With his ever-fresh and expansive musical outlook, Slide Hampton is the personification of the composer-arranger-instrumentalist in jazz. His composing and arranging prowess have long been sought by all manner of ensembles, from small groups to orchestras, student ensembles to professional bands. His superb trombone playing once elicited an ultimate seal of approval from the father of the modern jazz trombone and Hampton mentor, J.J. Johnson. From a backstage vantage point at a Kennedy Center performance, Johnson was overheard referring to a solo Slide performed as part of a tribute to Dizzy Gillespie as "one of the most articulate ever given on a trombone".

This 1963 date is titled for Dexter Gordon's living in self-imposed Parisian exile and recording there with two other expatriates and a French native. Along with Gordon, pianist Bud Powell and Kenny "Klook" Clarke were living in the City of Lights and were joined by the brilliant French bassist Pierre Michelot.

"Gettin' Around" is an album by American jazz saxophonist Dexter Gordon recorded in 1965 and released on the Blue Note label. The review in Billboard Magazine called Gordon's playing "cool and hot", especially praising his improvisations on "Heartaches". The support of the rhythm section was said to be "A-1 all the way".

With his big, warm, round-toned sound, sophisticated phrasing, and hip quotes, Dexter Gordon was one of the major forces on the tenor saxophone from the mid-1940’s until his death in1990. Gordon was cited by both Sonny Rollins and John Coltrane as a major influence on their playing. Dexter moved to Europe in the early 1960’s, settling in Copenhagen, Denmark. During this period, he usually played and recorded backed by a piano trio, so, with two horns joining him, this album is special. One of the great modern jazz trombonists, Slide Hampton is also a composer/arranger of note. Three of the compositions and all of the arrangements on the album are his.

"Clubhouse", recorded in 1965 on a visit home to the US while Dexter Gordon was living and working in Europe, went unreleased for 14 years. It's possible that Blue Note felt the market was saturated with Gordon product in the mid 1960s; the problem certainly wasn't the music itself or the players. Finally unveiled in 1979, this is now considered one of Gordon's best albums, a lost treasure. The musicians on the session include Freddie Hubbard on trumpet, Barry Harris on piano, Bob Cranshaw and Ben Tucker sharing bass duties and Billy Higgins on drums.

Miriam Klein is a Swiss jazz singer. Miriam Klein gained fame for the first time, when she appeared on the scene in Paris with Pierre Michelot, Don Byas and Art Simmons in the 1950s. After education at the music school in Vienna, she went back to Switzerland and has sung in the group of her husband Oscar Klein since 1963. In 1960s and 1970s, she gained international fame as a singer. In 1973, her famous album "Lady Like" was published. The album was dedicated to Billie Holiday. In the album, she performed with the musicians Roy Eldridge, Dexter Gordon and Slide Hampton.

Tenor saxophonist Dexter Gordon's 1961 Blue Note debut marks the first in a string of classic jazz albums that established Gordon's reputation as a leader. He is joined by a young Freddie Hubbard on trumpet along with the rhythm section of Horace Parlan on piano, George Tucker on bass and Al Harewood on drums. Includes "You've Changed", a staple of Gordon's live shows over the decades and "Society Red" which would reappear in the film "Round Midnight".

"Go" is the sensational masterpiece by Dexter Gordon. Gordon was one of music’s leading tenor saxophonists, joined here by virtuosos: Sonny Clark, Butch Warren and Billy Higgins. This record has been deemed one of Gordon’s finest Blue Note releases. The master of bebop tenor saxophone performs hits including “Cheese Cake”, a Latin-tinged version of Porter’s “Love for Sale”, a breathtaking reading of “Where Are You?” and “I Guess I’ll Hang My Tears Out to Dry”.

Recorded over the same four day period in 1961 as Dexter Gordon's Blue Note debut Doin' Allright, this session features a different lineup of musicians with Gordon the only horn player. The band, lavishly praised by critics, features pianist Kenny Drew, bassist Paul Chambers and drummer Philly Joe Jones. Like all his early '60s Blue Note recordings, this is Gordon at his absolute best.

Unlike many other American expatriates living in Europe, tenor saxophonist Dexter Gordon always managed to play and record with the top musicians while overseas. This excellent sextet session (with trombonist Slide Hampton, trumpeter Dizzy Reece, pianist Kenny Drew, bassist Niels Pedersen and drummer Art Taylor) finds him exploring three Slide Hampton compositions and a trio of standard ballads. The other soloists are fine but Gordon easily dominates the set, playing his brand of hard-driving bop.

"Daddy Plays the Horn" is a 1955 jazz album by saxophonist Dexter Gordon. The Billboard review stated that the album was "not too original, but it swings" and mentioned that Gordon played "some top-flight, Lester Young-inspired tenor here, with a more robust sound than that of the master or most of his other disciples".

"A Swingin' Affair" was recorded two days after Dexter Gordon's classic album "Go" in 1962 with the same quartet consisting of Sonny Clark on piano, Butch Warren on bass and Billy Higgins on drums. The songs include three originals and three standards, giving Gordon lots of room for his brand of melodic musical improvisation.

Dexter Gordon's 1964 album "One Flight Up" was recorded while the tenor saxophonist was living and working in Paris and consists of three lengthy pieces, two of which were contributed by Gordon's bandmates, trumpet player Donald Byrd and pianist Kenny Drew. The lineup is rounded out by Niels-Henning Orsted Pedersen on bass and drummer Art Taylor.

By the time he recorded GO! in 1962, Dexter Gordon had already lived several lifetimes in jazz. He was among the first to adapt the language of bebop to the tenor saxophone in the 1940s, but after a decade in which personal troubles limited his output, he signed with Blue Note in 1961 and began a run of essential albums that marked a rebirth for the tenor giant.

Recorded over the same four day period in 1961 as Dexter Gordon's Blue Note debut Doin' Allright, this session features a different lineup of musicians with Gordon the only horn player. The band, lavishly praised by critics, features pianist Kenny Drew, bassist Paul Chambers and drummer Philly Joe Jones. Like all his early '60s Blue Note recordings, this is Gordon at his absolute best.