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  • Funky Funky Quick View

    $13.99
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    Funky

    1. Pint Size
    2. King Size
    3. Funky
    4. Stella By Starlight
    Gene Ammons
    $13.99
    Vinyl LP Reissue - Sealed Buy Now
  • Blue Gene Blue Gene Quick View

    $21.99
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    Blue Gene

    Another of the mid-1950s Gene Ammons studio jam sessions for Prestige, Blue Gene lives up to its title by utilizing blues changes as the basis for three of its four selections. Pianist Mal Waldron wrote all these lines and the minor-key ballad, Hip Tip. Ammons was one of the most expressive saxophonists and, in Idrees Sulieman and Pepper Adams, he found soulmates among the other horns. Their musical cohesion here is top notch in thanks to the fact that each man had jammed with Gene on Prestige dates previously.
    1. Blue Gene
    2. Scamperin'
    3. Blue Greens and Beans
    4. Hip Tip
    Gene Ammons
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Boss Tenor Boss Tenor Quick View

    $34.99
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    Boss Tenor

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    For nearly a quarter-century, beginning in 1950, tenor saxophonist Gene Ammons (1925-1974) was among the brightest stars in the Prestige Records firmament. Whether leading, or partaking in, one of Prestige's jam sessions, immersing himself in the organ-dominated blues and gospel grooves that in the 1950s came to be called "soul jazz," or digging deep for heart-rending ballads, Ammons was multiply masterful. And in 1960, leading a quintet featuring the impeccable pianist Tommy Flanagan, plus Ray Barretto's piquant congas, he produced the insuperable Boss Tenor.


    From the blues that drips from "Hittin' the Jug" and "Blue Ammons" to the infectious medium bounce of the standards "Close Your Eyes" and "Canadian Sunset," and from the sophisticated swing of "Stompin' at the Savoy" to the finger-poppin' bop of "Confirmation" and the after-hours balladry of "My Romance," Boss Tenor has something for everyone claiming to be a fan of modern jazz.

    1. Hittin' The Jug
    2. Close Your Eyes
    3. My Romance
    4. Canadian Sunset
    5. Blue Ammons
    6. Confirmation
    7. Savoy
    Gene Ammons
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nice An' Cool Nice An' Cool Quick View

    $34.99
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    Nice An' Cool

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    A 1961 set of standards heavy on the ballads, Nice An' Cool is prime Gene Ammons. In front of a sympathetic piano-bass-drums trio (Richard Wyands, Doug Watkins, and the great J.C. Heard, respectively), Ammons' brilliantly soulful tenor saxophone really stretches out on the familiar melodies, but the relatively concise arrangements (all of the eight tracks are between three and eight minutes, with most hovering around the five-minute mark) don't allow him to wander too far afield as he occasionally does on less structured sessions. Nice An' Cool is first and foremost a mood album, with the unity of sound more important than the individual performances, but Ammons particularly shines on the extended opener, a tender, restrained version of The Music Man's Til There Was You that sidesteps the mawkishness of many interpretations in favor of a dignified grace. The backing trio is excellent throughout.

    1. Till There Was You
    2. Answer Me, My Love
    3. Willow Weep For Me
    4. Little Girl Blue
    5. Something I Dreamed Last Night
    6. Something Wonderful
    7. I Remember You
    8. Someone To Watch Over Me
    Gene Ammons
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Groovin' With Jug (Pure Pleasure) Groovin' With Jug (Pure Pleasure) Quick View

    $34.99
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    Groovin' With Jug (Pure Pleasure)

    Ironically, Gene 'Jug' Ammons tended to be critical of organists; he was quoted as saying that »organ players don't know any changes.« However, as critical the Chicago tenor saxman might have been of organists - most of them, anyway - he did some of his best work in their presence. When Ammons united with Jack McDuff, Johnny 'Hammond' Smith and other B-3 masters in the '60s, the sparks would fly. They certainly fly on this excellent album, which finds Ammons and Richard 'Groove' Holmes co-leading a soul-jazz/hard bop organ combo that also includes guitarist Gene Edwards and drummer Leroy Henderson. The quartet is heard in two settings on August 15, 1961 - three of the eight selections were produced by Richard Bock in a Los Angeles studio in the afternoon, while the other three were recorded several hours later an L.A. club called the Black Orchid. Ammons and Holmes prove to be a strong combination in both settings, although their playing is somewhat looser at the Orchid, where the delights include some slow blues, a smokey ballad (Willow Weep for Me) and a lightning-fast barnburner. However critical Ammons might have been of most organists, it's obvious that he and Holmes share a lot of common ground on Groovin' With Jug.



    Musicians:



    • Richard "Groove" Holmes (organ)

    • Gene Ammons (tenor saxophone)

    • Gene Edwards (guitar)

    • Leroy Henderson (drums)




    Recording: August 1961 at The Black Orchid and Pacific Jazz Studios

    Production: Richard Bock




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    1. Good Vibrations
    2. Willow Weep For Me
    3. Juggin Around Side
    4. Groovin With Jug
    5. Morris The Minor
    6. Hey You, Whats That?
    Richard Groove Holmes
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bad! Bossa Nova Bad! Bossa Nova Quick View

    $21.99
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    Bad! Bossa Nova

    Saxophonist Ammons is backed by guitarists Kenny Burrell and Bucky Pizzarelli, pianist Hank Jones, bassist Norman Edge, drummer Oliver Jackson and percussionist Al Hayes on this 1962 release. Tracks: Pagan Love Song, Ca' Purange (Jungle Soul), Anna, Cae, Cae, Moito Mato Grosso, Yellow Bird.
    1. Pagan Love
    2. Ca'Purange (Jungle Soul)
    3. Anna
    4. Cae Cae
    5. Moito Moto Grosso
    6. Yellow Bird
    Gene Ammons
    $21.99
    Vinyl LP - Sealed Buy Now
  • Nice An' Cool Nice An' Cool Quick View

    $49.99
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    Nice An' Cool

    This 1961 set of standards, favoring ballads, is Gene Ammons in his prime. For the most part, this session is tight and structured, keeping Ammons firmly locked in the groove more so than on some of his more wandering dates. His big-as-a-house tone stands center stage in front of a sympathetic piano-bass-drums trio of Richard Wyands, Doug Watkins and J.C. Heard, respectively.
    1. Till There Was You
    2. Answer Me, My Love
    3. Willow Weep For Me
    4. Little Girl Blue
    5. Something I Dreamed Last Night
    6. Something Wonderful
    7. I Remember You
    8. Someone To Watch Over Me
    Gene Ammons
    $49.99
    45 RPM 180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Boss Tenor Boss Tenor Quick View

    $19.99
    Buy Now
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    Boss Tenor

    Side A


    1. Hittin' The Jug
    2. Close Your Eyes
    3. My Romance


    Side B


    1. Canadian Sunset
    2. Blue Ammons
    3. Confirmation
    4. Savoy

    Gene Ammons
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • The Chase Is On (Pure Pleasure) The Chase Is On (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    The Chase Is On (Pure Pleasure)

    The twin tenor sax tradition yielded grand pairings with the likes of Wardell Gray and Dexter Gordon, Arnett Cobb and Eddie 'Lockjaw' Davis, Gene Ammons and Sonny Stitt, and Al Cohn and Zoot Sims. This one-shot teaming of Charlie Rouse and Paul Quinichette brought forth a union of two distinctly different mannerisms within the mainstream jazz continuum. Rouse, who would go on to prolific work with Thelonious Monk and was at this time working with French horn icon Julius Watkins, developed a fluid signature sound that came out of the more strident and chatty style heard here. By this time in 1957, Quinichette, nicknamed the Vice Prez for his similar approach to Lester Young, was well established in the short term with Count Basie. His liquid, full-bodied, soulful tone became an undeniable force, albeit briefly, before he dropped out of the scene shortly after this date to be an electrical engineer. The stereo split of the saxophonists in opposite channels, a technique endemic of the time, works well whether they play solos or melody lines together. It enables you to truly hear how different they are. Working with standards, there's a tendency for them to play the head arrangements in unison, but then one of them on occasion plays an off-the-cuff short phrase that strays from the established melodic path. They also seem to do a hard bop jam, then a ballad, and back to hard swinging.


    The title track is simply a killer, a perfect fun romp of battling duelists, and one that you'd like to hear in any nightclub setting. Some slight harmonic inserts set This Can't Be Love apart from the original and The Things I Love displays the two tenors at their conversational best, while the lone original, Knittin', is a fundamental 12-bar swing blues, straight up and simple but with some subtle harmonic nuances. The rhythm section of pianist Wynton Kelly, bass player Wendell Marshall, and drummer Ed Thigpen do their usual yeoman job. But on two tracks, pianist Hank Jones and rhythm guitarist Freddie Green take over, and the sound of the band changes dramatically to the more sensitive side on a low-down version of When The Blues Come On and the good-old basic vintage swinger You're Cheating Yourself. The combination of Rouse and Quinichette was a very satisfactory coupling of two talented and promising post-swing to bop individualists, who played to all of their strengths and differences on this worthy -- and now legendary -- session.


    Musicians:



    • Charlie Rouse, Paul Quinichette (tenor saxophone)

    • Wynton Kelly, Hank Jones (piano)

    • Freddie Green (guitar)

    • Wendell Marshall (bass)

    • Ed Thigpen (drums)



    Recording :August and September 1957 in New York




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

    1. The Chase Is On
    2. When The Blues Come On
    3. This Can't Be Love
    4. Last Time For Love
    5. You're Cheating Yourself
    6. Knittin'
    7. Tender Trap
    8. The Things I Love
    Paul Quinichette & Charlie Rouse
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blue Gene Blue Gene Quick View

    $19.99
    Buy Now
    x

    Blue Gene

    Featuring

    Idrees Suliman

    Pepper Adams

    Mal Waldron

    Arthur Taylor

    Doug Watkins

    Ray Barretto
    1. Blue Gene
    2. Scamperin'
    3. Blue Greens 'N Beans
    4. Hip Tip
    Gene Ammons All Stars
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • Bopping The Blues Bopping The Blues Quick View

    $27.99
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    Bopping The Blues

    One of Miles Davis' Earliest Recording Sessions


    Pressed On Audiophile-Grade 180 Gram Vinyl At Pallas Group In Germany


    Mastered From Original Analog Tapes By Bernie Grundman


    Features Legendary Tenor Saxophonist Gene Ammons and Drummer Art Blakey


    One of Miles Davis' earliest recording sessions. The very first known instance of the famed trumpeter playing in an "open" style, and in a band with legendary tenor saxophonist Gene Ammons and drummer Art Blakey. Need any more be said? Very few jazz albums possess more historical import and wow-inspiring significance than Bopping the Blues, which documents a 1946 session in which Davis supported a group and two singers, Earl Coleman and Ann Baker, in a splendid bop affair. Yes, it's got that elusive Holy Grail quality. Originally released by the UK label Black Lion, an imprint that specialized in resurrecting rare gems from US jazz and blues legends, Bopping the Blues marks what are indisputably Davis' initial open-voiced contributions and a can't-miss opportunity for collectors and enthusiasts to get closer to the man and his music.

    1. Don't Sing Me The Blues (Take 1)
    2. Don't Sing Me The Blues (Take 2)
    3. I've Always Got The Blues (Take 1)
    4. I've Always Got The Blues (Take 2)
    5. I've Always Got The Blues (Take 3)
    6. Don't Explain To Me Baby (Take 1)
    7. Don't Explain To Me Baby (Take 2)
    8. Don't Explain To Me Baby (Take 3)
    9. Don't Explain To Me Baby (Take 4)
    10. Baby, Won't You Make Up Your Mind (Take 1)
    11. Baby, Won't You Make Up Your Mind (Take 2)
    12. Baby, Won't You Make Up Your Mind (Take 3)
    Miles Davis
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bopping The Blues Bopping The Blues Quick View

    $29.99
    Buy Now
    x

    Bopping The Blues

    Landmark 1946 Historical Release Documents Miles Davis' First-Known Instance of Open-Voiced Trumpet Playing at One of His Earliest Sessions


    Tantalizing Audiophile Restoration Series Resurrects UK Label Black Lion: Mastered at Bernie Grundman Studios by Chris Bellman and Pressed at Pallas


    EQ Notes and Curation Performed by Iconic Engineer Steve Hoffman; LPs EQ'd and Set Up by Bernie Grundman


    Conceived, Designed, and Manufactured for Collectors and Enthusiasts: Vinyl Jacket Features Exclusive Art


    One of Miles Davis' earliest recording sessions. The very first known instance of the famed trumpeter playing in an "open" style, and in a band with legendary tenor saxophonist Gene Ammons and drummer Art Blakey. Need any more be said? Very few jazz albums possess more historical import and wow-inspiring significance than Bopping the Blues, which documents a 1946 session in which Davis supported a group and two singers, Earl Coleman and Ann Baker, in a splendid bop affair. Yes, it's got that elusive Holy Grail quality.


    Originally released by the UK label Black Lion, an imprint that specialized in resurrecting rare gems from US jazz and blues legends, Bopping the Blues marks what are indisputably Davis' initial open-voiced contributions and a can't-miss opportunity for collectors and enthusiasts to get closer to the man and his music. Helmed by ORG, this historical reissue is afforded the ultimate in audiophile production standards, resulting in sonics and presentation befitting the museum-like worth of this record's existence.


    Mastered from the original master tapes at Bernie Grundman Studios by Chris Bellman and pressed at Pallas, the 180g LP was curated by legendary engineer Steve Hoffman and eq'd by Grundman himself. A better team you cannot find; every step involved serious quality-control measures to guarantee gorgeous sound. The superb vinyl jacket features exclusive artwork. Indeed, this is what being a collector is all about. The title may not be widely known to most, but this reissue preserves vital music that will be enjoyed by generations to come. Consider it a buried treasure that, miraculously, has resurfaced in better condition than that when it was originally made.


    Jazz fans, Davis devotees, audiophiles, and music fanatics, don't sleep on this collectable gem!

    1. Don't Sing Me The Blues (Take 1)
    2. Don't Sing Me The Blues (Take 2)
    3. I've Always Got The Blues (Take 1 Incomplete)
    4. I've Always Got The Blues (Take 2)
    5. I've Always Got The Blues (Take 3)
    6. Don't Explain To Me Baby (Take 1)
    7. Don't Explain To Me Baby (Take 2)
    8. Don't Explain To Me Baby (Take 3)
    9. Don't Explain To Me Baby (Take 4)
    10. Baby, Won't You Make Up Your Mind (Take 1)
    11. Baby, Won't You Make Up Your Mind (Take 2)
    12. Baby, Won't You Make Up Your Mind (Take 3)
    Miles Davis
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Soulful Moods Of Gene Ammons (Out Of Stock) The Soulful Moods Of Gene Ammons (Out Of Stock) Quick View

    $34.99
    x

    The Soulful Moods Of Gene Ammons (Out Of Stock)

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    "One of the best efforts from Ammons' extensive catalog. A fat, warm, rich sax tone - you know, the one you immediately identify as Jug - is on display in all its glory on this great Moodsville release. Feeling tired and stressed out? Give Uncle Gene a spin. Besides perfect pitch, Ammons' other special gift was a melodic sense that allowed him to effectively convey feelings at slow tempos. Here is a great jazz ballad player given full scope to spin his charms. - Stereophile, February 1995

    1. Two Different Worlds
    2. But Beautiful
    3. Skylark
    4. Three Little Words
    5. The Street Of Dreams
    6. You'd Be So Nice To Come Home To
    7. Under A Blanket Of Blue
    8. Three Little Words
    9. I'm Glad There Is You
    Gene Ammons
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • Blue Gene (Out Of Stock) Blue Gene (Out Of Stock) Quick View

    $49.99
    x

    Blue Gene (Out Of Stock)

    Another of the mid-1950s Ammons studio jam sessions for Prestige, Blue Gene lives up to its title by utilizing blues changes as the basis for three of its four selections. Pianist Mal Waldron wrote all these lines and the minor-key ballad, Hip Tip. Ammons was one of the most expressive saxophonists and, in Idrees Sulieman and Pepper Adams, he found soulmates among the other horns. Each man had jammed with Gene on Prestige previously.


    Featuring

    Idrees Suliman

    Pepper Adams

    Mal Waldron

    Arthur Taylor

    Doug Watkins

    Ray Barretto

    1. Blue Gene
    2. Scamperin'
    3. Blue Greens 'N Beans
    4. Hip Tip

    Gene Ammons
    $49.99
    45 RPM 180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • My Romance (Out Of Stock) My Romance (Out Of Stock) Quick View

    $18.99
    x

    My Romance (Out Of Stock)

    Appearing as a leader, sideman, or guest on well over 200 recordings, Houston Person uses his knowledge and experience to revisit seven very familiar standards with his big, full-bodied, soulful tenor saxophone. Although Person is the headliner on this set, pianist Richard Wyands gets a considerable amount of solo time. Wyands is right at home with Person, having been associated with a tenor saxman from the same school as Person, Gene Ammons.


    Person's arrangements can be imaginative. The title tune, My Romance, opens with Person's deep saxophone with just Kenny Washington's brushes behind him, segueing into a Ray Drummond bass solo. Given the very intimate nature of the session, this recording could easily have been of a live performance from a small, jazz lounge. All that's missing are the tinkling glasses in the background and the light, knowledgeable applause of jazz fans who've dropped by to enjoy an evening of good music played by top jazz musicians. This session is a reminder of the pleasures that the intimate side of jazz offers.

    1. But Beautiful
    2. Blue Moon
    3. Laura
    4. The Very Thought Of You
    5. My Romance
    6. Stairway To The Stars
    7. Love Is Here To Stay
    Houston Person
    $18.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • Bags Meets Wes (Out Of Stock) Bags Meets Wes (Out Of Stock) Quick View

    $49.99
    x

    Bags Meets Wes (Out Of Stock)

    Absolute Sound - Recommended Stereophile - Records 2 Die 4 E-Newsletter Archive Preowned LPs Michael Fremer Picks His Favorite In-Print LPs Browse Genre Blues Christmas Classical Female Vocalists Folk Jazz New Age Pop Rock Soundtracks World more Acoustic Sounds Spring Catalog 45 RPM Fantasy Jazz Series Link Exchange Music Music Vinyl Vinyl 45 RPM Vinyl LP Milt Jackson and Wes Montgomery - Bags Meets Wes! click on image to enlarge Bags Meets Wes! Milt Jackson and Wes Montgomery Label: Analogue Productions Genre: Jazz Product No.: AJAZ 9407 Availability: In Stock Format: 45 RPM Vinyl LP Note: Stereo 45 RPM $50.00 Also available on: Hybrid Stereo SACD $18.99 Vinyl Test Pressing $75.00 People who purchased Bags Meets Wes! also bought: Portrait in Jazz Bill Evans Trio + Eleven Art Pepper Blue Gene Gene Ammons Milt Jackson and Wes Montgomery were made to play together. Each had redefined the technical and expressive capacities of their respective instruments, displayed limitless melodic invention and rhythmic resourcefulness, and provided models of honest, unaffected soul. Their pairing occurred when Jackson joined Montgomery as a Riverside recording artist in 1961 and placed them amidst what amounted to the label's house rhythm section of Wynton Kelly, Sam Jones and Philly Joe Jones. Included in the program of standards and originals is a classic line by each leader, Montgomery's "Jingles" (one of three tracks also heard in alternate takes) and Jackson's saucy blues "S.K.J." The entire session is a model of relaxed, conversational blowing by five masters.


    1. S.K.J.

    2. Stablemates

    3. Stairway To The Stars

    4. Blue Roz

    5. Sam Sack

    6. Jingles

    7. Delilah


     

    Milt Jackson & Wes Montgomery
    $49.99
    180 Gram Audiophile Virgin 45 RPM Vinyl LP - Sealed Temporarily out of stock
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