Notes and tones: "Round Midnight" projects Dexter Gordon's greatness on the big screen

I recently came across a Dexter Gordon title of unreleased material at the time of its issuance, 2018. The recording, captured in Europe and titled “Espace Cardin 1977” (Elemental), was comprised of live material, with Gordon’s quartet at the time: pianist Al Haig, bassist Pierre Michelot and drummer Kenny Clarke.

The 68-minute, six-selection disc features a trio of Gordon originals: “Sticky Wicket,” “A La Modal” and  “Antabus”; with Thelonious Monk’s “‘Round Midnight,” Sonny Rollins’ “Oleo” and the stalwart Heyman-Green “Body And Soul” rounding out the preserved repertoire. I have always loved Gordon’s sound — his deep, rich, thick, full-bodied sonic tone and the presentation that comes with it. I am certainly not alone.

Writing a blurb for the disc, Michael Cuscuna, as knowledgeable a jazz person as I know when it comes to the likes of Gordon and so many others, said, “What makes this concert so unique is that it is the only recording of Dexter [Gordon] playing with Al Haig.”

As coincidence would have it, recently I wandered into Hitt Records, Columbia’s foremost vinyl outlet. When I entered, co-owner Kyle Cook mentioned he had just seen a really good “jazz movie” for the first time, even though it was released in the mid-1980s. He then mentioned the film centered on a saxophonist. Cook was quite surprised that, given his interest in music-oriented films, the title somehow slipped by him.

Within a sentence of him describing what he viewed, it was apparent Cook was referencing the Bertrand Tavernier-directed, award-winning “Round Midnight,” starring, along with other well-known jazz musicians, saxophonist Gordon, who portrays a fictional but quite realistic composite of fellow saxophonist Lester Young and pianist Bud Powell.

Set in the 1950s, and filmed in Paris and New York, the plot centers on Gordon’s character, Dale Turner, a god-like figure, revered as the greatest living jazz saxophonist of his time, who, in the movie, is an American expatriate living in Paris.

Tavernier, who chose Gordon for the role, wanted actual jazz musicians to serve in supporting roles, also portraying musicians. The other characters provide moviegoers with a who’s who of real-life talent, even though their names have been changed.

Among those seen either talking, playing, or both are Herbie Hancock, who won an Academy Award for the film’s soundtrack; Bobby Hutcherson, Billy Higgins, John McLaughlin, bassist Michelot — who, as mentioned, is in Gordon’s quartet on “Espace Cardin” — Wayne Shorter, Ron Carter, Palle Mikkelborg, Tony Williams, Freddie Hubbard and Cedar Walton.

While some, such as vibraphonist Hutcherson’s character “Ace,” have speaking parts throughout the film, others are primarily seen and heard in recording studios in Lyon, France and New York. Still others are part of Gordon’s character’s working band, with several scenes set in a Paris jazz club.

For my money, “Round Midnight” is the best non-documentary jazz film ever delivered. For starters, we have one great musician after another performing live. The Oscar-winning soundtrack is recorded as it happened on the sets in various scenes — either in the club before a lucky set of extras, or in the studio, feigning an actual session.

Even more than that, “Round Midnight” oozes a real jazz life of the times, addressing America’s 1950s brand of racism, musicians’ drug usage and their being perpetually underpaid — as well as the cultural marginalization of jazz itself. The film, as much as anything, is a “period piece” of its time.

Gordon, among numerous other jazz artists, was an expatriate, living in Europe for 14 years. Though an untrained actor, he played this part so naturally there was little question whether or not moviegoers suspended disbelief.

Let’s not lose sight that Gordon was a public performer, interacting with audiences during a nearly five-decade career. The saxophone is so natural, so real, it astounds. This is particularly so when he’s “on stage” leading his band. At times Gordon’s voice is so low — a baritone with pronounced grovel and vibration — that, just as it was in reality, his character was difficult to understand at times. Additionally, Gordon speaks quite slowly with numerous pauses.

What cinches the deal is that, after he solos, Turner holds up his horn with both hands, horizontally, as if it is the saxophone that deserves the applause, not him. As anyone who was lucky enough to see Gordon play knows, that’s exactly what he routinely did.

In actuality, Gordon returned to the States, ending his ex-pat standing in 1977. Upon his New York arrival, there was tremendous fanfare, even exhilaration, within the jazz community. There were two major label releases, one on Blue Note Records, “Our Man In Round Midnight,” and the soundtrack, simply called “Round Midnight.”  

When Gordon left the country in 1962, his stature was on par with fellow tenor saxophonist giants John Coltrane and Sonny Rollins. The film successfully mirrors said excitement as a week-long engagement — sold out — is set to take place at the Village Vanguard, known as the most famous basement in the world.

Turner’s fast-talking agent, though a bit typecast as played by Martin Scorsese, goes over all the details with Gordon’s character in a cab, the scene shot as they cross the 59^th Street Bridge where they have traveled from LaGuardia Airport to Manhattan and up to Harlem, where the saxophonist will stay in a less-than-desirable rooming house.

In the real world, Gordon did have the sold-out run at the Vanguard. I was fortunate to “be an extra” and attend. The Gordon-led band came to be known as the Round Midnight Band. On stage with the saxophonist was Hutcherson, trumpeter Woody Shaw, pianist George Cables, bassist Rufus Reid and drummer Victor Lewis.

After each solo, there was Gordon, holding up his horn horizontally, talking in the deepest voice known to humankind, with an ecstatic audience applauding each time.

Jon W. Poses is executive director of the “We Always Swing” Jazz Series. Reach him at jazznbsbl@socket.net.

This article originally appeared on Columbia Daily Tribune: Notes and tones: "Round Midnight" projects Dexter Gordon's greatness on the big screen