Gordon's height was 6 feet 6 inches (198 cm), so he was also known as "Long Tall Dexter" and "Sophisticated Giant". He played a Conn 10M Lady Face until 1964. He lost the instrument in a Paris hotel and then switched over to a Selmer Mark VI. His saxophone, seen in various photos, was fitted with an Otto Link metal mouthpiece.
In 1986, Dexter Gordon was named a member and officer of the French Order of Arts and Letters by the Ministry of Culture in France. His performance in Round Midnight (Warner Bros, 1986) was nominated for an Academy Award for Best Leading Role and he won a Grammy for Best Soundtrack. On April 25, 1990, Dexter Gordon died in Philadelphia, Pennsylvania.
Gordon was born and grew up in Los Angeles, where his father was a doctor who counted Duke Ellington and Lionel Hampton among his patients. He played clarinet from the age of 13, before switching to saxophone (initially alto, then tenor) at 15. While still at school, he was playing in bands with such contemporaries as Chico Hamilton and Buddy Collette.
Between 1940 and 1943, Gordon was a member of Lionel Hampton's band, playing in a saxophone section alongside Illinois Jacquet and Marshall Royal. In 1943 he made his first recordings under his own name, alongside Nat Cole and Harry 'Sweets' Edison. During 1943-44 he featured in the Louis Armstrong and Fletcher Henderson bands, before joining Billy Eckstine.
By 1945, Gordon had left the Eckstine band and was resident in New York, where he was performing and recording with Charlie Parker, as well as recording under his own name. Gordon was particularly known for his saxophone duels with fellow tenorman Wardell Gray that were a popular live attraction which were documented in recordings made between 1947 and 1952.
Gordon's sound was commonly characterized as being 'large' and spacious and he had a tendency to play behind the beat. One of his major influences was Lester Young. Gordon, in turn, was an early influence on John Coltrane during the 1940s and 1950s. Coltrane's playing, however, during his early period from the mid to late '50s or early '60s influenced Gordon's playing from then onward. Similarities in their styles include their clear, strong, metallic tones, their tendencies to bend up to high notes, and their abilities to single-tongue and still swing. One of Gordon's idiosyncrasies was to recite the lyrics of each ballad before playing it.
Gordon was performing Freddie Redd's music for the Los Angeles production of Jack Gelber's play The Connection in 1960, replacing Jackie McLean. Around this time, he signed to Blue Note Records, an association that was to produce a steady flow of albums for several years: Doin' Allright, Dexter Calling..., Go, and A Swingin' Affair. The first two, his Blue Note debuts, were recorded over three days in May 1961 with Freddie Hubbard, Horace Parlan and others. The last two were recorded in August 1962, just before Gordon left for his extended stay in Europe, with a rhythm section that featured Blue Note regulars Sonny Clark, Butch Warren and Billy Higgins. During the next few years, Gordon would record again for Blue Note. During this time he would be a big advocate of Onzy Matthews and be one of the initial sax players to start Matthews' big band in 1959 along with Curtis Amy; Gordon would leave to Europe before getting a chance to record with that big band on Capitol Records.
Over the next 15 years in Europe, living mainly in Paris and Copenhagen, he played regularly with fellow expatriate, or visiting players, such as Bud Powell, Ben Webster, Freddie Hubbard, Bobby Hutcherson, Kenny Drew, Niels-Henning Ørsted Pedersen, Horace Parlan and Billy Higgins. Blue Note Records' German-born Francis Wolff supervised Gordon's later sessions for the label on his visits to Europe.
From this period come Our Man in Paris, One Flight Up, and Gettin' Around. Our Man in Paris was a Blue Note session recorded in Paris, France in 1963 with a quartet including pianist Bud Powell, drummer Kenny Clarke, and French bassist Pierre Michelot. One Flight Up, recorded in Paris in 1964 with trumpeter Donald Byrd, pianist Kenny Drew, drummer Art Taylor, and Danish bassist Niels-Henning Ørsted Pedersen, features an extended solo by Gordon on the track "Tanya".
Gordon also visited the States occasionally for further recording dates with Blue Note: Gettin' Around was recorded during a visit back to the US in May 1965, as was the unreleased album Clubhouse.
Less well-known, but of similar quality, are the albums he recorded during the same period for the Danish label SteepleChase (Something Different, Bouncin' With Dex, Biting the Apple, and a few dozen others). They again feature American sidemen, but also such Europeans as Spanish pianist Tete Montoliu and Niels-Henning Ørsted Pedersen.
Gordon found Europe in the 1960s a much easier place to live, saying that he experienced less racism and greater respect for jazz musicians. Furthermore in America he had experienced drug addiction and imprisonment twice, and must have found the change of location helpful. While in Copenhagen, Dexter Gordon and Kenny Drew's trio appeared onscreen in Ole Ege's theatrically released hardcore pornographic film Pornografi (1971), for which they composed and performed the score.
He switched from Blue Note to Prestige Records (1965-1973) but stayed very much in the hard-bop idiom, making classic bop albums like 1972's Tangerine with Thad Jones, Freddie Hubbard, and Hank Jones.
Some of the Prestige albums were recorded during visits back to North America while he was still living in Europe; others were made in Europe, including live sets from the Montreux Jazz Festival. The American recordings included The Chase, a tenor battle with Gene Ammons cut in Chicago in 1970.
Dexter Gordon finally returned to the United States for good in 1976. He appeared at the Village Vanguard, NY, for a gig that was dubbed as his 'homecoming;' and was recorded and released under that title. He noted "There was so much love and elation; sometimes it was a little eerie at the Vanguard. After the last set they'd turn on the lights and nobody would move".
After this appearance, Gordon recorded several more albums that proved he was as good if not better than before his years in Europe, and he finally gained appreciation as one of the great jazz tenors. The increased attention that he received because of Columbia Records promotions has been seen as a turning point in jazz because they focused on acoustic jazz rather than the commercial cross-over styles which had been heavily promoted during the first part of the 1970s.
Gordon made several notable film appearances. The first occurred, oddly enough, while he was in prison for possession of heroin. He portrayed an inmate playing in the prison band in Unchained, though the soundtrack was later overdubbed. In 1986, Gordon starred in the movie Round Midnight as 'Dale Turner', an expatriate jazz musician much like himself; the role might even be a thinly veiled biography of him, though Lester Young and Bud Powell were its main inspirations. Gordon received a nomination for a Academy Award for Best Actor for his portrayal. In addition, he had a non-speaking role in the film Awakenings, which was released after his death. Between these two roles, Gordon made a guest appearance on the Michael Mann series Crime Story.
Gordon died of kidney failure in Philadelphia, PA, on April 25, 1990, at the age of 67. He was voted musician of the year by Down Beat magazine in 1978 and 1980, and in the latter year was inducted into Down Beat's Jazz Hall of Fame.
Gordon's maternal grandfather was Captain Edward L. Baker, one of the five Medal of Honor winners (9th Cav.) in the Spanish-American War who served in the 9th and 10th Cavalries in the group known as the Buffalo Soldiers.
Gordon's father, Dr. Frank Gordon, M.D., was one of the first prominent African-American physicians and a graduate of Howard University.
Dexter Gordon had a total of six children, from the oldest to the youngest: Robin Gordon (Los Angeles, CA), James Canales Gordon (Oakland, CA), Deidre (Dee Dee) Gordon (Los Angeles, CA), Mikael Gordon-Solfors (Stockholm, Sweden), Morten Gordon (Copenhagen, Denmark) and Benjamin Dexter Gordon (Copenhagen, Denmark), and five grandchildren, Raina Moore (Brooklyn, NY), Jared Johnson (Los Angeles, CA), and Matthew Johnson (Los Angeles, CA) Maya Canales (Oakland, CA), Jared Canales (Oakland, CA)
When he lived in Denmark, he became friends with the family of the future Metallica drummer Lars Ulrich, and subsequently became Lars's godfather.
Gordon is also survived by his widow and former manager-producer Maxine Gordon.
Star Eyes
Dexter Gordon Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
That to me is what your eyes are,
Soft as stars in April skies are,
Tell me some day you'll fulfill
Their promise of a thrill.
Star eyes,
Flashing eyes in which my hopes rise,
Let me prove that it adores
That loveliness of yours.
All my life I've felt
Content to stargaze at the skies.
Now I only want to to melt
The stardust in your eyes.
Star eyes,
When if ever, will my lips know
If it's me for whom those eyes glow?
Makes no diff'rence where you are,
Your eyes still hold my wishing star,
Oh, star eyes, how lovely you are.
Dexter Gordon's song "Star Eyes" is a beautiful love song, where he compares his love interest's eyes to the stars. According to him, her eyes are soft and they promise a thrilling future. The hope in his heart rises when he sees the flashing eyes of his love, and he wishes to show her where his heart lies. Gordon is overwhelmed by the loveliness of his beloved, and he wants to melt the stardust in her eyes. In the end, he wonders if his love interest's eyes shine for him and that her eyes hold his wishing star.
The metaphor of stars and eyes is a delight to the senses. It is a way of expressing the depths of love and admiration for someone. As the stars are a symbol of hope, the love in Gordon's heart is a ray of light, leading him towards a bright future with his love interest. The repetition of "Star eyes" and "how lovely you are" in the end of the song magnifies the beauty of the beloved's eyes and the love that Gordon has for her.
Overall, Dexter Gordon's "Star Eyes" is a romantic love song that beautifully captures the butterflies in one's stomach when they fall in love. It describes the feelings of hope, admiration and reverence that come with being in love with someone.
Line by Line Meaning
Star eyes
Your eyes are full of wonder and beauty like stars
That to me is what your eyes are,
To me, your eyes are like stars
Soft as stars in April skies are,
Your eyes are gentle and tender, like stars that appear during springtime
Tell me some day you'll fulfill
Promise me that you will one day satisfy
Their promise of a thrill.
The excitement I feel when I look into your eyes will one day come to fruition
Flashing eyes in which my hopes rise,
Your eyes lift my spirits and give me hope
Let me show you where my heart lies.
Let me demonstrate where my deepest feelings and passions lie
Let me prove that it adores
Allow me to demonstrate that I greatly admire
That loveliness of yours.
The beauty and grace that is uniquely you
All my life I've felt
Forever I have experienced
Content to stargaze at the skies.
Satisfied by watching the heavens above
Now I only want to to melt
However, my sole desire now is to become one with you
The stardust in your eyes.
I wish to feel the magic that lights up your eyes
When if ever, will my lips know
I wonder, and perhaps someday I will find out
If it's me for whom those eyes glow?
Whether it is me who makes your eyes sparkle with life
Makes no diff'rence where you are,
No matter where you are located
Your eyes still hold my wishing star,
Your eyes still have the power to make my deepest wishes come true
Oh, star eyes, how lovely you are.
Oh, your eyes filled with wonder and beauty are truly amazing
Lyrics © BMG Rights Management, ANTHEM ENTERTAINMENT LP, Songtrust Ave, Warner Chappell Music, Inc.
Written by: Gene De Paul, Don Raye
Lyrics Licensed & Provided by LyricFind
trumpsahead
I always loved Dexter's music, it was so solid, always melodic, and that big fat sound. RIP.
Jason Amberson
Yep. Exactly. I even named my cat Dexter.
Jason Decristofaro
Dexter's solo = a lesson in how to melodically construct a solo.
andrew gillis
Dex is the longest counter-melody thinker & supplier I have ever heard - latest discovery, an 8 minute solo on You Stepped Out, from LP called All Souls, 1974, cut in Holland
Ole Birger Pedersen
I miss him. A good friend and a wonderful tenorplayer.
Breach98
Dexter Gordon is my No.1 Jazzman. This song, is a Don Raye and Gene DePaul classic, made better by Dex. I saw Dex for the first time at The Village Vanguard, NYC, on or about Saturday, May 16 or 17, 1979. I saw him a few times after. I miss him as well as all otherr jazz great who have left us since.
P.S. This brings back memories of an era long ago, an era we'll never see again. R.I.P. Dexter.
caponsacchi
No better tenor player or rhythm section. I''ll never forget sitting in front of Roy Brooks' high-hat at the Village Vanguard. He simply levitated that basement club above the street. Sonny Stitt practically owned this tune til the day he died. If only those guys had lived 20 years longer.
andrew gillis
DEXTER emerges from a melodic corner in which he's painted himself - this is another high intellect piece by Mr Gordon, among many
Doug Basmajian
Dexter was a monster!
cani saxofon
que lindo! muy bueno