Dexter Gordon - One Flight Up


Blue Note (Tone Poet)



Product No.:
ABLU 87101
EAN: 602435148076
In Stock

180 Gram Vinyl Record

180 Gram LP

or Add to Wishlist

180-gram double LP

Mastered by Kevin Gray at Cohearent Audio from the original master tape

Plated and pressed at RTI

The Blue Note Tone Poet Series was born out of Blue Note President Don Was' admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the "Tone Poet," on board to curate and supervise a series of reissues from the Blue Note family of labels.

Dexter Gordon had been living in Europe for several years when he recorded One Flight Up, one of his acknowledged masterpiece albums, in Paris in June of 1964. It's all here: Dexter's magnificently huge sound, Donald Byrd in peak form on trumpet, the subtle sophistication of pianist Kenny Drew, the utter brilliance of the then-teenaged bass phenom Niels-Henning Orsted Pederson, and the rock-steady swing of drummer Art Taylor. The opening track "Tanya" takes up the entire first side of this album at 18+ minutes, and it is a performance for the ages.

Blue Note Records' Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tape 180-gram audiophile vinyl reissues in deluxe gatefold packaging. Mastering is by Kevin Gray (Cohearent Audio), and vinyl is manufactured at Record Technology Incorporated (RTI).

Side A
1. Tanya

Side B
1. Coppin' The Haven
2. Darn That Dream

Customer Reviews (5.00 Stars) 2 person(s) rated this product.

Almost perfect. Wow.

posted on 05/20/2021
5 Stars
Reviewer: Brian VanPelt
I'll try to contain the hyperbole. On the entire album, I heard 2 light clicks - other than that, dead black silence. The instruments were as lifelike as anything I've ever heard. The detail and resolution were astonishing. You could hear even the lightest cymbal tap. The sax's and horns are shocking when they first come on. No tape distortion at all.

Generally speaking, there was a sax and bass on the left, and on the right you had the piano, drums and either a sax or a horn. Each instrument was clearly defined in its space. There really wasn't any center fill at all. The last tune featured a freaky gimmick wherein the horn on the right side went from ground level to the rafters, and then back down again. When he's up in the rafters, you definitely need to be in the sweet spot to enjoy.

I want to make special note to the drums. The way this guy pounds on the drums could be visceral and jarring if need be - nowhere have I heard a drum so potent. This record is cut hot. 5+

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