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Dexter Gordon: More Power!
Original Jazz Classics/ Virgin Records; Rs. 400 (CD)
Dexter Gordon (1923-1990) was the first tenor saxophonist to take to be-bop. In fact he was a colleague of Charlie Parker and Dizzy Gillespie in Billy Eckstine's big band when they were developing the revolutionary genre. He combined a beautiful tone with touches of the agility of Parker. On this studio recording from 1969, he's joined by Barry Harris on piano, Buster Williams on bass and Albert "Tootie" Heath on drums. James Moody, also on tenor sax, joins them on two tracks.
Despite having just five tracks lasting some 40 minutes, this album is worth it for the superlative quality of the music. Gordon takes the theme on all, while Moody joins him on it for the first and last tracks. Every number has well-developed and delectable solos improvised by Gordon and Harris.
Moody takes his turn at improvisation between Gordon and Harris on the opener, "Lady Bird", a classic be-bop composition. Comparing the distinct tones of Gordon and Moody on this piece is a delight. "Sticky Wicket", the fast-paced last track composed by Gordon, and Antonio Carlos Jobim's Latin jazz classic "Meditation", with a be-bop touch here, are equally beautiful. On the former, while Moody doesn't take a solo, the ensemble playing of the two tenors on the theme comes through very well.
Although the album is dominated by the powerful Gordon, who goes flat out, everyone is in good form. Heath takes a drum solo intro on "Meditation" and has some exchanges with Gordon to liven up "Lady Bird" and "Fried Bananas", while Williams's virtuosity is evident behind Harris's on the latter's solos.
Branford Marsalis:
Scenes in the City
Columbia/Sony Music; Rs. 395 (CD)
One of several illustrious sons of a famous New Orleans jazz pianist father, Branford Marsalis (b. 1960) debuted under his own name on this 1983 recording. Having earlier played alto saxophone with the renowned Art Blakey and the Jazz Messengers, he switched to tenor sax and then added soprano sax to his armoury.
Marsalis plays both tenor and soprano on this album, a good example of the mainstream jazz of its time in the hands of youngish musicians. The title track is a Charles Mingus composition, a narrative spoken by a jazz lover (Marsalis here) with music in the background from several instruments, including trumpet and trombone. An evocative piece. On the other five tracks, Marsalis is supported by piano (absent on the first track), bass and drums, the personnel varying from track to track.
"Parable", a slow ballad with Marsalis on soprano, is a break from the medium to fast tempos of the other pieces. "No Backstage Pass", the opener, starts slow and then builds up to a fast pace. This piece is entirely improvised, mostly by Marsalis on tenor and Ron Carter on bass towards the end. The two different pianists alternate with Marsalis for the solos on the other tracks. Solos are occasionally contributed by the drummers as well.
Marsalis is masterful on the tenor, with a full tone. He manages to be equally good on the soprano, which sounds beautiful when played well, as it is here. His switch midstream from tenor to soprano on "Solstice" is facile. The musicians supporting him contribute to the beauty of the music, especially, during their solos, pianists Mulgrew Miller and Kenny Kirkland.
JAZZEBEL
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