Gene Ammons Albums (48)
What The Critics Say
Veteran tenor saxophonist Ammons is accompanied by a funky 12-piece band arranged by David Axelrod on this commercial but interesting release, one of his last recordings. The repertoire consists of a couple of Ammons originals, two by Axelrod, Wes Montgomery's "Cariba," Antonio Carlos Jobim's "Once I Loved," and the Monk standard "'Round Midnight." Ammons plays well and even if the arrangements are somewhat dated (George Duke's keyboards do not help), this set has its strong moments. ~ Scott Yanow, All Music Guide
'Chicago Concert'
Release Date 2/18/2003
Tracks 7
Label Original Jazz Classics
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What The Critics Say
This meeting between Gene Ammons and James Moody is not as memorable as one might hope. Backed by pianist Jodie Christian, bassist Cleveland Eaton and drummer Marshall Thompson, the two tenors square off on "Just in Time," "Have You Met Miss Jones?," "C-Jam Blues" and Ammons's "Jim-Jam-Jug" but, although there are a few sparks, they do not blend together that well and the results are surprisingly workmanlike. Ammons is actually best on his two features "Work Song" and "I'll Close My Eyes." ~ Scott Yanow, All Music Guide
'God Bless Jug and Sonny'
Release Date 7/24/2001
Tracks 6
Label Prestige
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What The Critics Say
The focus of this exciting, if imperfect, CD is a 1973 reunion of Gene "Jug" Ammons and Sonny Stitt, who were responsible for some of the most famous tenor saxophone battles of the 1940s and early '50s. When the two locked horns, it was musical sportsmanship at its finest. Jug and Stitt had a mutual respect for one another, and their battles were the essence of friendly competition. Some die-hard beboppers might be disappointed to learn that God Bless Jug and Sonny (which was recorded live in Baltimore in 1973 but went unreleased until 2001) isn't all that competitive -- the saxmen don't try to relive their legendary cutting contests of the 1940s and early '50s. Nonetheless, there are many inspired moments, and they enjoy a strong rapport on exuberant performances of "Blue 'n' Boogie," "Stringin' the Jug," and "Bye Bye Blackbird" (all of which employ Cedar Walton on piano, Sam Jones on bass, and Billy Higgins on drums). Ammons and Stitt don't play together on all of the tunes; Stitt lays out on Billie Holiday's "God Bless the Child," and Stitt is the only saxophonist on Vernon Duke's "Autumn in New York" (the only performance that finds Stitt on alto instead of tenor). And neither saxman is heard on Walton's "Ugetsu," a gem that lets the rhythm section shine by itself. When Ammons and Stitt play together, it's never hard to tell them apart. In contrast to the Charlie Parker-minded Stitt, Ammons had the sort of big, breathy, Coleman Hawkins-influenced tone you expected from a swing tenor (even though he was very much a bebopper/hard bopper). Unlike some of their 1940s/early '50s encounters, God Bless Jug and Sonny falls short of essential. But this 1973 reunion is still enjoyable and will interest the saxophonists' hardcore fans. ~ Alex Henderson, All Music Guide
What The Critics Say
A swinging soul-jazz set from just before the point where soul-jazz turned once and for all into fusion, 1970's Brother Jug is very much an album of its time. (Note Billy Butler's funky-cheesy wah-wah guitar underpinning "Jungle Strut.") That said, while the album doesn't have the classic timelessness of Gene Ammons' best '50s and early-'60s work, Brother Jug is one of Ammons' better albums released soon after the tenor saxophonist's release from a seven-year prison sentence. Ammons' playing on this album has an unaccustomed grit; even on ballads like "Didn't We," there's an R&B-style honk to Ammons' tone that suits the funky, electric arrangements well. Brother Jug is not an all-time classic -- the closing take on "Son of a Preacher Man," with Sonny Phillips' in-your-face wah-wah organ, is hampered by a too-sluggish rhythm section and some unimaginative, braying solos by Ammons -- but even the weakest tunes have a certain historical interest. ~ Stewart Mason, All Music Guide
'Gene Ammons and Friends at Montreux'
Release Date 7/6/1999
Tracks 5
Label Original Jazz Classics
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What The Critics Say
Ammons, whose studio recordings of the period were somewhat commercial, is heard in excellent form playing a blues and three standards with the backing of a fine rhythm section: Hampton Hawes (who unfortunately sticks to electric piano), electric bassist Bob Cranshaw, drummer Kenny Clarke and Kenneth Nash on congas. Best of all is a 17-minute blues on which Ammons welcomes fellow tenor Dexter Gordon, cornetist Nat Adderley and altoist Cannonball Adderley; the four horns all get to trade off with each other. This is one of the better late-period Gene Ammons records. ~ Scott Yanow, All Music Guide
What The Critics Say
It is ironic that on tenor saxophonist Gene Ammons' final recording date, the last song he performed was the standard "Goodbye." That emotional rendition is the high point of this session, a septet date with cornetist Nat Adderley, altoist Gary Bartz, pianist Kenny Drew, bassist Sam Jones, drummer Louis Hayes, and Ray Barretto on congas. In contrast to the somewhat commercial studio albums he had recorded during the past couple of years, this set was much more freewheeling, for Ammons was clearly happy to perform the material (which included "It Don't Mean a Thing," "Alone Again (Naturally)," and "Jeannine") without any tight arrangements, in the spirit of his Prestige jam sessions of the 1950s. It's a fine ending to a colorful career. ~ Scott Yanow, All Music Guide
'Angel Eyes'
Release Date 8/18/1998
Tracks 6
Label Original Jazz Classics
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What The Critics Say
Music from two different occasions are combined on this CD reissue. The four songs from 1960 match the great tenor Gene Ammons with Frank Wess (doubling on flute and tenor), organist Johnny "Hammond" Smith, bassist Doug Watkins, and drummer Art Taylor. Wess, one of jazz's great flutists, battles Ammons on tenor to a draw on "Water Jug," while the leader takes "Angel Eyes" as his memorable feature. In addition, Ammons is heard in 1962 with pianist Mal Waldron, bassist Wendell Marshall, and drummer Ed Thigpen playing with great warmth on the ballads "You Go to My Head" and "It's the Talk of the Town." The latter set was one of Ammons' final ones before serving a long prison sentence (drug-related), yet his interpretations are full of optimism. Recommended. ~ Scott Yanow, All Music Guide
What The Critics Say
Although Gene Ammons received first billing, his fellow tenor Dexter Gordon is an equal partner on this exciting live bebop set. Expanded from the original LP with a previously unissued ballad medley and a full-length 17-minute rendition of "Wee Dot," and this CD is highly recommended to fans of tenor battles and straight-ahead jazz. "Wee Dot" and the ballad "Polka Dots and Moonbeams" are Gordon's features, while Ammons gets to revive "The Happy Blues," and the two tenors take a pair of songs apiece on the lengthy ballad medley. However, it is their all-out battles on "Lonesome Lover Blues" (which has a spontaneous vocal by Vi Redd) and "The Chase" that are most memorable. With a pair of fine Chicago-based rhythm sections taking turns (pianists John Young and Jodie Christian, bassists Cleveland Eaton and Rufus Reid, and drummers Steve McCall and Wilbur Campbell), Jug and Gordon (who had last recorded together in 1944) are heard in prime, combative form. ~ Scott Yanow, All Music Guide
What The Critics Say
The executives at Prestige must have been felt ecstatic when they heard Gene Ammons first play after his release from a very severe seven-year jail sentence. The great tenor proved to still be in his prime, his huge sound was unchanged and he was hungry to make new music. This CD, which completely reissues the first two LPs Ammons cut after his return (The Boss Is Back! and Brother Jug!) rewards repeated listenings. The first date (in an acoustic quintet with pianist Junior Mance) hints at his earlier bop-based music while the numbers from the following day (with organist Sonny Phillips) find Ammons playing over a couple of boogaloo vamps very much of the period. Actually it is his ballad statements (particularly "Here's That Rainy Day," "Feeling Good" and even "Didn't We") that really make this CD memorable, although on "He's a Real Gone Guy" Ammons shows that he had not forgotten how to jam the blues either. ~ Scott Yanow, All Music Guide
What The Critics Say
On Jan. 3, 1958, Gene Ammons led one of his last all-star jam sessions for Prestige. The most notable aspect to this date (which resulted in two albums of material) is that it featured among its soloists John Coltrane, on alto. This CD, a straight reissue of one of the original LPs, includes baritonist Pepper Adams, the tenor of Paul Quinichette and Coltrane on two of the four selections and Jerome Richardson's flute during three of the songs in addition to a fine rhythm section (pianist Mal Waldron, bassist George Joyner and drummer Art Taylor). This set consists of three of Waldron's originals in addition to the standard ballad "It Might as Well Be Spring" and it (along with the CD The Big Sound) fully documents the productive day. ~ Scott Yanow, All Music Guide
