# Clifford Jordan doesn’t get the attention or praise he deserves today: Video

- Link: https://jazzblues.eu/2018/05/03/clifford-jordan-doesnt-get-the-attention-or-praise-he-deserves-today/
- Published: 2018-05-03T14:29:12+01:00
- Author: https://JazzBlues.EU

**We are not sure why. The tenor saxophonist was superb and served up smart, soulful
energy and improvisation. Born in Chicago, Jordan spent his early years there playing
with touring artists who came to town. **

At age 26, Jordan moved to New York, where he recorded five albums for Blue Note
in 1957 and ’58, including as a sideman on Horace Silver’s _Further Explorations_.
Albums with trumpeter Lee Morgan and trombonist J.J. Johnson followed before Jordan
began recording for Riverside and Jazzland in the early 1960s as a leader. He toured
Europe with Charles Mingus and Eric Dolphy in 1964, and recorded frequently in the
late 1960s, ’70s and ’80s. During the ’70s, he recorded _Glass Bead Games,_ which
is a terrific album.

[⌊Screen Shot 2018-04-29 at 5.32.18 PM⌉⌊Screen Shot 2018-04-29 at 5.32.18 PM⌉[
 Jordan’s
very first album was _Blowing in From Chicago, which he _recorded for Blue Note 
in March 1957. Jordan was joined by tenor saxophonist John Gilmore, Horace Silver(
p), Curly Russell (b) and Art Blakey (d). Gilmore also grew up in Chicago and would
spend roughly four decades with Sun Ra and his avant-garde Arkestra starting in 
1956. In the late 1950s, he so impressed John Coltrane that Coltrane studied informally
with him to adapt Gilmore’s free sound.

[⌊Screen Shot 2018-04-29 at 5.35.41 PM⌉⌊Screen Shot 2018-04-29 at 5.35.41 PM⌉[
 What’s 
odd about _Blowing in From Chicago_ is why Blue Note felt it needed to team Jordan
with Gilmore (above), unless they were looking for a tenor battle thing. Pairing
the two makes it difficult for the average listener to distinguish between Jordan
and Gilmore, and one wonders why Jordan needed the chaperone. In addition, Gilmore
was a bit more seasoned so he stands out a little more, also not great for Jordan.
So you know, Jordan plays the lead parts with a mellower tone while Gilmore has 
the sharper, more aggressive sound.

The album’s songs are John Neely’s _Status Quo,_ Jordan’s _Bo-Till,_Gigi Gryce’s
_Blue Lights,_ Charlie Parker’s _Billie’s Bounce,_ Jordan’s Evil Eye and Silver’s
_Everywhere_ and Jordan and Gilmore’s _Let It Stand_.

[⌊Screen Shot 2018-04-29 at 5.38.52 PM⌉⌊Screen Shot 2018-04-29 at 5.38.52 PM⌉[
 Now that 
you’re aware the album features two tenor saxophonists and who’s playing which parts,
the listening experience becomes much more fascinating, especially on _Status Quo,_
_Everywhere_and _Let It Stand._ All three are gorgeous hard-bop compositions. Jordan
and Gilmore play like two large Harley or Honda motorcycles riding along at a clip
on the highway. Both have a big sound and both move along at a steady clip. They
are greatly assisted by one of the great hard bop rhythm sections—with Silver’s 
heavy, funky comping on piano and Blakey’s driving force on drums. The more you 
listen to this album, the more you grow accustomed to the distinct sound of the 
two players and enjoy the exchanges. Best of all, it’s the perfect album to start
exploring Jordan’s discography.

[⌊Jordan-gilmore-blowing-in-from-chicago-rear-1600⌉⌊Jordan-gilmore-blowing-in-from-
chicago-rear-1600⌉[
 Clifford Jordan was born in 1931 and died in March 1993; John
Gilmore was born in 1931 and died in August 1995. Jordan died of lung cancer and
Gilmore of emphysema. One wonders whether a career in toxic smokey clubs played 
a fundamental role in the deterioration of their health.

![Screen Shot 2018-04-29 at 5.34.03 PM](http://marcmyers.typepad.com/.a/6a00e008dca1f088340223c8470917200c-
500wi)

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