In the pantheon of jazz recordings, some albums take curious journeys before finding their rightful place in history. Such is the story of Dexter Gordon's "Clubhouse" - a brilliant session recorded in the mid-1960s that sat unreleased in Blue Note's vaults for over a decade before finally seeing the light of day.
From Wilderness to Renaissance
The 1950s represented challenging times for Dexter Gordon. The towering 6'6" Los Angeles-born saxophonist spent much of the decade in prison due to heroin-related offenses, making it essentially a lost decade for his musical development. However, the 1960s marked a dramatic turnaround in Gordon's fortunes. Granted parole on February 22, 1960, the 36-year-old saxophonist's creative resurgence began that November when legendary producer Alfred Lion signed him to Blue Note Records.
The partnership proved immediately fruitful, launching a remarkable run of albums including "Doin' Allright," "Go!," and eventually, "Clubhouse."
The Copenhagen Years and a Brief Return
By the time Gordon recorded the material for "Clubhouse," he had already completed eight album sessions for Blue Note. Significantly, the saxophonist was no longer living in America, having departed for a European tour in 1962 that led him to settle in Copenhagen, Denmark, establishing a new life overseas.
"Clubhouse" was recorded during a brief return visit to America in late spring 1965. The session took place on May 27, 1965, at Rudy Van Gelder's renowned New Jersey studio, followed by recordings for the album "Gettin' Around" over the next two days.
An All-Star Ensemble
For the "Clubhouse" session, Gordon assembled an exceptional quintet featuring:
- Freddie Hubbard - the young Indianapolis trumpet sensation who had previously played on Gordon's first Blue Note session in 1962
- Barry Harris - piano
- Bob Cranshaw - bass (a longtime associate of Sonny Rollins)
- Billy Higgins - drums (who had previously collaborated with Gordon on his classic 1962 Blue Note album "Go!")
The Sessions: Five Brilliant Tracks
The album opens with "Hanky Panky," a medium-paced blues march composed by Gordon himself. It features the two horns playing a bright, infectious theme in unison over a martial-style 4/4 beat before the groove loosens into a swinging backdrop for solos by Gordon, Hubbard, and Harris.
"I'm A Fool To Want You," a song associated with its co-writer Frank Sinatra, showcases Gordon's mastery of ballads. His slow, succulent rendition highlights his rich, sonorous tone, complemented by understated accompaniment from the rhythm section. Hubbard follows with a more animated solo that still respects the tune's somber mood before Gordon returns for a second, more intense passage of improvisation.
"Devilette," written by Nashville bassist Ben Tucker (who replaces Bob Cranshaw on this track), offers a swinging slice of classic hard bop distinguished by an addictive groove and inventive solos.
The title track "Clubhouse," another Gordon original, shows hints of bebop composer/pianist Tadd Dameron's influence. This elegant piece features unison horns riding over a fluid rhythm section with notable solos from the assured Gordon and the more extroverted Hubbard. Billy Higgins' kinetic drumming shines in a call-and-response coda section where he trades phrases with the band.
The album closes with "Jodi," a bittersweet nocturnal ballad penned by Gordon that allows the saxophonist to demonstrate his tender side through delicate, beautifully wrought playing.
The Lost Years and Rediscovery
Despite the strength of the "Clubhouse" recordings, Alfred Lion and Blue Note inexplicably shelved the album, preferring to release the "Gettin' Around" sessions instead. "Clubhouse" was forgotten, gathering dust in the label's vaults for 13 years before producer Michael Cuscuna finally brought it to release in 1979.
The album has since been recognized as an important part of Gordon's Blue Note catalog, further cementing his legacy as one of jazz's most compelling tenor saxophonists.
The Tone Poet Edition
Jazz aficionados have reason to celebrate with the new Tone Poet edition of "Clubhouse," supervised by noted producer Joe Harley. This eagerly-anticipated reissue has been meticulously mastered from Rudy Van Gelder's original analog master tapes by acclaimed engineer Kevin Gray at Cohearent Audio. Beyond its sublime sound quality, the album is elegantly presented in a gatefold sleeve featuring additional session photos by Blue Note's renowned photographer Francis Wolff.
Clubhouse Restored: The Lasting Brilliance of Dexter Gordon
"Clubhouse" represents an important chapter in Dexter Gordon's storied career. This lost session, finally available in its full glory, reminds us of Gordon's immense contributions to jazz. His commanding tone, masterful sense of time, and storytelling abilities continue to influence generations of saxophonists, while recordings like "Clubhouse" stand as testaments to his enduring artistic vision.
For both longtime fans and newcomers to Gordon's work, this Tone Poet reissue of "Clubhouse" offers an essential glimpse into the artistry of one of jazz's true giants during one of his most creatively fertile periods.
