There are two types of accordionists in jazz: Richard Galliano and everyone else. Galliano plays his instrument with the fluidity and looseness of a saxophonist, the technique of a classical pianist, and the individuality of a singer. Few are close to being on his level. The Ruby, My Dear sessions find Galliano in New York, interacting with bassist Larry Grenadier and drummer Clarence Penn. While the intriguing repertoire includes a tango, a couple of jazz standards ("Ruby, My Dear" and…
Tenor saxophonist Dexter Gordon had been an expatriate since 1963 when he discovered Europe was where the consistently paying jazz gigs were to be found. In 1976 he returned to the States and began recording for Columbia Records and also embarked on an acting career. Sony Legacy repackaged and re-released six Dexter Gordon albums of that era in their entirety with mini-LP sleeves and original cover art: Homecoming: Live at the Village Vanguard (1976), Sophisticated Giant (1977), Manhattan Symphonie (1978), Live at Carnegie Hall (1978), and Gotham City (1980).
The harmonically advanced trumpeter Thad Jones is a perfect contrast to the tenor of Dexter Gordon on this enjoyable Prestige LP. Gordon was somewhat forgotten in the United States at the time (his "comeback" was still four years away), but is in excellent form on the four numbers, particularly during a passionate version of "The First Time Ever I Saw Your Face."
Go is the tenth studio album by jazz musician Dexter Gordon, recorded on August 27, 1962 and released in the same year on Blue Note. According to the liner notes by Ira Gitler, this session was "not recorded in a nightclub performance but, in its informal symmetry, it matches the relaxed atmosphere that the best of those made in that manner engender. Everyone was really together, in all the most positive meanings of that word." It was recorded by Rudy Van Gelder at the Van Gelder Studio in Englewood Cliffs. Since its release, Go has received very positive reviews from critics, with Allmusic giving it a five star rating. The album was re-released in March 1999 as part of Blue Note's RVG Series, produced by Michael Cuscuna.
Jazz Undulation is an exciting live album that captured tenor saxophonist Johnny Griffin in an interesting and unusual setting. Bassist Jimmy Woode and drummer Kenny Clarke were frequent collaborators of Griffin's at the time, all three living in Europe and being members of the Clarke-Boland Big Band. Pianist Hampton Hawes was visiting Europe at the time, and probably just happened to meet them in Rome.
A play and an alto saxophonist pulled Dexter Gordon out of West Coast obscurity in 1960 and helped revive the bebop pioneer's career. The play was The Connection, which included a performing jazz band in its cast and inspired a classic original score from Freddie Redd as well as subsequent compositions by Kenny Drew, Cecil Payne, and Cecil Taylor. Gordon was the play's musical director in his hometown of Los Angeles, and some of Gordon's score is documented here. Cannonball Adderley produced the session (and many others for Riverside/Jazzland at the time).
Dexter Gordon (tenor sax) returned to the United States in the spring of 1969 to create his first studio recordings in nearly a decade. Joined by James Moody (tenor sax), Barry Harris (piano), Buster Williams (bass), and Albert "Tootie" Heath (drums), Gordon actually documented enough material for two long players – Tower of Power (1969) and More Power! (1969) – both of which became primary staples of the artist's voluminous Prestige catalog. An opening flourish from Heath on "Montmartre" marks the commencement of the platter, leading into a mid-tempo bop. Gordon and Moody swing steadily as they bounce ideas off each other.
Ace Records’ Boplicity label was one of the earliest entries into the jazz reissues market in the mid-1980s. The short release schedule covered classic modern jazz from the 50s and 60s, taking in music originally released by Blue Note, Riverside, Prestige and various smaller independents. We are now re-launching the label as home for our small but distinct catalogue of 1950s and 1960s modern jazz. Featuring bonus tracks wherever possible, each release will strive for the highest quality in sound reproduction, using fresh transfers of the original master tapes.