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Our Man in Paris

4.5 étoiles sur 5 4 commentaires client

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Détails sur le produit

  • Album vinyle (25 février 2014)
  • Nombre de disques: 1
  • Label: Disconforme
  • ASIN : B00BWS4T92
  • Autres éditions : CD  |  Album vinyle  |  Téléchargement MP3
  • Moyenne des commentaires client : 4.5 étoiles sur 5 4 commentaires client
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Par frenchjazzfan MEMBRE DU CLUB DES TESTEURS le 12 avril 2006
Format: CD
Dexter Gordon accompagné du trio parisien de Bud Powell offre ici des versions enflammées de standards du Jazz, en particulier une fabuleuse version de " A Night In Tunisia". Du Jazz musclé et énergique mais non sans finesse.
Je connais ce disque depuis une bonne dizaine d' années (avant les systèmes anti-copie!) et il a toujours fait partie de mes favoris.
Indispensable à tous les amateurs de Hard-Bop.
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Format: CD
Il s'agit pour moi et de loin du meilleur disque de Dexter Gordon, ce géant du ténor au jeu si puissant et caractéristique. Tous les solos de cet album sont trempés dans de l'acier, à croire que sa vie parisienne le stimulait plus que d'habitude. Un must-have de Blue Note!
2 commentaires 5 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Format: CD Achat vérifié
C'est une musique de jazz au saxo avec un swing d'exception, un vrai régal, tonique !
A écouter le matin. Transaction sans problème.
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Format: CD Achat vérifié
Ce disque est tres agéable, mais pas essential. Il merite quand meme l'ecoute parce qu'on retrouve Buddy Powell au piano, certes pas dans ses miellieur jours mais quandmeme swinguant. Dexter joue un saxo plein et juteux.
Attention, toutefois, mon disque etait un disque Copy Control, evitez de se faire avoir!
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Amazon.com: 4.8 étoiles sur 5 38 commentaires
57 internautes sur 58 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Blue Note in Paris 7 août 2003
Par Michael Brad Richman - Publié sur Amazon.com
Format: CD
At first, Dexter Gordon's "Our Man in Paris" seems an unlikely choice for the RVG series, because Rudy Van Gelder didn't record it in the first place. Unlike most Blue Note albums which were recorded in Van Gelder's studios, first in Hackensack then Englewood Cliffs, New Jersey, this one was recorded in Paris (5/23/63) by Claude Ermelin, as Dexter Gordon two years earlier had traded in his New York address for France. Maybe Mr. Van Gelder thought that through remastering, he could fix the minor sound deficiencies that had plagued an otherwise perfect album. Well, the new issue does sound fantastic! This date, featuring fellow expatriates Bud Powell and Kenny Clarke, along with Pierre Michelot, was originally supposed to feature Kenny Drew on piano, and a program of all new material penned by Gordon. Powell was called in at the last minute, but he wanted to only record standards on such short notice. In classic jazz fashion, a potential disaster turned into one of the most magical performances in the Blue Note catalog. Welcome back from Paris Dex, and Rudy thanks for adding your two francs.
37 internautes sur 38 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A be-bop reunion 22 août 2003
Par G. Schramke - Publié sur Amazon.com
Format: CD
This session is a meeting between three of the most influential musicians of the forties (Dexter, Bud Powell and Kenny Clarke as "Americans in Paris"), completed by the great french bassist Pierre Michelot. At this really happy date the musicians decided to play tunes, that go back to the time, when those guys first gigged and recorded together, like Parker's "Scrapple from the Apple". But especially about Dexter's playing it can be said, that he had modified his style during the sixties, absorbing ideas from musicians, who originally had been influenced by him (listen to some very Coltrane-ish licks on "Night in Tunisia"). Actually, Dexter once stated, that he was thrilled by that kind of mutual exchange of ideas: First he had been a main source of influence for the early John Coltrane and later, especially during the time of this recordings (1963), Dexter further developed his style using some of Coltrane's ideas. Besides the above mentioned faster tunes, I expecially like "Willow Weep for Me" with it's nice intro and that kind of blues-feeling and of course the beautiful ballad "Stairway to the Stars". Bud Powell, almost at the end of his career, still plays very inspired. Expecially during those years in Paris, Bud was at his best on encounters with other great Americans, who visited Europe or temporarly lived there.
38 internautes sur 40 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Parisian Soul Music 2 juin 2006
Par Giuseppe C. - Publié sur Amazon.com
Format: CD Achat vérifié
I've given up trying to choose my favorite Dexter album, because it's always the one I happen to be playing. I thought I might be able to pass this one up--not close enough to the culmination of Dexter's resurgence, too late in Bud's career, too far from the Blue Note studios, too dependent on a French (or expatriate) rhythm section.

Strike all of the above. Dexter never played with "abandon," but this recording is probably as close as he comes to it. He's on fire for each of the tunes, complete and fresh phrases flowing from his horn in musical narratives containing more than the usual number of serendipitous quotes and allusions. At times it seems like no end is in sight, as the master storyteller is in Homeric, epic form. He handles the four-bar break on "Night in Tunisia" as impressively as Bird but with half the number of notes.

I wouldn't call the performances on this album superior to Dexter's "Love for Sale" (on "Go!"), "Tanya" or "King Neptune" (on "One Flight Up") or "Body and Soul" (on "The Panther"), but it's definitely in the same league and should be essential not just for fans of L.T. but for anyone who's serious about the art of improvisation.

Powell loses his place a couple of times (forgetting whether he's on the first, second or fourth chorus of a 32-bar song) but makes quick, virtually undetectable recoveries. Moreover, his fingering is precise, his melodic lines fluid and complex yet swinging. And the fact that the original recording was made by a French engineer insures that the piano, though somewhat distorted (see below), has a "realistic" or personal and natural quality distinguishing it from the usual Blue Note piano sound.

Count this one among Dexter's top 3-4 recordings, which is high praise indeed for a player as consistently brilliant as he. Dexter in Paris must be the next best thing to April in Paris. If there's a caveat, it's the quality of the audio. I was so hopeful that the "RVG Remastered Edition" would be an improvement over both the LP and preceding CD version, that I shelled out for the session for a third time. Disappointingly, Dexter's tenor still sounds compressed, compartmentalized, and even grating, and Bud's piano still carries that trace of distortion. In spite of these obstacles, the substance of this recording simply will not be denied.
13 internautes sur 13 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A Stellar Rhythm Section with Dexter at his best 23 août 1998
Par Un client - Publié sur Amazon.com
Format: CD
While Dexter Gordon originally planned to play a set of his own tunes for this gig, he changed to an all-standards line up to accomodate the rhythm section, which was unfamiliar with his tunes. The section featured Bud Powell (piano), Kenny Clarke (drums), and Pierre Michelot (bass). Between Gordon's simple yet complex improvisation that falls between Bop and Swing, Powell's melodic intensity, Clarke's clever accentuation, and Michelot's flawless harmonic support, this album both cooks and simmers with Stellar improvisation and interaction: Jazz at its Best.
10 internautes sur 10 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Cliche-free blowing 27 décembre 2000
Par Tyler Smith - Publié sur Amazon.com
Format: CD
Gordon is at his muscular, swinging best with this 1963 release. He takes on a set of well-known tunes, but infuses each with a fresh sound that leaves no doubt as to both his technical control and his ability to fashion eloquent improvisational statements.
"Our Man in Paris" also features Gordon playing with a superb supporting cast, including the mercurial Bud Powell on piano, the great Kenny Clarke on drums and the fine bassist Pierre Michelot. The four move seamlessly through such standards as "Willow Weep for Me," "Stairway to the Stars," and "Our Love Is Here to Stay." Gordon's blend of power and lyricism is best displayed on "Stairway to the Stars." On this lovely tune, you can hear Gordon warming to his theme, expanding on each idea, exploring the contours of the melody. In his ability to explore ballads, Dexter's playing rivaled that of Coltrane's.
The CD also includes a wonderful version of "Like Someone in Love," with Gordon laying out and Powell leading the remaining trio. Bud's opening statement of the theme is one of the loveliest solo intros I have heard on record. After Clarke and Michelot join him, he embarks on a stimulating romp through the tune's changes before exiting by recapitulating his solo statement. It's a great addition to the CD, and offers a completely satisfying end to the set.
I put Dexter on the short list of great modernists who transformed jazz during the '60s. "Our Man in Paris" reveals his original sound and his mastery of the standard repertoire of jazz. Recommended for anyone interested in adding to his collection or in exploring the foundations of modern jazz.
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