving a wealth of gorgeous music behind him.

• Category:  Music  »  Jazz  »  Tenor Sax
• Format: CD   Learn more about the CD format using Tower WIKI.
• Release Date: July 13, 2004
• Label: Blue Note Records (USA)
• UPC: 724359650326
• WAPI (Tower ID): 106575997
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• Tower.com Sales Rank: #48647 in Music (See Top 100 Music Bestsellers)
• #3772 in Jazz (See Top 100 Jazz Bestsellers)
• #163 in Tenor Sax (See Top 100 Tenor Sax Bestsellers)

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Personnel: Dexter Gordon (tenor saxophone); Freddie Hubbard (trumpet); Horace Parlan (piano); George Tucker (bass instrument); Al Harewood (drums).

Liner Note Authors: Ira Gitler; Bob Blumenthal.

Recording information: Van Gelder Studios, Englewood, NJ (05/06/1961).

Forget the stylized in-session cover art closeup of the "jazz man at work:" eyes clenched shut, lips pursed around a mouthpiece, dim lighting. On the cover of his Blue Note debut Gordon appears perched in a Central Park carriage in a sharp-looking trench coat, one hand on his horn case, the other waving a cigarette, a big grin on his face. Doin' allright, indeed. And compared to some of his labelmates, Gordon was perhaps something of an already-arrived success, having been on the scene for over twenty years by the time of this 1961 recording.

The confidence one would expect therefore, and the sunny disposition implied by the cover, are equally borne out by the music within. Gordon could write, as evidenced by his two fine originals here, "For Regulars Only" and "Society Red," but he enjoyed working with standards as well and made them swing hard. He doubletimes his way through Gershwin's "I Was Doing All Right" with effortless elegance, and coasts over the Styne/Cahn tune "It's You Or No One" with exuberant confidence, buoyed by Al Harewood's cooking cymbal work.

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