Limited 180gm vinyl LP pressing. Suave saxophone master Dexter Gordon had been living in Europe for several years when he returned to make his final Blue Note album, Gettin' Around, in 1965. This sublime set features a unique instrumentation with Dexter's tenor, the lone horn holding the spotlight, with nuanced accompaniment by Bobby Hutcherson, Barry Harris, Bob Cranshaw and Billy Higgins. This Blue Note Classic Vinyl Series stereo edition is all-analog, mastered by Kevin Gray from the original master tapes.

Strings & Things

After Midnight

Dexter In Radioland vol. 6 With his favourite rhythm section, Dexter leads the proceedings of this sixth volume of live transmission from the 60’s European jazz Mecca Montmartre . “This excellent series of records which starts with Montmartre Jazzhus live date from 1962 documents the way in which Gordon was playing when he arrived in Europe ... They prove that he was playing very well at the time...” (Barry McRae, Jazz Journal International)

Classical Music

Classical Music

FELDMAN String Quartet (1979) ? Group for Contemporary Music ? NAXOS 8.559190 (78:35)


The Group for Contemporary Music made several CDs of American music for Koch in the early 1990s, the above being one of them. Now here it is, reappearing as part of Naxos?s ?American Classics? series. I expect one of Fanfare ?s resident Feldman specialists covered it back then?I think Mike Silverton was doing it in those days?but I have been unable to locate any review. According to the CD information, this was a world premiere recording.


Although not to be confused with his monumentally long second string quartet, this late work of Feldman?s still runs for almost 80 minutes. (Well, it doesn?t exactly run .) Readers unfamiliar with this composer?s music but interested in experimenting at the low Naxos price should dispense with any normal idea of the passing of time. Feldman?s work unfolds at a snail?s pace, with the result that every musical incident is examined in minute, close-up detail. Imagine walking down your garden path to the mailbox; now imagine doing it on your hands and knees with a magnifying glass, taking over an hour to complete the journey. You would know a heck of a lot more about the nature of your garden path by the end of it.


Of course, it?s not entirely as simple as that. Feldman understood the big picture, form-wise: the apparent randomness of the sounds he dwells on in his own good time is kept in balance by a fierce musical intelligence. These sounds include rocking motifs, chords, and often even single notes, usually separated by moments of complete silence. Feldman requests the quartet to play without vibrato and, most of the time, using mutes. Much of the material consists of high harmonics. It is nearly all pianissimo or softer, except for some sudden loud interruptions?for example, at 26:00 and 33:30 respectively. (The Eastern-bloc composer Kancheli appears to have known his Feldman. Unheralded fortes are a fingerprint of his as well.) As the work progresses, earlier motifs or textures are revisited and developed, providing at least an unconscious sense of structure. In the end, the painstaking process undertaken together by the composer, the performers, and the listener creates a unique, mesmerizing context where sudden shifts of emphasis are almost seismic. The forte s mentioned above seem earth shattering. The occasional consonant harmony, unnoticed in another context, becomes pure balm. The slightest rhythmic acceleration feels like panic. High, quiet harmonics from the solo violin assume the cloak of unbearable loneliness.


For those readers already conversant with Feldman?s world, it need only be said that this performance seems to me as good as it could possibly be. (I don?t have access to a score.) The internal balance is finely judged, and all four members of the group must have spent many hours in meditation to be so at home in this time span. By the way, the stalwart players are Benjamin Hudson and Carol Zeavin, violins; Lois Martin, viola; and Joshua Gordon, cello. Recorded sound is first-rate. One can only hope Naxos will reissue the other recordings in the Koch series, particularly those of Wolpe and Wuorinen.


Morton Feldman?s mind worked in a manner unlike that of any other composer. This fact alone makes him important and his music riveting.


FANFARE: Phillip Scott

Henry Cowell was one of the most remarkable figures in American music. A startlingly innovative composer, an inimitable piano virtuoso who outraged or delighted his audiences, a brilliant writer, teacher, lecturer and organizer, Cowell almost single-handedly laid the foundations for American compositional life. This second Continuum Portrait of Cowell’s music ( Volume 1 is available on Naxos 8559192) includes further examples of his most experimental piano pieces, calling for strumming and plucking the strings, as well as using forearms to produce tone clusters. Other compositions fuse Asian and Western idioms in striking new blends. Yet, however advanced his ideas, or multifaceted his output, Cowell’s music remains immediately accessible.

REVIEW:

This is even more fascinating than the first volume. As previously, there is both commitment and panache from the performers and a decent recording. A well-documented and worthy addition to the American Classics series. Cowell was a prolific composer who wrote twenty symphonies and much else besides. Hopefully Naxos will give us the opportunity to explore his music further.

-- Patrick C Waller, MusicWeb

Classical Music

Includes work(s) for ob and org by various composers. Ensemble: Norrköping Symphony Orchestra. Conductor: Gordon Hunt. Soloists: Gordon Hunt, Leslie Pearson.

"• Commissioned by the New Music Bassoon Fund. • Seven-piece Rushes Ensemble features the top bassoonists in the U.S., including Dana Jessen. • Performances booked for March 2014 in Boston (3/26), Philadelphia (3/28) and Montclair, NJ (3/29), with more TBD. • Extensive three-month marketing, press and social media campaign. • Promotional videos currently posted on YouTube (youtube.com/watch?v=umhQdxwn26M) and Vimeo (vimeo.com/51771906). "

Celebrating its legacy from the 1976 LP and 1990 CD release, Stable Mable returns in May 2026 as a newly remastered 180g audiophile edition (G1040). Captured in Copenhagen just weeks after Dexter Gordon’s ambitious orchestral project SCCD 31030 More Than You Know, this session strips the setting back to its purest form: a no frills blowing date where Gordon’s imagination, authority, and melodic wit shine without disguise. Joined by Horace Parlan, Niels Henning Ørsted Pedersen, and Tony Inzalaco, Gordon navigates standards like Just Friends, Misty, Red Cross, and So What with a mix of relaxed confidence and fiery invention. His soprano reading of In a Sentimental Mood adds a rare, reflective touch. Remastered from the original tapes, this edition highlights the quartet’s clarity, swing, and interplay—an essential snapshot of Gordon’s Copenhagen years and a definitive statement of his enduring mastery. “...Dexter plays brilliantly on every track ...beautifully recorded..”(Jazz Journal 1976)

Another magical summer night of 1967 from the Jazzhus Montmartre in Copenhagen finds Dexter Gordon in company of drummer Art Taylor who heats up the evening’s temperature. “Dex's idiosyncratic spoken intros to tunes like "I Should Care" and "Come Rain or Come Shine" are charming, and the gritty soulfulness of his playing reminds us just how much we miss the greats of his generation. They don't make 'em like this anymore.” (JazzTimes’ Chris Kelsey on Loose Walk SCCD 36032) “…a welcome program that finds Gordon in a limber and exploratory mode. Foibles in fidelity aside, Dex aficionados will be sold on the disc's face value. But casual listeners will probably also be pleasingly surprised by the calibre of this classic conclave.” (Derek Taylor of AllAboutJazz on Lady Bird SCCD 36035)

Classical Music

Children should learn as many songs as possible as readiness for future achievement in music. These high-caliber recordings are the perfect place to start. This release is a wonderful, purely instrumental collection of 100 of the world’s best-known folk songs, performed by the world’s greatest musicians—including artist faculty members and students from the Eastman School of Music, members of the Rochester Philharmonic Orchestra, and members of Rhythm and Brass. There are countless uses for this recording: Ever need to demonstrate the sound of an instrument? Need quick access to high-quality recordings of folk songs of all different styles, tempos, and origins? Interested in exposing young children to the rich variety of instrumental music? Looking for music to play as children enter the classroom? Teachers, parents, and students will quickly wonder how they ever got along without this essential recording!

Inner City: Songs by Helen Miller, lyrics by Eve Merriam, story by Lawrence Kasha, Joseph Kipness and Tom O'Horgan.

Linda Hopkins, Tony Award 1971 for Best Featured Actress in a Musical.

Masterworks Broadway describes Inner City as "the musical that rocked Broadway with its distinctly untraditional take on modern urban life." The raucous 1971 show was conceived and staged by Hair director Tom O’Horgan the same season he directed the Broadway premiere of Jesus Christ Superstar. Based on Eve Merriam’s best-selling book The Inner City Mother Goose, it recounts children’s tales with a contemporary urban vibe and has a lively, R&B-influenced score by Helen Miller and lyricist Eve Merriam. Inner City introduced Linda Hopkins, who took home a Tony as Best Featured Actress in a Musical, along with Delores Hall, Larry Marshall, and Allan Nichols. Historic note: one of the production’s associate producers was Harvey Milk, before he left New York for San Francisco.

Featured songs:
1. Fee Fi Fo Fum/Now I Lay Me
2. Hushaby/My Mother Said
3. Nub of the Nation
4. Urban Mary/City Life/One Misty Moisty Morning
5. If Wishes Were Horses
6. Deep in the Night
7. Jeremiah Obadiah/Riddle Song
8. Shadow of the Sun
9. Boys and Girls Come Out to Play/Lucy Locket/Wisdom/The Hooker (“You Make It Your Way”)
10. Law and Order
11. The Dealer (“You Push It Your Way”)
12. Kindness/As I Went Over/Apartment House/There Was a Little Man/Who Killed Nobody?
13. It’s My Belief
14. Street Sermon
15. The Great If/On This Rock/The Great If (Reprise)

Note: The absence of audio in the left channel for eight seconds at the beginning of Track 10 ("Law and Order") has been retained from the original LP and cassette masters of this recording.

Gogol' great Russian classic is the Pickwick Papers of Russian Literature. It takes a sharp but humorous look at life in all it's strata, but especially the devious complexities in the country with it's landowners and serfs. We are introduced to Chichikov.

After a short stay in New York, Dexter returned to his favourite city of Copenhagen in June 1965 and resumed his career’s best and most productive period. This second volume of electrifying live recording finds Dexter with his all-time favourite rhythm section.

In the summer of 1965 Dexter Gordon spent most of his evenings performing at Jazzhus Montmartre packed with his loyal fans. Five of these evenings were broadcasted by the Danish Radio and SteepleChase is making them all available for the first time. This CD captures high-spirited Dexter on the third night. This CD captures high-spirited Dexter on the third night.

After a short stay in New York, Dexter returned to his favourite city of Copenhagen in June 1965 and resumed his career’s best and most productive period. This is the first volume of magnificent live performances from Dexter’s favourite club “Jazzhus Montmartre” in 1965.

Dexter Gordon’s most creative and prolific years were spent in Europe in the 1960s and the first half of 1970s. Right until the great homecoming (to USA) of 1976 Dexter had performed frequently in Copenhagen’s famous Montmartre Jazzhus. Many of the nights were broadcasted by Danish Radio and later released by this label (The Dexter In Radioland series). This latest Gordon album recorded 1974 is special because of the fact that - except for a few tracks which were broadcasted - that night the whole concert of the evening has never been made available to the public before. And Dexter makes this concert even more special with his display of relaxed yet intense power of creativity. On Dexter’s 2004 release Loose Walk SCCD 36032 Chris Kelsey of JazzTimes wrote, “…the gritty soulfulness of his playing reminds us just how much we miss the greats of his generation. They don't make 'em like this anymore.”

The fifth and the last volume of “Montmartre Jazzhus 1965” Series turned out to be a reunion of Blue Note’s 1964 release “One Flight Up” team. Dexter Gordon was apparently enjoying the presence of the younger trumpeter Donald Byrd one year after their first encounter in a Paris studio. “ … Dexter and Donald again achieved an excellent blend and a relaxed outing … The two horns made for a nice contrast, with Byrd’s bright, melodic lines set beside Gordon’s robust outpourings.” (Mark Gardner)

SteepleChase released its first LP (SCCD 31001 Live At Montmartre Jackie McLean Quartet) in January 1973. Yes, it’s 30 years ago. SteepleChase celebrates the 30th anniversary with this special release of Dexter Gordon 8-CD box set with 52-page booklet loaded with hitherto unpublished photos of Dexter and his sidemen. The tenor giant Dexter Gordon was and still is the backbone of SteepleChase throughout the years. The collaboration between Dexter Gordon and SteepleChase in the year 1974 – 1976 coincides with the artist’s peak of his creative power. Yes, it’s 30 years ago. SteepleChase celebrates the 30th anniversary with this special release of Dexter Gordon 8-CD box set with 52-page booklet loaded with hitherto unpublished photos of Dexter and his sidemen. The tenor giant Dexter Gordon was and still is the backbone of SteepleChase throughout the years. The collaboration between Dexter Gordon and SteepleChase in the year 1974 – 1976 coincides with the artist’s peak of his creative power.

Gordon/Bailey Co. dazzles us again with their powerful live performance on this third volume from the Swedish tour of 1974, which previously produced two highly successful CDs: SCCD 31290 “Round Midnight” and SCCD 31373 “Revelation”. “... all Dexter’s recordings from this time are particularly creative, especially with a soloist of Bailey’s calibre at his elbow to drive Gordon” (Mark Gardner) "...recorded in the early stages of Dexter's residence with the SteepleChase label...This may have been Gordon's great period, surpassing in some ways his earlier years with Blue Note...Dexter is relaxed and confident..." (Krin Gabbard, Cadence)

Jazzhus Montmartre in the summer of 1965 Dexter Gordon spent most of his evenings performing at Jazzhus Montmartre packed with his loyal fans. This is the fourth volume from those unforgettable five evenings taped by the Danish Radio and made available for the broader audience for the first time by SteepleChase. “…. absolutely essential live transcriptions…” (Mark Gardner)

Listening to this album takes you back to the atmosphere and sound of Jazzhus Montmartre on a random night in the 1960s, engulfing you in Dexter Gordons enormous aura. Dexters arrival in Copenhagen had a tremendous impact that left a lasting impression on the Danish jazz scene. He was handsome and well-dressed. His playing was superb, with a giant sound; his introductions and showmanship were unique and captivating. In addition, Dexter felt the Danish mentality was well-suited for playing and enjoying jazz. It was always there, Alex Riel remembers It wasnt a case of going to work, even though we played every, single night in June, July and August during the summer of 1964. Dexter and Tete were there solely for the music, and so were Niels-Henning and I. It is so obvious when I hear the music today. Dexter loved being in Montmartre. He often stayed and jammed with the night shift when it took over, playing on till early morning And Dexter ended up owning Copenhagen!

Classical Music

Listening to this album takes you back to the atmosphere and sound of Jazzhus Montmartre on a random night in the 1960s, engulfing you in Dexter Gordon’s enormous aura. Dexter’s arrival in Copenhagen had a tremendous impact that left a lasting impression on the Danish jazz scene. He was handsome and well-dressed. His playing was superb, with a giant sound; his introductions and showmanship were unique and captivating. In addition, Dexter felt the Danish mentality was well-suited for playing and enjoying jazz. “It was always there”, Alex Riel remembers “It wasn’t a case of going to work, even though we played every, single night in June, July and August during the summer of 1964. Dexter and Tete were there solely for the music, and so were Niels-Henning and I. It is so obvious when I hear the music today. Dexter loved being in Montmartre. He often stayed and jammed with the night shift when it took over, playing on till early morning. I clearly remember us standing outside Montmartre one bright summer morning when the milkman came by. In those days the milkman drove around, delivering bottles of milk to the front doors of apartment buildings in Copenhagen. He brought his young daughter along to lend a hand, and it was hard not to notice her ample bosom beneath her thin T-shirt. Dexter took one look, then said, “Really (that’s what he called me), can she just walk around town and there’s no one who ...? You could never do that in New York ... I’m staying right here!’ And Dexter ended up owning Copenhagen!”

Dexter Gordon’s European period (1962–1976) was mostly based in his beloved Denmark, where he led an active professional career and enjoyed a harmonious private life. Arriving in Europe after some turbulent times in the States he found new energy in performing and recording to build a large part of his discography at the top of his artistic strength. The recording output, however, during 1962 and 1964 was scarse and this album recorded in 1962 and 63 will be an adept document of the fresh start by the Towering Master of Tenor Sax. “The star billing, as always, goes to one of jazz’s master storytellers, Dexter Gordon; the performances contained here, which set the scene for the dramatic renaissance of his career, fill in one of the long missing chapters.” (from the liner notes by Neil Tesser - SCCD 36039 Soul Sister)

Jazz giant and tenor saxophonist Dexter Gordon bids Copenhagen farewell on his new album Copenhagen Coda – Live at Montmartre 1983. This album marks DG’s final farewell to friends and fans in the Danish capital, with which he had had a twenty year love affair. He is quoted as having said: “I don’t think they [his fellow American musicians living in Europe] got the love I got in Copenhagen” The concert was part of a TV production by the national Danish Broadcasting Corporation, who have documented this golden era in Danish jazz history.

On this recording, DG is accompanied by the accomplished and versatile pianist Kirk Lightsey, wonderful bass player David Eubanks and the master drummer Eddie Gladden. DG proves that he hasn’t lost a step, as he projects enormous authority on stage, being a fountain of sound and ideas, melodically as well as rhythmically. He generates a stunning energy, taking off on a flight that is able to captivate the audience with his tenacious be-bop, somewhere between Lester Young and Coltrane, with a bold, dry sound.

DG arrived in Copenhagen in 1962, where he settled and became a regular on the jazz scene, most often at the legendary Jazzhus Montmartre. During the years 1964 to 1967, he played Montmartre 6 nights a week during the summer months. One of those evenings, where DG was accompanied by Tete Montoliu, NHØP and Alex Riel, was recorded and subsequently released as the album Montmartre 1964 on Storyville Records. His year-long stint in Copenhagen helped remold and vitalize DG after his lean years. In return, he also helped Montmartre build and maintain its reputation as one of Europe’s premier jazz venues in the 1960’s, attracting many American jazz players, including Ben Webster, Bud Powell, Kenny Drew and many, many more. All of them contributing substantially to the vitality of the Danish jazz scene, but more than anyone, DG is the musician synonymous with folk’s perception of Montmartre.

Copenhagen Coda is a celebration of and a tribute to Dexter Gordon’s legacy in Copenhagen. The audience in the Danish capital loved the sophisticated giant “Copenhagen Slim” immensely, and their love was reciprocated - Copenhagen Coda is a testament to this intense year-long love affair!