Dexter Gordon

薩克斯風(fēng)手 Dexter Gordon 縱橫爵士樂壇超過半個(gè)世紀(jì)之久，而且即使不提他的音樂，足以令樂迷回味的傳奇故事同樣不勝枚舉。舉例說明，Gordon曾創(chuàng)下以爵士樂手身分入圍奧斯卡金像獎(jiǎng)最佳男主角的唯一范例〈他以西元1986年的電影「午夜時(shí)分」《'Round Midnight》入圍〉。細(xì)心的樂迷也可以在西元1990年的電影「睡人」《Awakenings》中，發(fā)現(xiàn)Gordon扮演一位嗜眠性腦炎〈Encephalitis Epidemic〉病患，并且在電影中還秀了一小段爵士鋼琴演奏。Gordon 的外表高大帥氣，有個(gè)外號(hào)叫"Long Tall Dexter"，甚至也曾有許多朋友力邀他去當(dāng)男模特兒。類似故事還有不少，但光是前面這幾個(gè)例子，相信在爵士樂壇里應(yīng)該是前無古人，而后大概也不會(huì)有來者的紀(jì)錄了。 　　 在音樂上面，Dexter Gordon 同樣有許多傳奇故事，其中三進(jìn)三出爵士樂壇的故事最令樂迷們津津樂道。Gordon 在四零年代出道，亮眼的外型與精采的咆勃爵士〈Bebop〉演奏技巧讓他迅速竄紅。當(dāng)時(shí)紐約爵士夜店里常舉辦 Jam Session，而 Gordon 正是音樂擂臺(tái)上的常勝軍。他的必殺絕招姑且稱為「乾坤大挪移」，就是在即興演奏之外，常常吹到興起便把其他經(jīng)典樂曲里的句子挪來使用，這招總是讓臺(tái)下樂迷驚喜不已。不過 Gordon 也有毒品問題，他的第一次退隱就是因?yàn)槲緦?dǎo)致郎當(dāng)入獄之故。西元1960年，Gordon克服毒癮后重出江湖，此時(shí)他與Blue Note Records簽下了合約，隨后留下了許多張專輯，而這些作品也是樂迷們最為熟悉的經(jīng)典之作，包括名震天下的《Go!》。 　　 西元1962年，Dexter Gordon 決定到歐洲定居，而這一待便是十四年，直到西元1976年才回到祖國(guó)懷抱，這段期間 Gordon 在歐洲也留下了許多精采的錄音。然而美國(guó)樂迷并沒有忘記他，西元1976年 Gordon 回國(guó)后造成了大騷動(dòng)，媒體大幅報(bào)導(dǎo)，樂迷也一路排隊(duì)只為親耳聽到偶像久違的現(xiàn)場(chǎng)演奏。然而隨后 Gordon 的健康亮起了紅燈，于是再次選擇了退隱。直到西元1986年從電影「午夜時(shí)分」再次出發(fā)，他的演奏功力因?yàn)榻】狄蛩刈匀粺o法與年輕時(shí)相提并論，但靠著讓大家想像不到的演技卻入圍了奧斯卡，當(dāng)然同樣是震撼人心的精采復(fù)出。西元1990年，Grodon病逝于費(fèi)城，結(jié)束了亮麗且完整的生命旅程。 這張《Go!》是戈登自己最鐘意的錄音，同時(shí)也是爵士史上薩克斯風(fēng)最美麗音符的集合之一。因?yàn)楸旧眍B固的個(gè)性，以及酗酒、咳藥因素遠(yuǎn)赴歐洲一時(shí)間的戈登，再次回到他所熟悉的紐約，為Blue Note錄下這張絕美錄音。堅(jiān)持Bebop風(fēng)格的戈登在這張錄音放慢速度，同時(shí)吹奏線條略顯暈染，呈現(xiàn)他溫柔敘事苗的功力。這次與他合作的是他熟悉的班底，彼此良好的默契沒話說，整體節(jié)奏由戈登的之中音薩克斯風(fēng)帶領(lǐng)，他的吹奏掌握樂曲的表情，加上其他樂手精采的綠葉表現(xiàn)，愉悅的爵士氣氛薰染耳膜。 聽戈登的《Go!》，像是吃軟糖般地，甜甜的味道帶者柔軟地觸感，實(shí)在是難得的聽覺經(jīng)驗(yàn)。戈登個(gè)人演奏按巧的圓融程度在他為Blue Note留下的幾張錄音中，以《Go!》最為杰出?！窩heese Cake」是戈登為樂迷們帶來的禮物，輕松詼諧的開場(chǎng)果真有如起士蛋糕在下午茶代表的悠閑時(shí)光?！窱 Guess I’ll Hang My Tears Out To Dry」中戈登以長(zhǎng)音符的樂句將情感的弓弦拉到最滿，飽漲的情緒在次中音薩克斯風(fēng)間流竄，美到死的抒情敘事苗?！窽here O’Clock In The Morning」的前奏與校園鐘聲有所關(guān)連，熟悉的音符讓人莞爾，戈登有點(diǎn)漫不經(jīng)心的吹奏，似乎帶點(diǎn)涼味。本專輯原始錄制于1962年，此為1999年RVG Remastered版本。
by Scott Yanow
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 Armstrongs big band preceded his move to New York in December 1944 and becoming part of Billy Eckstines Orchestra, trading off with Gene Ammons on Eckstines 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 1950s (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 Gordons 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 and, even if his playing by then was past its prime, Gordons 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 Gordons recordings for Savoy, Dial, Bethlehem, Dootone, Jazzland, Blue Note, SteepleChase, Black Lion, Prestige, Columbia, Whos Who, Chiaroscuro, and Elektra Musician are currently available.