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Dexter Gordon’s second recording for Blue Note is a solidly swinging affair, yet constantly full of surprises. It’s not unexpected that Gordon’s tenor at this time (1961) was one of the most enjoyable in mainstream jazz, but his transition from the cool California scene to the hotter music environs of New York City had energized his sound and attitude. A first-time pairing with bassist Paul Chambers has something to do with this, but it also inspires pianist Kenny Drew to a great extent, while drummer Philly Joe Jones is his reliable, energetic self, and always works well with Gordon. Where Gordon’s fluent melodic sense is perfectly demonstrated during the simple-as-pie groove waltz “Soul Sister,” the steady, steamy bopper “I Want More,” and the familiar Charlie Chaplin evergreen “Smile,” his sense of expanding the specific line upon soloing is truly remarkable. He constantly keeps the song form in mind, riffing on and on without violating the basic note structures, constantly reharmonizing, shuffling the chords like a card dealer and updating the song form. “The End of a Love Affair” takes this concept into an area where his deep, subtle voice is translated directly into the low-slung voicings of his horn.
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