Requisites
Jammin’ With Gene ~ Gene Ammons All-Stars | By Eddie Carter
A few evenings ago, after dinner, I was enjoying a good book when I suddenly craved some jazz with a tenor sax. That decision led me to today’s discussion. Upon going to the shelf, I rediscovered one of my favorite records by the Gene Ammons All-Stars. “Jammin’ With Gene” (Prestige PRLP 7060) was the tenor saxophonist’s third release as a leader when it hit the stores in 1956. It was also the second of seven blowing session albums he recorded forthe label. The personnel for this date is a stellar supporting cast: Art Farmer and Donald Byrd on trumpet, Jackie McLean on alto sax, Mal Waldron on piano, Doug Watkins on bass, and Arthur Taylor on drums. My copy of this album is the 1977 Victor Musical Industries Japanese mono reissue (Prestige VIJ-5039).
The first side opens with the title tune, Jammin’ With Gene, by Gene Ammons. From the start, the septet establishes a cohesive atmosphere, with the front line delivering the melody in tight, harmonious unison. Gene takes the lead solo, slipping into a soulful groove that floats effortlessly over the rich foundation provided by his fellow musicians. Donald steps in next, his interpretation unfolding with increasing intensity, from a gentle warmth to a robust climax, also with the front line shadowing him. Art and Jackie then state their cases in the subsequent two readings, each presentation adding a fresh layer of expression. Mal wraps things up with a laid-back performance, which is followed by the group circling back to their unified closing chorus.
The album’s only standard, We’ll Be Together Again, by Carl Fischer and Frankie Laine, opens gently as Gene, Mal, and Doug’s introduction segues into a subtle, slow-moving melody by Ammons. Gene then steps forward, launching the opening statement with a smooth, relaxed swing. Art follows, infusing the second reading with vivacious energy, and then Jackie picks up the rhythm with lively, enthusiastic lines. Donald delivers the goods on the following interpretation, after which Mal ushers in a flowing groove leading into Gene’s closing passage back into a ballad tempo for the group’s graceful finish.
The album’s finale, Not Really The Blues by Johnny Mandel, is a lively, up-tempo tune that takes off with a brisk melody from the whole ensemble. Donald leads off, delivering a spirited statement that sets the pace, then Jackie adds some bite with sharp, energetic phrasing. Art keeps the momentum high with his vigorous contribution, while Gene steps in with high-octane in the next solo. Mal keeps things simmering with his smooth piano work, paving the way for a rapid-fire exchange among Farmer, Byrd, McLean, and Ammons. The excitement builds as Donald, Jackie, Art, and Gene trade choruses in a heated musical conversation, driving the group toward a swift and exhilarating exit.
Bob Weinstock supervised the session, and Rudy Van Gelder was responsible for the recording duties. This reissue’s sound quality is a delight to hear, with a vivid soundstage that transports the musicians to the sweet spot in your listening room. If you’re a Gene Ammons fan and appreciate a good bop album, I happily recommend “Jammin’ With Gene” by the Gene Ammons All-Stars for a spot in your library. It’s an underrated, but excellent album that every tenor sax enthusiast should seek out on their next record-shopping trip!
~ We’ll Be Together Again – Source: JazzStandards.com
© 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
James Benjamin Sherman was born on August 17, 1908 in Williamsport, Pennsylvania. He played piano in dance bands in the late 1920s and played on and off with Jimmy Gorham in the metropolitan Philadelphia area. In 1930 he began playing on a steamboat in Alphonso Trent’s band, then played in the 1930s with Peanuts Holland, Al Sears, Stuff Smith, Lil Armstrong, Putney Dandridge, Mildred Bailey, and Billie Holiday.
From the mid- to late ’30s Jimmy played in various swing groups but is best known for his hand in composing the jazz standard Lover Man, co-written with Jimmy Davis and Roger Ramirez, and was first recorded by Billie Holiday
He became the pianist and arranger for The Charioteers in 1938, remaining with the group until 1952. Following this he played primarily locally in eastern Pennsylvania. In 1960 he took up a residency at Miss Jeanne’s Crossroad Tavern in Chester County, Pennsylvania, where he played until shortly before his death.
Pianist and arranger Jimmy Sherman died on October 11, 1975 in Philadelphia, Pennsylvania.
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Daily Dose Of Jazz…
Paulinho Garcia was born on August 16, 1948 in Belo Horizonte, Minas Gerais, Brazil and began his musical career at the age of nine as a singer in a Sunday children’s program in the city’s principal radio station, Radio Inconfidencia. His teens saw him performing as a house musician in all musical programs of the Radio network, Guarany—TV Itacolomy.
He led his own band, Os Agitadores, and with them recorded his first two albums. Before his arrival in the United States in 1979, Paulinho composed, arranged, produced, and performed jingles for HP Studios. Four of his commercials received national awards.
After his move to Chicago, Illinois he performed and recorded two albums with the band Made in Brazil. In 1991 he founded his own band, Jazzmineiro, and their 1996 recording received excellent reviews in the Chicago Tribune, Jazziz magazine, the Brazilian Music Review, and The Brazilians.
Paulinho has been the recipient of numerous awards and accolades for his music and bands. He has toured Japan, Poland, Prague, Bratislava, Netherlands, Hong Kong, and Bangkok and performed at several jazz festivals and jazz cruises. With the addition of Polish singer Grazyna Auguscik, Two for Brazil with Greg Fishman became Three for Brazil.
Garcia released My Very Life to critics and audience praise and was nominated for a Grammy for Best Latin Jazz Recording among 25 of the best, and was nominated for the Brazilian International Press Award.
Guitarist and vocalist Paulinho Gatcia continues to perform, tour and record.
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Daily Dose Of Jazz…
Leslie Priestley Carew was born on August 15, 1908 in London, England but spent his formative years in Shipley, Yorkshire. The son of theatrical parents, it wasn’t till after working in the local mills in his post-school years that he found himself drawn to music and the trombone, upon which he progressed rapidly.
Known to the music world as Les, he began playing in dance bands and eventually returned to London and caught the eye and ear of Jack Hylton. In the 1930s he became a featured trombonist in the Jack Hylton Orchestra during their international heyday performing all over Europe.
He was known for his comedic performances, as an actor and a natural comedian, Carew appeared with his Hylton bandmates in films She Shall Have Music (1935), The Playboy (1938) and Calling All Stars (1937).
Leaving Hylton in the Forties he added vocals to his performance arsenal and recorded as a member of Bert Ambrose and His Orchestra. By the time World War II ensued, military service was curtailed by health deficiencies, and during the latter part of it he led the Ambrose Octet.
After the war Carew freelanced in London with Geraldo, Eric Robinson, Mantovani, George Melachrino and many others. In 1970 his first wife, Elsie, died and he subsequently married the music lecturer Avril Dankworth – founder of the children’s music camps bearing her name – a partnership which lasted the rest of his life.
Trombonist Les Carew died of Parkinson’s disease, shortly after completing his autobiography in 1994 in St Albans, Hertfordshire, England.
The Jazz Voyager
Thanks to the fates who had me buy a roundtrip ticket to New York’s JFK to head back into the city for a night at Birdland. The Jazz Voyager will be heading down to the Broadway District for the second set of the Oscar Peterson Centennial Celebration. However, it’s Harlem during the day to hit a couple of favorite spots, wander through the art galleries and see the evolution of the city.
This evening, Grammy-winning bassist John Clayton is joined by pianist Makoto Ozone and drummer Jeff Hamilton in celebration of their friend, colleague and mentor, Oscar Peterson. This is their first ever musical meeting at Birdland and will be performing his catalogue as well as their own compositions and beloved standards.
The cover charge ranges from $45.76 to $56.06 and this night promises to be something special.
Birdland is located at 315 W 44th St, New York, NY 10036. For more information contact the venue at https://www.birdlandjazz.com.
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