1. My Blues (S.Hampton) 9:11
2. You Don't Know What Love Is (Raye-De Paul) 6:03
3. A New Thing (S.Hampton) 5:07
4. What's New? (Haggart-Burke) 8:04
5. The Shadow Of Your Smile (Mandel-Webster) 5:01   play
6. A Day In Vienna (S.Hampton)

Line Up:
Dexter Gordon – sax
Slide Hampton – trombone & arr.
Dizzy Reece – tr
Kenny Drew – p
Niels-Henning Örsted Pederesen – b
Art Taylor – dr

Rec. 10 Mar 1969 in Copenhagen

Dexter Gordon had such a colorful and eventful life (with three separate comebacks) that his story would make a great Hollywood movie. The top tenor saxophonist to emerge during the bop era and possessor of his own distinctive sound, Gordon sometimes was long-winded and quoted excessively from other songs, but he created a large body of superior work and could battle nearly anyone successfully at a jam session. His first important gig was with Lionel Hampton (1940-1943) although, due to Illinois Jacquet also being in the sax section, Gordon did not get any solos. In 1943, he did get to stretch out on a recording session with Nat King Cole. Short stints with Lee Young, the Fletcher Henderson Orchestra, and Louis Armstrong's big band preceded his move to New York in December 1944 and becoming part of Billy Eckstine's Orchestra, trading off with Gene Ammons on Eckstine's recording of "Blowin' the Blues Away." Gordon recorded with Dizzy Gillespie ("Blue 'N' Boogie") and as a leader for Savoy before returning to Los Angeles in the summer of 1946. He was a major part of the Central Avenue scene, trading off with Wardell Gray and Teddy Edwards in many legendary tenor battles; studio recordings of "The Chase" and "The Duel" helped to document the atmosphere of the period.

After 1952, drug problems resulted in some jail time and periods of inactivity during the '50s (although Gordon did record two albums in 1955). By 1960, he was recovered and soon he was recording a consistently rewarding series of dates for Blue Note. Just when he was regaining his former popularity, in 1962 Gordon moved to Europe where he would stay until 1976. While on the continent, he was in peak form and Gordon's many SteepleChase recordings rank with the finest work of his career. Gordon did return to the U.S. on an occasional basis, recording in 1965, 1969-1970, and 1972, but he was to an extent forgotten in his native land. It was therefore a major surprise that his return in 1976 was treated as a major media event. A great deal of interest was suddenly shown in the living legend with long lines of people waiting at clubs in order to see him. Gordon was signed to Columbia and remained a popular figure until his gradually worsening health made him semi-active by the early '80s. His third comeback occurred when he was picked to star in the motion picture 'Round Midnight. Gordon's acting was quite realistic and touching. He was nominated for an Academy Award, four years before his death after a very full life. Most of Dexter Gordon's recordings for Savoy, Dial, Bethlehem, Dootone, Jazzland, Blue Note, SteepleChase, Black Lion, Prestige, Columbia, Who's Who, Chiaroscuro, and Elektra Musician are currently available. ~ Scott Yanow, Rovi

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1.Ca'Purange (9:50)
2.The First Time Ever I Saw Your Face (5:51)
3.Oh! Karen O (12:06)
4.Airegin (5:05)
5.Airegin (alt. take ) (5:32)

Musicians:
Dexter Gordon-tenor sax
Thad Jones-trumpet,flugelhorn
Hank Jones-piano
Stanley Clarke-bass
Louis Hayes-drums

At this time, Dexter was living in Paris. When he came to the States, Prestige would record him, part of a deal that would end in the early ‘Seventies. This one, from 1972, features an all-star band (including a fresh-faced Stanley Clarke) who challenge Dexter and benefit from his interplay. This one takes a little while to hit its stride, but when it does, you’ll probably find something you like.

“Ca’Purnage” is best know for the Gene Ammons version, where it was a bossa-flavored smoothie subtitled “Jungle Soul”. This is a different animal: Hank Jones starts the theme forcefully. While piano and horns play it slow and menacing, bass and drums go hyperactive and stay that way throughout the track. It’s a bit unsettling, and it sets your attention on the horns – which is the point. Dexter starts, and he follows piano rather then the drums, which are a little distracting here. He shoots little phrases to Hank, who answers in chords. He begins trilling, slurring his notes, getting faster the deeper he burns. Hank’s comping is warm and blankets Dex nicely. Hayes slows the drums, and Thad picks up on it, playing somber. Hank feeds him some chords, Thad goes faster, and the drums return to overdrive. Hank’s turn rings in full chords, chasing some of Hank’s gloom. He then takes us into a funky bar, and here the intensity matches the drums. On the fade, the horns trade a fanfare, leaving Hank to end on his own.

Hank’s pensive chords bring us “The First Time Ever I Saw Your Face” – and the ballad mastery of Dexter. His vibrato works overtime on the theme, and his high notes bring some unexpected heat. Thad picks up the flugelhorn; he is soft and gentle, spiraling upwards in a nice bit. The two join forces as they exit the theme, leaving on a memorable high note.

And now the blues. Hank gives you the back-alley feeling, and Dexter wails his despair. “Oh! Karen O” is a simple theme, but it’s not about her – it’s about Dex. He’s mostly low, thick with vibrato, but in the middle he struts about town, and the drums pick up the pace. He now sounds sharp, and he fires off little statements with authority. Thad’s horn is sedate; the blues have crushed him and the tempo is gone, Clarke’s slinky bass keeping it moving as the horn mopes. Thad’s big moment comes in a great stream of notes, a torrent of depression. His blue finally fades, and he weaves some happy threads through the end of his solo. Hank’s turn is beautifully understated, and the end gives a collective wail, as horns and Hank bemoan their fate together. It’s a great moment.

The disc ends with two versions of “Airegin”. The originally-released version has a Dexter solo that can only be called definitive. It darts, it moans, it races, it soars. Thad’s brief solo is very controlled, in long assured streams. Hank sticks to theme mostly, and Hayes’ busy solo is a highlight. The alternate has Dexter more growly, smearing notes and tearing the joint up. It’s totally different from the first version, and just as good. Thad’s solo sounds very spur-of-the-moment; many phrases end in mid-sentence. It has its moments, but the first solo was clearly better. Hayes’ solo this time is toms and snare; the cymbal (which made the first version) is barely touched. While I believe the right take was chosen for release, the alternate has its charms, especially in Dex’ solo. It’s an enjoyable album; when Dexter gets going, he really goes. But his fans already know that. ---John Barrett, allaboutjazz.com

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1. Serenade In Blue
2. Love Locked Out
3. Where Are You?
4. Until The Real Thing Comes Along
5. Stairway To The Stars
6. Jodi
7. Everybody's Somebody's Fool
8. Who Can I Turn To?
9. As Time Goes By

Personnel:
Dexter Gordon (saxophone)
John McLaughlin (guitar)
Freddie Hubbard (trumpet)
Herbie Hancock, Sonny Clark, Bud Powell (piano)
Bobby Hutcherson (vibraphone)
Kenny Clarke, Billy Higgins (drums)

If you love the ballad end of jazz, this is what you may have been seeking. Not in the least schmaltzy (It is Dexter Gordon, after all) or commercial. I hate jazz elevator music and believe me, this is straight up great stuff from the Hard Bop period. Great music from a great and now all too often forgotten or overlooked genius. I love it! Now if you love Dexter, you probably already know about the movie Round Midnite, but if you haven't seen this great flick, do get hold of a copy and watch it. A fabulous film starring Dexter Gordon. One of the great movies about jazz. ---Tom Sanders, amazon.com

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01. It's You or No One 12:29
02. More Than You Know 20:51
03. Backstairs 23:19

Dexter Gordon - Tenor Sax
Kirk Lightsey - Piano
Rufus Reid - Bass
Eddie Gladden - Drums

Tenor Batlle (Bonustrack) - !!!
04. Flying Home 11:03

Hank Jones - Piano
Gene Ramey - Bass
Gus Johnson - Drums
Dexter Gordon, Budd Johnson, Illinois Jackuet, Arnett Cobb, Buddy Tate - Saxes

Recorded in Carrousel Zaal, The Hague, Netherlands, 1979

The North Sea Jazz festival has an immense archive of filmed concert performances, which makes its Legendary Concerts CD/DVD series an eye-wateringly interesting prospect. The first eight volumes—featuring tenor saxophonists Dexter Gordon, Yuri Honing and Wayne Shorter, pianist Michael Borstlap, guitarist Jan Akkerman, and trumpeters Miles Davis, Eric Vloeimans and Dizzy Gillespie—are all cherry-pickingly good, and more releases are planned. Already, Legendary Concerts is a major event.

Recorded and filmed at The Hague's Carrousel Zaal during the 1979 festival, Dexter Gordon's performance was among the first he gave in Europe after relocating back to the US following fifteen years based in Paris and Copenhagen. Fronting a take-no-prisoners American quartet, Gordon is on rousing form, tearing through passionate, rough-edged solos on "It's You Or No One" and "Backstairs" (two tunes, the second a Gordon original, from his 1977 US comeback album, Homecoming, on Columbia) and getting gently rapturous between times on "More Than You Know." The two high-temperature tracks are so intensely dynamic they are practically trance inducing. Gordon is accompanied with verve by Eddie Gladden on drums, Rufus Reid on bass and Kirk Lightsey on piano. Sound quality is excellent, of recording-studio quality. The DVD is a delight, too; functionally but well filmed, getting in close on the musicians' faces and drawing the viewer in.

The closing track, billed as a Tenor Battle, is taken from a separate performance later the same evening. Gordon is joined by four other tenor saxophonists—Budd Johnson, Illinois Jacquet, Arnett Cobb and Buddy Tate—for a romp through "Flying Home," made into a hit for the Lionel Hampton band in 1942 by Jacquet's honking and screaming solo. Johnson takes the first solo, Gordon the second and Jacquet the third. There is not much "battling" going on, although Gordon briefly quotes from Jacquet's classic solo before Jacquet plays all of it. At less than ten minutes playing time, a country mile from outstaying its welcome, it is a shame that Cobb and Tate were not also given the chance to solo.

By the end of "Flying Home," practically the entire audience is on its feet, cheering the band on, just as audiences did for Hampton back in the day. The entire audience, that is, except for a solitary Mr Grumpy fleetingly caught by the camera slumped morosely in his seat. It is a déjà vu moment, for when Hampton played in London sometime in the late 1950s/early 1960s, British saxophonist Johnny Dankworth (as he was then known) greeted "Flying Home" with the heckle "Play some jazz!" You want barely relevant trivia, you got it. ---Chris May, allaboutjazz.com

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01. Lady Bird
02. How Deep Is The Ocean?
03. True Blue
04. On The Trail (*) Sax duet	       play
05. Allen's Alley
06. Silver's Blue

Tracks #1-3 originally issued as Al Cohn / Dexter Gordon: "True Blue" (Xanadu LP 136).
Tracks #4-6 originally issued as Al Cohn / Dexter Gordon: "Silver Blue" (Xanadu LP 137).

Personnel: 
Dexter Gordon, Al Cohn (tenor sax), 
Blue Mitchell, Sam Noto (trumpet), 
Barry Harris (piano), 
Sam Jones (bass) 
Louis Hayes (drums). 

Recorded in New York City, on October 22, 1976.

(*) Track 4 is a tenor saxophone duet, while track 5 is a quintet featuring the two saxophonists and the rhythm section.

These are the very first recordings made by Dexter Gordon upon returning to the U.S. after a 14-year exile in Europe. This edition contains tenor saxophonist's complete October 22, 1976 studio session issued on CD for the first time.

Notes:

-True Blue

"The first of two LPs taken from an all-star jam session, this album features Al Cohn and Dexter Gordon on tenors, trumpeters Blue Mitchell and Sam Noto, pianist Barry Harris, bassist Sam Jones and drummer Louis Hayes. Together they perform "Lady Bird" (the two trumpets play Miles Davis' "Half Nelson," which has the same chord changes, at the same time), the ballad "How Deep Is Tthe Ocean" and a 17½-minute blues "True Blue." All of the musicians play up to their usual standard. This album was soon joined by Silver Blue from the same date."

-Silver Blue

"Recorded at the same session as True Blue, this Xanadu LP gets the edge due to a remarkable version of "On the Trail" that is a fascinating unaccompanied duet by tenors Al Cohn and Dexter Gordon. Cohn and Gordon are joined by pianist Barry Harris, bassist Sam Jones and drummer Louis Hayes for a heated and competitive version of "Allen's Alley" and then the group becomes a septet with the addition of trumpeters Blue Mitchell and Sam Noto for a sidelong 19½-minute "Silver Blue," a slow blues. Highly recommended for bop fans."

Both written by Scott Yanow, All Music Guide

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01. Evergreenish (Dexter Gordon) (6:03)
02. For Sentimental Reasons (William Best, Deek Watson) (6:51)
03. Star Eyes (Gene DePaul, Don Raye) (6:50)
04. Rhythm-A-Ning (Thelonious Monk) (6:35)
05. If You Could See Me Now (Tadd Dameron, Carl Sigman) (5:21)
06. The Jumpin' Blues (Jay McShann, Charlie Parker) (5:47)

Dexter Gordon - tenor saxophone;
Wynton Kelly - piano;
Sam Jones - bass;
Roy Brooks - drums.

Recorded In New York, August 27, 1970.

Although tenor saxophonist Dexter Gordon seemed to have been largely forgotten in the U.S. during his long residence in Europe, he was playing in prime form during the period and made occasional trips back to America. On this CD reissue, Gordon teams up with pianist Wynton Kelly (one of his last recordings), bassist Sam Jones and drummer Roy Brooks for an obscure original ("Evergreenish"), "The Jumpin' Blues," the veteran ballad "For Sentimental Reasons" and three songs that were long a part of Gordon's repertoire: "Star Eyes," "Rhythm-A-Ning" and "If You Could See Me Now." Dexter Gordon is in fine form on the excellent straightahead bop set. ---Scott Yanow, AllMusic Review

Recorded at the tail end of a three-month stay in the US in the summer of 1970, Dexter sounds on this date as if he arrived at the studio with a toothache: his tone is angrier, harsher than usual to my ears. This is especially noticeable on the slow ballads, especially FOR SENTIMENTAL REASONS, which is downright cold; near the end of his solo he plays a bluesy run that has some warmth to it, but that's it. The one original, EVERGREENISH, is also harsh-sounding, though his "Pop Goes the Weasel" quote is a gem. STAR EYES, one of my favorite songs, is played well, with Wynton Kelly taking a nice piano solo. Jay McShann's THE JUMPIN' BLUES is a medium-up blues with very strong Dexter on it, while Monk's RHYTYM-A-NING, besides the forceful Gordon, has a very nice drum solo by Roy Brooks followed by slashing 2x2 exchanges with Dexter. It's a decent enough album (anything with Gordon on it is bound to be good), but not as good as some of his other Prestige releases from the same time period, such as THE PANTHER, recorded the month before. ---Bomojaz, amazon.com

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1	Home Run	5:07	
2	Dolo	6:16	
3	Lovely Lisa	7:23		
4	Affair in Havana	7:41		
5	Jodi	6:39
6	Field Day	6:44	

Martin Banks - Trumpet
Richard Boone - Trombone
Charles Coker - Piano
Dolo Coker - Piano
Dexter Gordon - Composer, Sax (Tenor)
Charles Green - Bass
Johnny Griffin - Sax (Tenor)
Junior Mance - Piano
Larance Marable - Drums
René Thomas – Guitar

As the title The Resurgence of Dexter Gordon (1960) suggests, the tenor sax master resurfaced from his chronic bouts of addiction in an attempt to revive his on-again/off-again recording career. Truth be told, Gordon was actually on parole from Chino State Penitentiary and co-starring in a local Los Angeles production of The Connection -- a play ironically enough about the victims of heroin dependence. Julian "Cannonball" Adderley was able to talk the tenor into participating in a no-strings-attached studio date. Gordon (tenor sax), alongside Martin Banks (trumpet), Richard Boone (trombone), Charles "Dolo" Coker (piano), Charles Green (bass), and Larry Marable (drums) convened under the watchful eyes and ears of legendary producer Wally Heider in mid-October 1960 to document the half-dozen selections featured here. Not surprisingly -- especially under the circumstances -- Gordon only supplies a third of the contents with the remainder of the excellent material courtesy of pianist Coker. The piercing, penetrating melody of the Gordon-penned "Home Run" gets things underway as the horns' boppin' call-and-response sets the pace for the solos to follow. Coker's contributions are uniformly strong, and the frenetic energy of "Dolo" -- the keyboardist's nickname -- gives Gordon something substantive to dig into. And he does just that with all the assured litheness that ultimately defined Dexter Gordon's musical phoenix. After reeling off ribbons of sonic inspiration, Coker keeps up with him tickling the 88s with an enviable panache while maintaining the full-throttled pace. The bouncy blues of "Lovely Lisa" and the exotic syncopation fused within "Affair in Havana" place Gordon's sax in prominent proximity to Banks and Boone for a brass-lovers treat. The tunes are complex and provide insight into Gordon's flawless improvisational prowess. Gordon's other composition is the evocative ballad "Jodi." His lines are robust yet retain a moody and searching mystique. The subtleties become more clearly revealed when contrasted to Coker's comparatively personable interlude. "Field Day" closes the effort on a lighthearted and uptempo note. Boone getting his chops in early, followed by Gordon and then the highly underutilized Banks, who saves his best work for the end of the album. All told, The Resurgence of Dexter Gordon uncovers the immeasurable talents of an artist whose musical journey passes a critical crossroads on this project. ---Lindsay Planer, Rovi

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1. Heartaches 14:15
2. Devilette 12:26
3. You've Changed 10:20
4. So What? 9:44

Personnel:
Dexter Gordon - tenor saxophone
Kenny Drew - piano
Niels Pedersen - bass
Alex Riel – drums

Steeplechase takes its Dexter Gordon stewardship seriously. Last year occasioned the label's release of a box set covering the saxophonist's Complete Quartet and Trio Studio Sessions. In the months since that monumental release, air-shots from concerts at the Montmarte Jazz Haus circa summer 1965 have made their way into circulation. This latest entry finds Dex fronting a familiar rhythm section comprised of fellow expatriate Kenny Drew on piano and Danes Niels-Henning Ørsted Pedersen on bass and Alex Riel on trap kit, respectively. With the sometime substitution of Tete Montoliu at the ivories, they were Gordon's working European ensemble for much of the later '60s and early '70s. The band can also be heard on a modest trove of other albums, such as The Squirrel (Blue Note) and the Swiss Nights series (also on Steeplechase).

The music feels representative of a typical night for the combo, with the contents of a single set represented by four tunes and a brief spoken introduction before an up-tempo reading of Miles' "So What." After an audible count-off, the band commences with "Heartaches," built on the bulwark of Pedersen's plump, trotting bass and Riel's brittle snare tattoos. Fidelity is a bit tinny with Drew recessed in the mix and Gordon's horn sounding ruffled around the edges, but the recording is still quite faithful to the after-hours ambiance of the club. After a robust, chorus-devouring solo laced with some title-worthy crying asides, Dex lays out and leaves Drew to a jovial solo fortified with light stride syncopations. Riel's snare muscles in a bit too heavily in its accompaniment, but Pedersen holds as stalwart harmonic anchor. The bassist's ensuing improvisation elicits enthusiastic encouragement from the audience, punctuated by the casual clink of glassware. Gordon takes the piece out at a trumpeting gallop.

"Devilette," an obscure tune from the quill of bassist Ben Tucker, comes next, once again forwarded on the punchy thwack of Pedersen's athletic bass. Drew lays out a bluesy staccato vamp, leaving Dex free to wail through a chain of florid choruses peppered with trills and switchbacks. The ballad "You've Changed" ices down the heat with Gordon turning tender, tempering his tone to a dusky purr. Drew responds with a resplendent cushion of enveloping chords, presaging an epic unaccompanied cadenza on tenor.

While this is an enjoyable snapshot from the saxophonist's fecund middle period as an expatriate jazz icon enjoying all the amenities commensurate with his status, there isn't much to push this album beyond the body of song already available. Dex addicts will no doubt sprint to the record shop bins to procure a copy, but more casual fans might be just as satisfied revisiting platinum-standard Blue Note fare like Our Man in Paris and A Swingin' Affair. The true boon of this release, and what are likely to be continuing volumes in the series, is less tangible. Coupled with the recent "complete" box set on Prestige, it argues convincingly that torch of Gordon's legacy remains healthy and a long way from snuffing out. ---Derek Taylor, allaboutjazz.com

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1. Ladybird Dameron 2:03
2. So What Davis 12:37
3. Who Can I Turn To (When Nobody Needs Me) Bricusse, Newley 1:21
4. Blues by Five Davis 4:12

Personnel:
Dexter Gordon, tenor saxophone
Donald Byrd, trumpet
Kenny Drew, piano
Niels Pedersen, bass
Alex Riel, drums

The latest offering from the seemingly bottomless Danmarks Radio Archive, this disc presents another air shot of Gordon’s lengthy mid-1960s Café Montmarte stint. Dex’s sizable cachet as an expatriate jazz icon prompted a nightly spooling of the tape machines. The resulting cache, so far doled out one set at a time, documents a particularly fertile time for the saxophonist. Shortly after arriving on European shores he teamed with pianist Kenny Drew and a topflight pair of locals in the persons of Pedersen and Riel, set up shop and enjoyed a more relaxed lifestyle than the scuffling of his earlier Big Apple years. This package is a bit different from the previous ones in that it presents trumpeter Donald Byrd, a fellow NYC émigré, sitting in with the working group.

The top-heavy program revolves around extended readings of two standards: the Tad Dameron-penned title track and a blue-chip modal number from the best-selling jazz album of all-time. After a brief ensemble stroll through theme Gordon essays a hungry, if slightly boilerplate solo that swallows up a healthy string of choruses. Byrd follows, cooler in cast and surfing across Riel’s frothy snare and cymbal-driven fills with a succession of slightly smeared runs. Pithy Drew and Pedersen statements follow. Riel lends steady hi-hat and sharp, textured brushwork to the latter’s deft pizzicato exposition and the two wear their advanced postbop pedigrees proudly. The piece winds up with a short spate of robust exchanges between Riel and the rest. These closing minutes are marred by a recurring and intrusive tape warble that ends up sounding oddly like a third remedial horn.

“So What” receives a comparably elongated reading with Pedersen paying homage to and capaciously expanding on Paul Chambers’ original epochal role. After the familiar bass invocation and riffing theme Gordon breaks away and spools out a sultry solo flanked briefly by just Pedersen and Riel at a brisk, but effervescent tempo. As on the previous cut, Drew delivers deft complementary chords that push the action without prodding it. Byrd’s improvisation unfolds in the leader’s wake, displaying a bit of the gelid clarity that was the composer’s calling card. Pedersen brings up the rear with another compact colloquium on killer contrabass technique. The horns wisely abstain from reentry and let it stand as the dénouement.

Byrd sits out on a luxurious “Who Can I Turn To?”, but the band returns to full-size for the closer, another Miles Davis’ tune, “Blues By Five.” The trumpeter’s presence and the high degree of rapport shared by the rhythm section make this date one of note. Coupled with a tune choice that strays dexterously in more challenging directions than the band’s usual diet of bop standards it’s 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 caliber of this classic conclave. ---whatsjazz.blogspot.com

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1. "Darn That Dream" [7:32] 
2. "Don't Explain" [6:07] 
3. "I'm A Fool To Want You" [6:45] 
4. "Ernie's Tune" [4:17] 
5. "You've Changed" [7:28] 
6. "Willow Weep For Me" [8:49] 
7. "Guess I'll Hanh My Tears Out" [5:23] 
8. "Body And Soul" [17:00]

Personnel: 
Dexter Gordon (tenor saxophone); 
Freddie Hubbard, Donald Byrd (trumpet); 
Sonny Clark, Barry Harris, Bud Powell, George Cables, 
Horace Parlan, Kenny Drew (piano); 
Neils-Henning Orsted Pedersen, Paul Chambers, Rufus Reid, 
Butch Warren, Bob Cranshaw, George Tucker, Pierre Michelot (bass); 
Billy Higgins, Philly Joe Jones, Kenny Clarke, Art Taylor, 
Al Harewood, Eddie Gladden (drums).

Along with Gene Ammons and Stanley Turrentine, Dexter Gordon was one of the top ballad players of the '60s. Having already made his name in the bebop era and as an expatriate in Europe, Gordon returned to the States to record a series of fine Blue Note discs during the first half of the decade. This edition of the label's Ballads series features Gordon at his peak and in the company of some of hard bop's best players. Whether melding nicely with trumpeter Donald Byrd from a Paris date in 1964 ("Darn That Dream") or locking in with the stellar rhythm section of Sonny Clark, Butch Warren, and Billy Higgins ("Don't Explain"), Gordon delivers his almost sleepy and smoke-filled solos with regal grace. The same can also be said of the rest of this incredible program, including a latter-day live cut from 1978. A perfect set for those in need of a provocative after-hours session in front of the stereo. ---Stephen Cook, Rovi

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