The three albums that make up this 2CD compilation capture Dexter Gordon confidently claiming his place in the tenor sax lineage after being marginalised from the jazz mainstream by a combination of drug abuse and fashion. Gordon's big bluesy tone, eloquent behind-the-beat phrasing, and harmonic sophistication were forged in mid-1940s LA and honed in New York. At the time it was the dominant voice of post-Parker tenor sax. But the style slipped out of favour with the rise of cool jazz, a situation made worse by Gordon's erratic timekeeping and the odd stint in jail. It was not until 1960 that a run in an LA production of the play The Connection brought him critical notice once again. The first album of this collection, aptly titled The Resurgence of Dexter Gordon was recorded in 1960 for Jazzland records in LA. It features a three-horn frontline and a rhythm section sparked by drummer Laurence Marable. The boppish themes are well arranged and the playing is tight and in style, but it is Gordon's fresh muscularity that stands out. Six months later, the saxophonist was invited to record two albums for Blue Note in New York. These present the saxophonist in invigorated form, adopting elements of Coltrane's innovations into his trademark phrasing and emotionally uplifting style. The first album, Doin' Allright, features Freddy Hubbard on trumpet, a great rhythm section led by pianist Horace Parlan and a programme that is tailor-made for Gordon's energised swagger. It is a Blue Note classic. The second album, Dexter's Calling, is a quartet session that is slightly looser in character. Here, Gordon's inventive wit is expertly showcased by pianist Kenny Drew and the supreme rhythm team of Paul Chambers and Philly Joe Jones on bass and drums. The two Blue Note albums are part of a recently released must-have 5CD box set, but twinning them with the Jazzland album is a neat touch amply justified by the informative sleeve notes.