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Dexter Gordon - Dexter Blows Hot And Cool MP3 FLAC


1Don't Worry About Me
3I Hear Music
4Bonna Rue
5I Should Care
6Sliver Plated
7Cry Me A River
8Blowin' For Dootsie
9Rhythm Mad


CategoryArtistTitle (Format)LabelCategoryCountryYear
DL-207Dexter Gordon Dexter Blows Hot And Cool ‎(LP, Album, Red)Dootone RecordsDL-207US1955
noneDexter Gordon Hot And Cool ‎(CD, Album)Black BirdnoneSwitzerlandUnknown
AUL-207Dexter Gordon Featuring Carl Perkins Dexter Gordon Featuring Carl Perkins - Dexter Blows Hot And Cool ‎(LP, Album, RE)Authentic Records , Dootone RecordsAUL-207US1958
ULS-1864-VDexter Gordon Dexter Blows Hot And Cool ‎(LP, Mono)Overseas RecordsULS-1864-VJapanUnknown
BOP 6Dexter Gordon Featuring Carl Perkins Dexter Gordon Featuring Carl Perkins - Dexter Blows Hot And Cool ‎(LP, Album, Mono, RE)Boplicity RecordsBOP 6UK1984


  • BassLeroy Vinnegar
  • DrumsChuck Thompson
  • PianoCarl Perkins
  • Supervised ByDootsie Williams
  • Tenor SaxophoneDexter Gordon
  • TrumpetJimmy Robinson


Recorded in 1955


  • Matrix / Runout: 8277OE1/A JWR4516LP
  • Matrix / Runout: 8277OE2/B JWR4516LP
  • Barcode: 8 436006 494680


Dexter Gordon - Dexter Blows Hot And Cool MP3 FLAC
Performer: Dexter Gordon
Genre: Jazz
Title: Dexter Blows Hot And Cool
Released: 2009
Style: Bop
MP3 album: 2107 mb
FLAC album: 2924 mb
Rating: 4.2
Votes: 699
Source: Vinyl, LP, Reissue, 180 Gr.
№ Cat: JWR 4516
Label: Jazz wax Records

What a lucky man Dexter Gordon was, while the parents of other jazz musicians were chastising their children, Dr. Gordon an his wife were first rate jazz fans themselves, even touting the likes of Duke Ellington among their friends, thus they encouraged Dexter to realize his dreams with their full backing and support … what a great break that was for music in America. Add to that that with Dexter’s education, the man was fully aware of himself, meaning like so many others, he was able to avoid the pitfalls that come with being an actualized individual.

What’s effortlessly delivered here is strong straight ahead material that’s forward looking in its script and sound. Fronting a quintet that included basis Leroy Vinegar, drummer Chuck Thompson and pianist Carl Perkins, along with nearly forgotten trumpeter Jim Robinson, who to my way of thinking was just about as magical as you could get here on Dexter Blows Hot & Cool, lays out a silver album that’s clear resounding and innovative.

Many fans, many devoted fans and jazz enthusiasts seem to entirely overlook this record, though for what reason bewilders me, as it’s probably the first Gordon album that’s been laid down with a forward looking surefooted tenor-led emancipated jazz. With that in mind, this is an entirely communal record, one where each musician knows and understands the nature of those he’s playing with, which allows each member to slide into a groove, one where they’re not looking over their shoulders or feeling the need to tone down their performance in deferential preference to Dexter. The title of this record says it all, hot swinging numbers matched up against harmonically rich and mid tempo songs, all of which go down easily, with the fact that Gordon is playing slightly behind the beat allowed this album to simmer in a very bluesy relaxed atmosphere.

Of course heroin is not a drug to dabble with, yet in the same breath, in the beginning Gordon used the drug as part of his music, for the attitude it helped create, and not as an after session waste away the night substance, saying “I loved shooting up. Part of the charm, the romance, is the ritual of sticking a needle in your arm. It’s like chopping up cocaine on a mirror.” He also did it because it became waywardly cool in the jazz milieu. “We were the revolutionaries,” he goes on to say, “We did what was new and hip with no forethought of consequences. Heroin just became part of the scene.” Of course heroin quickly took over Gordon’s scene, where it wasn’t until a three month sentence in 1960 that he managed to get himself clean. So yes, heroin brought out something wonderful within Gordon, something that I doubt he could have achieved on his own, and with those memories in tow, years after kicking his habit, he still managed to flow with the smoothness a good dose can provide.

Again, listeners claim that this record pushes no boundaries, an easy statement to make today, yet in 1955, this was quite a visionary sound. The albums runs very much middle of the road for listeners, I on the other hand think that the record is rather charming, controlled and held in check to keep things from bursting at the seams, that while doesn’t keep me on the edge of my seat, the album certainly commands a presence within one’s listening space.

*** Unless you’ve a mono turntable and setup, I highly suggest you stay away for reverse engineered new mono records and stay with your reprocessed stereo albums, as these new mono versions do not convey the airy spaciousness of those original mono recordings.

Review by Jenell Kesler