Dexter Gordon
American jazz saxophonist (1923–1990)
From Wikipedia, the free encyclopedia
Dexter Gordon (February 27, 1923 – April 25, 1990) was an American jazz tenor saxophonist, composer, and bandleader. He was among the most influential early bebop musicians. Gordon's height was 6 feet 6 inches (198 cm), so he was also known as "Long Tall Dexter" and "Sophisticated Giant". His studio and performance career spanned more than 40 years.
February 27, 1923
Dexter Gordon | |
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 Gordon in concert in Toronto on August 19, 1978 | |
| Background information | |
| Also known as | Long Tall Dexter |
| Born | Dexter Keith Gordon February 27, 1923 Los Angeles, California, U.S. |
| Died | April 25, 1990 (aged 67) Philadelphia, Pennsylvania, U.S. |
| Genres | |
| Occupations |
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| Instruments |
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| Years active | 1940–1986 |
| Labels | |
| Website | dextergordon |
Gordon's sound was commonly characterized as being "large" and spacious and he had a tendency to play behind the beat. He inserted musical quotes into his solos, with sources as diverse as "Happy Birthday" and well-known melodies from the operas of Wagner. Quoting from various musical sources is not unusual in jazz improvisation, but Gordon did it frequently enough to make it a hallmark of his style. One of his major influences was Lester Young.[1] Gordon, in turn, was an early influence on John Coltrane and Sonny Rollins.[2] Rollins and Coltrane then influenced Gordon's playing as he explored hard bop and modal playing during the 1960s.
Gordon had a genial and humorous stage presence. He was an advocate of playing to communicate with the audience,[3] which was his musical approach as well. One of his idiosyncratic rituals was to recite lyrics from each ballad before playing it. In an interview pianist Dave Bass recalled, "Dexter would get up to the microphone, holding his horn horizontally, and he'd say 'You must remember this, a kiss is still a kiss, a sigh is just a sigh.' It was a little bit of a shtick, but it was how he approached a song, and I remember that."[4]
A photograph by Herman Leonard of Gordon taking a smoke break at the Royal Roost in 1948 is one of the iconic images in jazz photography.[5] Cigarettes were a recurring theme on covers of Gordon's albums.
Gordon was nominated for an Academy Award for Best Actor in a Leading Role for his performance in the Bertrand Tavernier film Round Midnight (Warner Bros, 1986), and he won a Grammy for Best Jazz Instrumental Performance, Soloist, for the soundtrack album The Other Side of Round Midnight (Blue Note Records, 1986). He also had a cameo role in the 1990 film Awakenings. In 2018, Gordon's album Go (Blue Note, 1962) was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant".[6]
Early life and education
Dexter Keith Gordon was born on February 27, 1923, in Los Angeles, California.[7] His father, Frank Gordon, one of the first African-American medical doctors in Los Angeles, arrived in 1918 after graduating from Howard University Medical School in Washington, D.C. Among his patients were Duke Ellington and Lionel Hampton. Dexter's mother, Gwendolyn Baker, was the daughter of Captain Edward Lee Baker, Jr. one of the five African-American Medal of Honor recipients in the Spanish–American War.[8]
Gordon began his study of music with the clarinet at the age of 13, then switched to the alto saxophone at 15, and finally to the tenor saxophone at 17.[8][7] He studied with multi-instrumentalist Lloyd Reese while attending Thomas Jefferson High School, and studied with the school’s band director, Sam Browne.[9] While still at school, he played in bands with such contemporaries as Chico Hamilton and Buddy Collette.[10]
In 1942, Gordon was drafted into the U.S. Army following America's entry in the Second World War. He was assigned to the Signal Corps for two years and was stationed in North Africa, where he served as a radio operator and played trumpet in a military band.[11] Between December 1940 and 1943, Gordon was a member of Lionel Hampton's band,[7] playing in a saxophone section alongside Illinois Jacquet and Marshal Royal. During 1944, Gordon was featured in the Fletcher Henderson band, followed by the Louis Armstrong band, before joining Billy Eckstine.[7] The 1942–44 musicians' strike curtailed the recording of the Hampton, Henderson, and Armstrong bands; however, they were recorded on V-Discs produced by the Army for broadcast and distribution among overseas troops. In 1943, he was featured, alongside Harry "Sweets" Edison, in recordings under Nat Cole for a small label not affected by the strike.
Career
Bebop era recordings
By late 1944, Gordon was resident in New York, a regular at bebop jam sessions, and a featured soloist in the Billy Eckstine big band ("If That's The Way You Feel", "I Want To Talk About You", "Blowin' the Blues Away", "Opus X", "I'll Wait and Pray", "The Real Thing Happened To Me", "Lonesome Lover Blues", "I Love the Rhythm in a Riff"). During early 1945, he was featured on recordings by Dizzy Gillespie ("Blue 'n' Boogie", "Groovin' High") and Charles Thompson ("Takin' Off", "If I Had You", "20th Century Blues", "The Street Beat"). In late 1945, Gordon was recording under his own name for the Savoy label. His Savoy recordings during 1945–46 included Blow Mr. Dexter, Dexter's Deck, Dexter's Minor Mad, Long Tall Dexter, Dexter Rides Again, I Can't Escape From You,and Dexter Digs In.
He returned to Los Angeles in late 1946 and in 1947 was leading sessions for Ross Russell's Dial label (Mischievous Lady, Lullaby in Rhythm, The Chase, Iridescence, It's the Talk of the Town, Bikini, A Ghost of a Chance, Sweet and Lovely). After his return to Los Angeles, he became known for his saxophone duels with fellow tenorman Wardell Gray, which were a popular concert attraction documented in recordings made between 1947 and 1952 (The Hunt, Move, The Chase, The Steeplechase).[7] The Hunt gained literary fame from its mention in Jack Kerouac's On The Road, which also contains descriptions of wild tenormen jamming in Los Angeles. Cherokee, Byas a Drink, and Disorder at the Border are other live recordings of the Gray/Gordon duo from the same concert (all issued on the album The Hunt in 1977). In December 1947, Gordon recorded again with the Savoy label (Settin' the Pace, So Easy, Dexter's Riff, Dextrose, Dexter's Mood, Index, Dextivity, Wee Dot, Lion Roars). Through the mid-to-late 1940s, he continued to work as a sideman on sessions led by Russell Jacquet, Benny Carter, Ben Webster, Ralph Burns, Jimmy Rushing, Helen Humes, Gerry Mulligan, Wynonie Harris, Leo Parker, and Tadd Dameron.
The 1950s
During the 1950s, Gordon's recorded output and live appearances declined as heroin addiction and legal troubles took their toll.[7] Gordon made a concert appearance with Wardell Gray in February 1952 (The Chase, The Steeplechase, Take the A Train, Robbins Nest, Stardust) and appeared as a sideman in a session led by Gray in June 1952 (The Rubiyat, Jungle Jungle Jump, Citizen's Bop, My Kinda Love). After an incarceration at Chino Prison from 1953 to 1955, he recorded the albums Daddy Plays the Horn and Dexter Blows Hot and Cool in 1955 and played as a sideman on the Stan Levey album, This Time the Drum's on Me. The latter part of the decade saw him in and out of prison until his final release from Folsom Prison in 1959. He was one of the initial sax players for the Onzy Matthews big band in 1959, along with Curtis Amy. Gordon continued to champion Matthews' band after he left Los Angeles for New York, but left for Europe before getting a chance to record with that band. He recorded The Resurgence of Dexter Gordon in 1960. His recordings from the mid-1950s onward document a meander into a smooth West Coast style that lacked the impact of his bebop era recordings or his subsequent Blue Note recordings.
The decade saw Gordon's first entry into the world of drama. He appeared as a member (uncredited) of Art Hazzard's band in the film Young Man with a Horn (1950). He appeared in an uncredited and overdubbed role as a member of a prison band in the movie Unchained, filmed inside Chino. Gordon was a saxophonist performing Freddie Redd's music for the Los Angeles production of Jack Gelber's play The Connection in 1960, replacing Jackie McLean. He contributed two compositions, Ernie's Tune and I Want More to the score and later recorded them for his album Dexter Calling....
New York renaissance
Gordon signed to Blue Note in 1961. He initially commuted from Los Angeles to New York to record, but took up residence when he regained the cabaret card that allowed him to perform where alcohol was served. The Jazz Gallery hosted his first New York performance in twelve years. The Blue Note association was to produce a steady flow of albums for several years, some of which gained iconic status. His New York renaissance was marked by Doin' Allright, Dexter Calling..., Go!, and A Swingin' Affair. The first two were recorded over three days in May 1961 with Freddie Hubbard, Horace Parlan, Kenny Drew, Paul Chambers, George Tucker, Al Harewood, and Philly Joe Jones. The last two were recorded in August 1962, with a rhythm section that featured Blue Note regulars Sonny Clark, Butch Warren and Billy Higgins. Of the two Go! was an expressed favorite.[8] The albums showed his assimilation of the hard bop and modal styles that had developed during his years on the west coast, and the influence of John Coltrane and Sonny Rollins, whom he had influenced before. The stay in New York turned out to be shortlived, as Gordon got offers for engagements in England, then Europe, that resulted in a fourteen-year stay.[7] Soon after recording A Swingin' Affair, he left the United States.
Years in Europe
Over the next 14 years in Europe, living mainly in Paris and Copenhagen, Gordon played regularly with fellow expatriates or visiting players, such as Bud Powell, Ben Webster, Freddie Hubbard, Bobby Hutcherson, Kenny Drew, Horace Parlan and Billy Higgins. Blue Note's Francis Wolff supervised Gordon's later sessions for the label on his visits to Europe. The pairing of Gordon with Drew turned out to be one of the classic matchups between a horn player and a pianist, much like Miles Davis with Red Garland or John Coltrane with McCoy Tyner.
From this period came Our Man in Paris, One Flight Up, Gettin' Around, and Clubhouse. Our Man in Paris was a Blue Note session recorded in Paris in 1963 with backup consisting of pianist Powell, drummer Kenny Clarke, and French bassist Pierre Michelot. One Flight Up, recorded in Paris in 1964 with trumpeter Donald Byrd, pianist Kenny Drew, drummer Art Taylor, and Danish bassist Niels-Henning Ørsted Pedersen, features an extended solo by Gordon on the track "Tanya".
Gordon also visited the US occasionally for further recording dates. Gettin' Around was recorded for Blue Note during a visit in May 1965, as was the album Clubhouse which remained unreleased until 1979.
Gordon found Europe in the 1960s a much easier place to live, saying that he experienced less racism and greater respect for jazz musicians. He also stated that on his visits to the US in the late 1960s and early 1970s, he found the political and social strife disturbing.[12] While in Copenhagen, Gordon and Drew's trio appeared onscreen[13] in Ole Ege's theatrically released hardcore pornographic film Pornografi – en musical (1971), for which they composed and performed the score.[14]
He switched from Blue Note to Prestige Records (1965–73). For the label, he recorded bop albums like The Tower of Power! and More Power! (1969) with James Moody, Barry Harris, Buster Williams, and Albert "Tootie" Heath; The Panther! (1970) with Tommy Flanagan, Larry Ridley, and Alan Dawson; The Jumpin' Blues (1970) with Wynton Kelly, Sam Jones, and Roy Brooks; The Chase! (1970) with Gene Ammons, Jodie Christian, John Young, Cleveland Eaton, Rufus Reid, Wilbur Campbell, Steve McCall, and Vi Redd; and Tangerine (1972) with Thad Jones, Freddie Hubbard, and Hank Jones. Some of the Prestige albums were recorded during visits back to North America while he was still living in Europe; others were made in Europe, including live sets from the Montreux Jazz Festival.
In addition to the recordings Gordon did under his American label contracts, live recordings by European labels and live video from his European period have been released. In 1975, Dexter Gordon signed an exclusive recording contract with Danish label SteepleChase, for which he recorded some of his most inspired sessions including The Apartment (1974), More Than You Know (1975), Stable Mable, Swiss Nights Vol. 1, 2 and 3, Something Different, Lullaby for a Monster, and not least Biting the Apple (1976), recorded during his homecoming trip to New York, featuring Barry Harris, Sam Jones and Al Foster. The album received the Grand Prix De Jazz in Montreux, Switzerland, in 1977. SteepleChase released live dates from his mid-1960s tenure at the Jazzhus Montmartre in Copenhagen. The video was released in the Jazz Icons series.
Homecoming
Gordon returned to the United States for good in 1976.[15] He appeared with Woody Shaw, Ronnie Mathews, Stafford James, and Louis Hayes, for a gig at the Village Vanguard in New York that was dubbed his "homecoming." It was recorded and released by Columbia Records under that title. He observed: "There was so much love and elation; sometimes it was a little eerie at the Vanguard. After the last set they'd turn on the lights and nobody would move."[16] In addition to the Homecoming album, a series of live albums was released by Blue Note from his stands at Keystone Korner in San Francisco during 1978 and 1979. They featured Gordon, George Cables, Rufus Reid, and Eddie Gladden. He recorded the studio albums Sophisticated Giant with an eleven-piece big band in 1977 and Manhattan Symphonie with the Live at Keystone Corner crew in 1978. The sensation of Gordon's return, and the continued efforts of Art Blakey through 1970s and early 1980s, have been credited with reviving interest in swinging, melodic, acoustically-based classic jazz sounds after the Fusion jazz era that saw an emphasis on electronic sounds and contemporary pop influences.
Musician Emeritus
In 1978 and 1980, Gordon was the DownBeat Musician of the Year, and in 1980 he was inducted into the Jazz Hall of Fame. The US Government honored him with a Congressional Commendation, a Dexter Gordon Day in Washington DC, and in 1986 the National Endowment for the Arts named him a NEA Jazz Master in recognition of his Lifetime Achievement.[17] In 1986, he was named a member and officer of the French Order of Arts and Letters (Officier des Arts et Lettres) by the Ministry of Culture in France.[18]
During the 1980s, Gordon, a life-long smoker, was weakened by emphysema. He remained a popular attraction at concerts and festivals, although his live appearances and recording dates would soon become infrequent.[citation needed]
Gordon starred in the 1986 movie Round Midnight as "Dale Turner", an expatriate jazz musician in Paris during the late 1950s based loosely on Lester Young and Bud Powell.[7] That portrayal earned him a nomination for an Academy Award for Best Actor.[7] In addition, he had a non-speaking role as a piano-playing hospital inmate in the 1990 film Awakenings, which was posthumously released. Before that last film was released, he made a guest appearance on the Michael Mann series Crime Story.
Soundtrack performances from Round Midnight were released as the albums Round Midnight and The Other Side of Round Midnight, featuring original music by Herbie Hancock as well as playing by Gordon. The latter was the last recording released under Gordon's name. He was a sideman on Tony Bennett's 1987 album, Berlin.
Death
Gordon died of kidney failure and smoking-related cancer of the larynx in Philadelphia, on April 25, 1990, at the age of 67.[1][19][20]
Family
Gordon's maternal grandfather was Captain Edward L. Baker Jr., who received the Medal of Honor during the Spanish–American War, while serving with the 10th Cavalry Regiment (also known as the Buffalo Soldiers).[citation needed]
Gordon's father, Dr. Frank Gordon, M.D., was one of the first prominent African-American physicians and a graduate of Howard University.[citation needed]
Gordon's uncle, Clifford Myota Gordon, was a charter member of the Alpha Delta chapter of Alpha Phi Alpha fraternity, seated at the University of Southern California.[21][22]
When he lived in Denmark, Gordon became friends with the family of future Metallica drummer Lars Ulrich and subsequently became Lars's godfather.[23]
Gordon was married three times and had six children: Robin, James, Deirdre, Mikael, Morten and Benjamin.[24]
Instruments and mouthpieces
The earliest photographs of Gordon as a player show him with a Conn 30M "Connqueror" and an Otto Link mouthpiece. Later he adopted the standard Conn tenor, the 10M. In a 1962 interview with the British journalist Les Tomkins, he did not refer to the specific model of mouthpiece but stated that it was made for him personally. He stated that it was stolen around 1952.[3] In the Tomkins interview he referred to his mouthpiece as a small-chambered piece with a 5* (.085" under the Otto Link system) tip opening. He bought a Selmer Mark VI from Ben Webster after he lost his 10M during the trip to Paris. In a DownBeat magazine interview from 1977, he referred to his current mouthpiece as an Otto Link model with a #8 (.110" under the Otto Link system) tip opening.[12]
Discography
As leader
| Year | Title | Label | Notes |
|---|---|---|---|
| 1950 | Dexter Gordon | Dial 204 | 10" |
| 1951 | New Sounds in Modern Music (Volume 1) | Savoy MG 9003 | 10" |
| 1952 | New Trends of Jazz (Volume 3) | Savoy MG 9016 | 10" |
| 1952 | Gene Norman Presents... The Chase and The Steeplechase | Decca DL 7025 | 10" |
| 1958 [1945–47] | Dexter Rides Again | Savoy 12130 | |
| 1969 [1947] | The Dial Sessions | Polydor 582 735; Storyville SLP 814 | reissued as The Chase! The Complete Dial Sessions 1947 (Stash 2513, 1995) |
| 1976 [1947] | The Chase (The Dial Masters) | Spotlite 130 | with Wardell Gray and Teddy Edwards |
| 1976 [1945–47] | Long Tall Dexter: The Savoy Sessions | Savoy 2211 | 2-LP |
| 1977 [1947] | The Hunt | Savoy 2222 | 2-LP; with Wardell Gray |
| 1980 [1945–48] | Move! (The Dial Masters) | Spotlite 133 | |
| 1994 | Dexter's Mood | Cool & Blue 114 | compilation of Dial and Savoy masters |
| 1998 [1945–47]) | Settin' the Pace | Savoy 17027 | |
| 2001 [1943–50] | Settin' the Pace | Proper BOX16 | 4-CD |
| 2004 | Bopland: The Legendary Elks Club Concert L.A. 1947 | Savoy 17441 | 3-CD; with Wardell Gray, Sonny Criss, Howard McGhee, Trummy Young |
| 1956 [1955] | Daddy Plays the Horn | Bethlehem | |
| 1956 [1955] | Dexter Blows Hot and Cool | Dootone | |
| 1960 | The Resurgence of Dexter Gordon | Jazzland | |
| 1961 | Doin' Allright | Blue Note | |
| 1961 | Dexter Calling... | Blue Note | |
| 1980 [1961–62] | Landslide | Blue Note | |
| 1962 | Go | Blue Note | |
| 1962 | A Swingin' Affair | Blue Note | |
| 2022 [1962–63] | Soul Sister | SteepleChase | |
| 1978 [1962–64] | Cry Me a River | SteepleChase | |
| 1963 | Our Man in Paris | Blue Note | with Bud Powell, Pierre Michelot and Kenny Clarke |
| 1964 | One Flight Up | Blue Note | |
| 1979 [1964] | Cheese Cake | SteepleChase | |
| 1979 [1964] | King Neptune | SteepleChase | |
| 1980 [1964] | I Want More | SteepleChase | |
| 1982 [1964] | Love for Sale | SteepleChase | |
| 1983 [1964] | It's You or No One | SteepleChase | |
| 1983 [1964] | Billie's Bounce | SteepleChase | |
| 1965 | Gettin' Around | Blue Note | |
| 1979 [1965] | Clubhouse | Blue Note | |
| 2003 [1965] | Wee Dot | SteepleChase | |
| 2004 [1965] | Loose Walk | SteepleChase | |
| 2004 [1965] | Misty | SteepleChase | |
| 2004 [1965] | Heartaches | SteepleChase | |
| 2005 [1965] | Ladybird | SteepleChase | |
| 2005 [1966] | Stella by Starlight | SteepleChase | |
| 2001 [1967] | The Squirrel | Blue Note | |
| 2012 [1967] | Satin Doll | SteepleChase | |
| 1988 [1967] | Both Sides of Midnight | Black Lion | |
| 1988 [1967] | Body and Soul | Black Lion | |
| 1989 [1967] | Take The "A" Train | Black Lion | |
| 1986, [1969] | After Hours | SteepleChase | |
| 1986, [1969] | After Midnight | SteepleChase | |
| 1971 [1969] | Live at the Amsterdam Paradiso | Catfish | |
| 1969 | A Day in Copenhagen | MPS | with Slide Hampton |
| 1969 | The Tower of Power! | Prestige | with James Moody |
| 1969 | More Power! | Prestige | |
| 2001 [1969] | L.T.D. Live At The Left Bank | Prestige | |
| 2002 [1969] | XXL Live At The Left Bank | Prestige | |
| 1970 | Some Other Spring | Sonet | with Karin Krog |
| 1970 | Dexter Gordon with Junior Mance at Montreux | Prestige | with Junior Mance |
| 1970 | The Panther! | Prestige | with Tommy Flanagan and Alan Dawson |
| 2003 [1970] | Live at the Both/And Club, San Francisco | BPM | with George Duke, Donald Garrett and Oliver Johnson |
| 1970 | The Chase! | Prestige | with Gene Ammons |
| 1970 | The Jumpin' Blues | Prestige | with Wynton Kelly |
| 1995 [1967–71] | Those Were The Days | Moon | |
| 1971 | The Shadow Of Your Smile | SteepleChase | |
| 1975 [1972] | Tangerine | Prestige | |
| 1972 | Ca'Purange | Prestige | with Thad Jones, Hank Jones, Stanley Clarke and Louis Hayes |
| 1972 | Generation | Prestige | with Freddie Hubbard, Cedar Walton and others |
| 1973 | Afterhours/The Great Pescara Jam Sessions Vol 1&2 | Ports Song | with Eric Ineke |
| 1973 | Blues à la Suisse | Prestige | |
| 1974 | The Montmartre Collection Vol.I - Blues Walk! | Black Lion | |
| 1974 | The Montmartre Collection Vol.II - Blues Walk! | Black Lion | |
| 2014 [1974] | Candlelight Lady | SteepleChase | |
| 1974 | The Apartment | SteepleChase | |
| 2002 [1974] | The Rainbow People | SteepleChase | with Benny Bailey |
| 1991 [1974] | Round Midnight | SteepleChase | with Benny Bailey |
| 1995 [1974] | Revelation | SteepleChase | with Benny Bailey |
| 1975 | More Than You Know | SteepleChase | with Orchestra arranged and conducted by Palle Mikkelborg |
| 1975 | Stable Mable | SteepleChase | |
| 1975 | Something Different | SteepleChase | |
| 1975 | Bouncin' with Dex | SteepleChase | |
| 1976 [1975] | Swiss Nights Vol. 1 | SteepleChase | |
| 1978 [1975] | Swiss Nights Vol. 2 | SteepleChase | |
| 1979 [1975] | Swiss Nights Vol. 3 | SteepleChase | |
| 1981 [1976] | Lullaby for a Monster | SteepleChase | |
| 1976 | True Blue | Xanadu | with Al Cohn |
| 1976 | Silver Blue | Xanadu | with Al Cohn |
| 1976 | Biting the Apple | SteepleChase | |
| 1976 | Homecoming: Live at the Village Vanguard | Columbia | with Woody Shaw, Ronnie Mathews, Stafford James and Louis Hayes |
| 1977 | Jazz Classics | Aurophon | with Lionel Hampton, Bucky Pizzarelli, Hank Jones, George Duvivier, Candido Camero and Oliver Jackson |
| 1977 | Sophisticated Giant | Columbia | with 11-piece big-band including Woody Shaw, Slide Hampton, Bobby Hutcherson and Benny Bailey |
| 1978 | Manhattan Symphonie | Columbia | with Rufus Reid, Eddie Gladden and George Cables |
| 2020 [1978] | Live in Chateauvallon | Elemental | |
| 1998 [1978] | Live at Carnegie Hall | Columbia | with Johnny Griffin |
| 1979 | North Sea Jazz Legendary Concerts | North Sea Jazz | |
| 1979 | Great Encounters | Columbia | |
| 1985 [1978-79] | Nights at the Keystone, Volumes 1-3 | Blue Note | |
| 1981 | Gotham City | Columbia | with Woody Shaw, Cedar Walton, George Benson, Percy Heath and Art Blakey |
| 2025 [1981] | More Than You Know 1981 | GleAM | |
| 1982 | American Classic | Elektra/Musician | with Grover Washington Jr. and Shirley Scott |
| 1986 | The Other Side of Round Midnight | Blue Note |
Singles/EPs
| Year | Title | Label | Notes |
|---|---|---|---|
| 1947 | "The Chase" (Part 1 & 2)" | Dial 1017 | 78rpm disc; with Wardell Gray |
| 1948 | "The Duel (Part 1 & 2)" | Dial 1028 | 78rpm disc; with Teddy Edwards |
| 1953 | New Sounds in Modern Music (Vol. 2) | Savoy XP 8080 | 7" EP |
| 1953 | New Trends of Jazz (Vol. 4) | Savoy XP 8023 | 7" EP |
As sideman
With Gene Ammons
- The Chase! (Prestige, 1970)
- Gene Ammons and Friends at Montreux (Prestige, 1973)
With Louis Armstrong
- Dexter Gordon, Vol. 1: Young Dex 1941-1944 (Masters Of Jazz MJCD 112)
- Louis Armstrong and His Orchestra 1944-1945 (Blue Ace BA 3603)
- Louis Armstrong and His Orchestra (AFRS One Night Stand 240) (V-Disc, 1944)
- Louis Armstrong and His Orchestra (AFRS One Night Stand 253) (V-Disc, 1944)
- Louis Armstrong and His Orchestra (AFRS One Night Stand 267) (V-Disc, 1944)
- Louis Armstrong New Orleans Masters, Vol. 2 (Swing House [UK] SWH 44)
- Louis Armstrong and His Orchestra (AFRS Spotlight Bands 382) (V-Disc, 1944)
- Louis Armstrong – Chronological Study (MCA Decca 3063 72)
- Louis Armstrong and His Orchestra (AFRS Spotlight Bands 444) (V-Disc, 1944)
- Louis Armstrong and His Orchestra (AFRS Spotlight Bands 465) (V-Disc, 1944)
- Various Artists, Louis, Pops and Tram (IAJRC 21) (V-Disc, 1944)
- Louis Armstrong Armed Forces Radio Service 1943/44 (Duke [Italy] D 1021)
With Benny Carter
- The Fabulous Benny Carter (1946, Audio Lab AL 1505)
- Benny Carter And His Orchestra (AFRS Jubilee 246) (V-Disc, 1947)
- Various Artists, Jazz Off The Air, Vol. 3 (Spotlite (E) SPJ 147) (off V-Disc 1947)
With Billy Eckstine
- The Chronological Billy Eckstine and His Orchestra, 1944-1945 (Classic [France], 1997)
- The Legendary Big Band (Savoy SVY 17125) 2-CD
With Dizzy Gillespie
- Dexter Gordon, Vol. 2: Young Dex 1944-1946 (Masters Of Jazz MJCD 128)
- Dizzy Gillespie – Groovin' High (Savoy MG 12020, 1992; Savoy SV 152, 2010)
With Lionel Hampton
- Dexter Gordon, Vol. 1: Young Dex 1941-1944 (Masters Of Jazz MJCD 112)
- Lionel Hampton, Vol. 1: 1941-1942 (MCA Coral [Germany] COPS 7185, 1974)
- Steppin' Out, Vol. 1 (1942-1945) (Decca 'Jazz Heritage Series' DL 79244, 1969)
With Herbie Hancock
- Takin' Off (Blue Note, 1962)
- Round Midnight (Columbia, 1986)
With Fletcher Henderson
- Fletcher Henderson And His Orchestra (AFRS Jubilee 76), (V-Disc, 1944)
- Fletcher Henderson And His Orchestra (AFRS Jubilee 77), (V-Disc, 1944)
With Helen Humes
- Various Artists, Black California (Savoy SJL 2215)
- Be-Baba-Leba 1942-52 (Whiskey, Women And... [Gene Norman "Just Jazz" concert, February 2, 1952], KM 701)
- New Million Dollar Secret (Whiskey, Women And... [Gene Norman "Just Jazz" concert, February 2, 1952], KM 707)
With Jackie McLean
- The Meeting (SteepleChase, 1974)
- The Source (SteepleChase, 1974)
With Gerry Mulligan
- Capitol Jazz Classics, Vol. 4: Walking Shoes (Capitol M 11029)
- Classic Capitol Jazz Sessions (Mosaic MQ19-170)
With Leo Parker
- The Be Bop Boys (Savoy SJL 2225)
- Birth Of Bop, Vol. 1 (Savoy XP 8060)
With Pony Poindexter
- Pony's Express (Epic, 1962)
- Stella By Starlight (co-leader) (SteepleChase 1966)
With Jimmy Rushing
- Jimmy Rushing/Don Redman/Russell Jacquet/Joe Thomas – Big Little Bands (1946, Onyx ORI 220)
- Various Artists, Black California, Vol. 2 (1946, Savoy SJL 2242)
With others
- Rob Agerbeek, All Souls (Dexterity, 1972, with Eric Ineke and others)
- Tony Bennett, Berlin (Columbia, 1987)
- Ralph Burns, Various Artists – OKeh Jazz (Epic EG 37315)
- Nat King Cole, Nat King Cole Meets The Master Saxes 1943 (Phoenix Jazz LP 5)
- Tadd Dameron, Tadd Dameron/Babs Gonzales/Dizzy Gillespie – Capitol Jazz Classics, Vol. 13: Strictly Bebop (Capitol M 11059)
- Booker Ervin, Setting the Pace (Prestige, 1965)
- Lowell Fulson, Lowell Fulson (Swing Time 320)
- Wardell Gray, Wardell Gray Memorial, Volume 2 (Prestige, 1955) – includes the 1950 Wardell Gray/Dexter Gordon duet "Move"
- Wynonie Harris, '"Love Is Like Rain" / "Your Money Don't Mean A Thing (Come Live With Me Baby)" (King 4217)
- Philly Joe Jones, Philly Mignon (Galaxy, 1977)
- Stan Levey, This Time The Drum's On Me (Bethlehem BCP 37)
- Charlie Parker, Every Bit Of It 1945 (Spotlite (E) SPJ 150D)
- Les Thompson, Gene Norman Presents Just Jazz (RCA Victor LPM 3102)
- Ben Webster, Ben Webster Nonet (1945, Jazz Archives JA 35)
