Requisites

Clubhouse ~ Dexter Gordon | By Eddie Carter

Any opportunity I get to discuss an album by tenor saxophonist Dexter Gordon is always welcome, so I begin September with a recent addition to the library.  Clubhouse (Blue Note Classic LT-989) is a date from 1965 that also produced the album, Gettin’ Around, but was shelved until 1979. The ensemble is a stellar one, Freddie Hubbard on trumpet; Barry Harris on piano; Bob Cranshaw on bass and Billy Higgins on drums. My copy used in this report is the 2019 Blue Note Tone Poet Series Stereo Audiophile reissue (Blue Note B0029356-01 – LT-989).

The quintet gets into some Hanky Panky to begin Side One with a melody march.  Dexter swings with a bluesy beat on the opening statement. Freddie takes over for a neatly paced reading next. Barry ices the closer with a laid-back attitude into a marvelous finale. I’m A Fool To Want You is from 1951 by Frank Sinatra, Jack Wolf, and Joel Herron. Sinatra co-wrote the lyrics and recorded it for Columbia that year. Gordon expresses personal thoughts of lyrical reflection on the opening chorus and first solo. Hubbard and Harris also arouse tender emotions on two beautiful readings before the luxurious coda.

Devilette is by bassist Ben Tucker and was first heard on the 1971 live album, The Montmartre Collection, Vol. 1. This midtempo swinger makes a wonderful vehicle for the quintet to swing easily on the melody. Dexter struts smoothly into the first solo, then Freddie speaks proficiently next. Barry closes with an articulate, passionate interpretation ahead of the conclusion. The quintet convenes inside Gordon’s Clubhouse to start Side Two for a laid-back meeting offering everyone a solo opportunity. Harris gives a charming introduction blossoming into the ensemble’s collective theme. Gordon starts with a soulfully, mellow statement, then Hubbard offers some rhythmically incisive ideas. Harris follows for a melodic mix of grace and fire that’s especially effective. Bob has a definitive moment on the fourth interpretation and Billy wraps things up in a brief exchange with the front line. Jodi is a thoughtfully provocative tribute to Gordon’s wife at the time. Dexter opens with a perfect evocation of love on the melody and first solo. Freddie creates a concise mood of ecstasy next, and Barry adds a touch of sweet lyricism preceding the romantic ending.

The album ends with a tune by guitarist Rudy Stevenson that I first heard on the 1961 album Two Feet In The Gutter, Lady Iris B.  The solo order is Gordon, Hubbard, Harris, Cranshaw, and their messages are full of joy and happiness into an immensely satisfying ending that’s positive and upbeat. Clubhouse was produced by Joe Harley of Music Matters Jazz and mastered by Kevin Gray of Cohearent Audio from Rudy Van Gelder’s original analog master tape utilizing 180-gram audiophile vinyl.

The Blue Note Tone Poet Series reissues include high-definition gatefold photos that are worthy of wall art and superb packaging of the covers. The music is simply amazing, and the sound is reference quality with a breathtaking soundstage that’s thrilling, to say the least. Dexter Gordon was a jazz master in every sense as a bandleader, composer, and tenor saxophonist. Clubhouse is nearly forty-minutes of exceptional jazz and an excellent choice for Blue Note to rescue from oblivion for any fan who loves Hard-Bop that you shouldn’t miss on your next vinyl hunt!

~ Gettin’ Around (Blue Note BLP 4204/BST 84204); I’m A Fool To Want You (Columbia 39425); The Montmartre Collection, Vol. 1 (Black Lion BL-108); Two Feet In The Gutter (Epic LA 16021/BA 17021) – Source: Discogs.com

~ I’m A Fool To Want You – Source: Wikipedia.org

© 2020 by Edward Thomas Carter

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