Though he’s a bit low in the mix, Higgins’s buoyant ride cymbal and subtle touch propels the soloists through the master take of “Milestones,” a John Lewis line for which Miles Davis took credit on his 1947 Savoy debut with Charlie Parker on tenor. In honor of Blue Note Records’ 80th Anniversary, the legendary Jazz label is launching the Tone Poet Audiophile Vinyl Reissue Series. I have a very strong character and am looking for a confident breed experienced home with strict rules and boundaries. S. government made good on its notes at one percent of face value, while Massachusetts paid its own notes at par. As he waited for his hot dog and root beer, he heard emanating from the backroom jukebox the joyful noise of two distinctly different tenor saxophones exchanging a string of choruses over a thunderous tom-tom shuffle.

Moody sounds out of sorts on the April 2nd performance, which has a tentative, edgy quality despite the synchronous rhythm section (Barry Harris, Buster Williams, and Albert “Tootie” Heath). Dexter has also displayed guarding issues in his previous homes, and as such, he needs a controlled introduction to visitors in his new home.Piggybacking on the favorable reception for the Power albums, Gordon criss-crossed the States in the summer of 1970. You can be certain that the fragrance worldview of the OG is it's a masterpiece of perfumery from Xerjoff. According to Segal, the intention was to record a new version of “Blowing the Blues Away,” with alto saxophonist/vocalist Vi Redd singing Eckstine’s lyric, but Redd—who had not heard the tune for several decades—opens the first version [Disc 7:8] singing what Joe Segal describes in the original notes as “a combination lyric best described as “Blowin’ the (Lonesome Lover) Blues Away.

The tenorist also offers a soulful reading of “Jodi,” an original ballad that he would revisit in 1965 on the Blue Note album Clubhouse. Blue Note President Don Was brought in “Tone Poet” Joe Harley—co-founder and co-producer of the acclaimed Music Matters audiophile vinyl series—to produce this new. Coker’s “Lovely Lisa” is a tipping blues with a Basie flavor, tight three-horn voicings, and nice changes that Gordon gobbles up; Boone’s vocalized solo crosses Bennie Green fluency with raspy Henry Coker tone. Dexter: The Storyteller is a fragrance that captivates and intrigues, drawing you into its world and leaving you yearning for more.

Both bopwalk eloquently on two takes of “Boston Bernie,” a Gordon variant on the 1939 Jerome Kern song “All the Things You Are” (from the musical Very Warm for May) and on “Fried Bananas,” Gordon’s ingenious up tempo version of “It Could Happen to You,” by Rodgers and Hart. In case anybody is interested, I used the DW version, because I love seeing my sims walk to the victim with the weapon. Gordon responds in kind; playing with all the power and discursive invention he customarily brought to club sets, he projects a polish and concision apropos to a concert setting. On “Scared to Be Alone,” a 1968 song by Dory Previn [“When someone is around us/We don’t know what we’re seeing/We take a Polaroid picture/To find the human being”], Gordon again makes you feel the lyric message with his keening, commanding sound.

And one time when I was in Chicago, this guy had heard one of my records, and he said, ‘Yeah, man, you sound great; you sound like Dexter. Timmons and Gaskin have their final say, and Gordon swings through his summation and a stimulating series of exchanges with Brice, concluding an inspired sermon of tenor saxophony with the opening bars of “Soy Califa” (“I am the caliph”), a 1962 opus from A Swingin’ Affair. Antonio Carlos Jobim’s “Meditation” is Gordon’s second investigation of a bossa nova (first was “Morning of the Carnival” from the 1965 album Gettin’ Around )As Ira Gitler wrote on the liner notes for More Power, “Talk about creating a mood—Dex does it in all registers of the horn with a gorgeous sound and a feeling that envelops one with fireside warmth.The software computes the E 2 E_2 E 2 ​ page and products, and propagates differentials via the Leibniz rule. Three interconnected palimpsest essays recount (1) the backstory of a “meta” font recently updated by Dexter Sinister and used to typeset the Contemporary Condition book series, (2) a broad history of the rationalization of letterforms that considers the same typeface from “a higher point of disinterest,” and (3) a pending proposal for a sundial designed to operate in parallel physical and digital realms. But, moreover, thank-you very much for posting these notes – they made a most enjoyable read with which to celebrate Dexter’s birthday! Over the next four years, he did several tours on a circuit that took him from Western Canada to his native Los Angeles. Gordon had recorded Cole Porter’s “Love for Sale” at the Montmartre in 1967, and addresses it similarly, stating the theme over a Latin groove, as played by Cannonball Adderley and Miles Davis on the 1958 album Something Else.

It is also designed with the intention to be able to aid other spectral sequence calculations (as long as the modules are over F p \mathbb{F}_p F p ​ ), but no such applications have been coded at the moment. It floats along on a strong, buoyant pulse under an orb that is both Manakoorish Moon and Midnight Sun, and yet neither,” wrote Gitler in the notes. It’s definitely one of our favourite new varieties so we couldn’t wait to try it in a hazy New England IPA.

He has been teaching as a Professor of English in the MFA program in Writing Popular Fiction at Seton Hill University since 1999. Plus, he was listening to what was going on around him, and he started to extract bits and pieces of stuff he heard avant-garde players doing which start to show up in his playing.