Tenor saxophone giant Gene Ammons, aka "Jug", was one of the seminal figures at the crossroads between the earlier tenor saxophone styles of Lester Young, Coleman Hawkins and Ben Webster - and the BeBop evolution / revolution of the mid to late 1940s, sparked by the innovative genius of Charlie Parker.
Add to that the blues influences of his native Chicago - as well as that of his celebrated pianist father, "Boogie Woogie" innovator Albert Ammons - and you've got one of the "phatest", most distinct, expressive and soulful tenor saxophone sounds ever heard.
Ammons recorded for several record labels from the late 1940s until his passing in 1974, but the bulk of his recorded output was for Bob Weinstock's Prestige Records label.
It's from one of these Prestige recordings that the subject of this post - a transcription of Jug's solo on the popular show tune "Exactly Like You" - is taken.
Add to that the blues influences of his native Chicago - as well as that of his celebrated pianist father, "Boogie Woogie" innovator Albert Ammons - and you've got one of the "phatest", most distinct, expressive and soulful tenor saxophone sounds ever heard.
Ammons recorded for several record labels from the late 1940s until his passing in 1974, but the bulk of his recorded output was for Bob Weinstock's Prestige Records label.
It's from one of these Prestige recordings that the subject of this post - a transcription of Jug's solo on the popular show tune "Exactly Like You" - is taken.
Recorded on Jan. 27th, 1961 by Rudy Van Gelder, "Exactly Like You" was eventually released as part of the album simply titled "Jug" on Prestige. The personnel on this particular track, besides Ammons on tenor, is Richard Wayands - piano, Doug Watkins - bass, J.C. Heard - drums and Ray Barretto - congas (several years before becoming the New York "Salsa" icon, for which he's remembered).
On a personal note, this was one of the earliest Jazz recordings I owned (vinyl, 331/3 rpm), from my high school days. I actually thought I was buying an album by blues singer Jimmy Witherspoon, which I picked from out of the discount bin. When I got home and pulled the record from the sleeve - they didn't match. The cover said Witherspoon but the label said "Jug - Gene Ammons" - who I had, up to that point, never heard of. After the expected "WTF..." moment, I put the disc on the turntable - the first track being "Exactly Like You" - and the rest is love affair history.
As for the tune itself, "Exactly Like You" possesses a 32-bar, AABA standard song form. It was written for a 1930 musical by the duo of Jimmy McHugh and Dorothy Fields (music and lyrics, respectively), who also wrote the standard "On the Sunny Side of the Street". Over the years, it's been recorded by many diverse stylists - from Louis Armstrong and Benny Goodman to Aretha Franklin and Willie Nelson.
The Ammons' version, discussed here, is taken at a relaxed tempo (ca. 112 bpm), with Barretto's repeated conga pattern introducing and maintaining an easy, funky, head-bobbin' bounce throughout.
The following notation examples are in tenor key Bb (Ab Concert), since some of Jug's unique "tenorisms" come into play here. Concert key and Eb versions of the complete solo are available from the free download link near the bottom of this page, where the entire solo can be heard via the embedded YouTube video, as well.
On a personal note, this was one of the earliest Jazz recordings I owned (vinyl, 331/3 rpm), from my high school days. I actually thought I was buying an album by blues singer Jimmy Witherspoon, which I picked from out of the discount bin. When I got home and pulled the record from the sleeve - they didn't match. The cover said Witherspoon but the label said "Jug - Gene Ammons" - who I had, up to that point, never heard of. After the expected "WTF..." moment, I put the disc on the turntable - the first track being "Exactly Like You" - and the rest is love affair history.
As for the tune itself, "Exactly Like You" possesses a 32-bar, AABA standard song form. It was written for a 1930 musical by the duo of Jimmy McHugh and Dorothy Fields (music and lyrics, respectively), who also wrote the standard "On the Sunny Side of the Street". Over the years, it's been recorded by many diverse stylists - from Louis Armstrong and Benny Goodman to Aretha Franklin and Willie Nelson.
The Ammons' version, discussed here, is taken at a relaxed tempo (ca. 112 bpm), with Barretto's repeated conga pattern introducing and maintaining an easy, funky, head-bobbin' bounce throughout.
The following notation examples are in tenor key Bb (Ab Concert), since some of Jug's unique "tenorisms" come into play here. Concert key and Eb versions of the complete solo are available from the free download link near the bottom of this page, where the entire solo can be heard via the embedded YouTube video, as well.
Ex. 1 - Break, 01:11
After stating the melody, Ammons unhurriedly executes a 2-bar break leading into the first chorus of his masterful 2-chorus solo.
The first thing that catches the ear is Jug's muscular tenor sound, which he flexes in bar #1 of the tune with a crescendo, while fingering a middle C (the 9th of Bb Maj) for 3 beats. Then, on beat #4, while using an alternate fingering at the height of the crescendo, he issues what might be best described as a short, "honk", in order to make sure he's got everyone's attention.
"Good evening folks, Jug in the house!"
After stating the melody, Ammons unhurriedly executes a 2-bar break leading into the first chorus of his masterful 2-chorus solo.
The first thing that catches the ear is Jug's muscular tenor sound, which he flexes in bar #1 of the tune with a crescendo, while fingering a middle C (the 9th of Bb Maj) for 3 beats. Then, on beat #4, while using an alternate fingering at the height of the crescendo, he issues what might be best described as a short, "honk", in order to make sure he's got everyone's attention.
"Good evening folks, Jug in the house!"
Listen
Ex. 2 - Basement Gliss, 01:30
As evidenced in bar #10 (ca. 1:30) by the rapid ascending arpeggio - from a low tenor B-natural to a middle C# - followed immediately by an agitated glissando back down, ending on the low-Bb at the very bottom of the horn, it seems that Jug doesn't yet feel he has our undivided attention.
Once all ears are on Jug, he speaks his piece softy in bar #11 with a phrase (on Bb Maj7) similar in shape and contour to his statement in the opening break - and on the same chord.
He continues to develop his line, punctuated and balanced by rests, opening up the melodic vista by including the sharp-11 (F#) as part of the C7 descending arpeggio, in bar #13.
As evidenced in bar #10 (ca. 1:30) by the rapid ascending arpeggio - from a low tenor B-natural to a middle C# - followed immediately by an agitated glissando back down, ending on the low-Bb at the very bottom of the horn, it seems that Jug doesn't yet feel he has our undivided attention.
Once all ears are on Jug, he speaks his piece softy in bar #11 with a phrase (on Bb Maj7) similar in shape and contour to his statement in the opening break - and on the same chord.
He continues to develop his line, punctuated and balanced by rests, opening up the melodic vista by including the sharp-11 (F#) as part of the C7 descending arpeggio, in bar #13.
Listen
Ex. 3 - Get Busy, 01:50
In this next section (bars #19-27), Ammons dazzles with some 16th-note Paker-esque phraseology. As mentioned previously, Gene Ammons was an evolutionary link between earlier tenor styles and those of the Bebop movement and beyond.
It's interesting to notice that in bars #20 & #24, Jug superimposes a diminished phrase as a passing chord, while bassist Doug Watkins plays the original changes Eb-7 Ab7 (Db-7 Gb7 concert). It sounds smooth, with no clash - thanks in part to pianist Richard Wyands' deft comping.
In this next section (bars #19-27), Ammons dazzles with some 16th-note Paker-esque phraseology. As mentioned previously, Gene Ammons was an evolutionary link between earlier tenor styles and those of the Bebop movement and beyond.
It's interesting to notice that in bars #20 & #24, Jug superimposes a diminished phrase as a passing chord, while bassist Doug Watkins plays the original changes Eb-7 Ab7 (Db-7 Gb7 concert). It sounds smooth, with no clash - thanks in part to pianist Richard Wyands' deft comping.
Listen
Ex. 4 - Down Shift, 02:13
Within the final 5 bars of the first chorus (#30 - 34), Jug brilliantly shifts gears, focusing on a single note, 2nd octave Bb (Ab concert) - which is the tonic of the home key.
He builds tension by alternating rhythmically between anticipating the first beat of each measure and hitting it square on the beat, with rests in between. He leads into the 2nd chorus with a simple Bb Maj triad.
His use of scoops and falls adds to the drama.
Within the final 5 bars of the first chorus (#30 - 34), Jug brilliantly shifts gears, focusing on a single note, 2nd octave Bb (Ab concert) - which is the tonic of the home key.
He builds tension by alternating rhythmically between anticipating the first beat of each measure and hitting it square on the beat, with rests in between. He leads into the 2nd chorus with a simple Bb Maj triad.
His use of scoops and falls adds to the drama.
Listen
Ex. 5 - Tricky Triplets, 02:30
Below is an example, near the top of the second chorus, of Ammons' rhythmic inventiveness and swing.
The phrase in bar #39 is based on a repeating triplet figure against a basic rhythmic contour of two dotted quarters, plus a quarter note, which adds up to the four beats in the bar.
The bottom note of each of the 3 groupings descends chromatically (G-Gb-F).
Below is an example, near the top of the second chorus, of Ammons' rhythmic inventiveness and swing.
The phrase in bar #39 is based on a repeating triplet figure against a basic rhythmic contour of two dotted quarters, plus a quarter note, which adds up to the four beats in the bar.
The bottom note of each of the 3 groupings descends chromatically (G-Gb-F).
Listen
Ex. 6 - Final Four, 03:21
Jug winds his solo down with simplicity, as he did at the end of his previous chorus. Once again, his final statement is centered around the tonic Bb (Ab concert), with the lower note ascending chromatically in each of the first three measures (C-Db-D). The Db in the second bar (#64) melodically implies a Db (B concert) diminished passing chord.
Jug winds his solo down with simplicity, as he did at the end of his previous chorus. Once again, his final statement is centered around the tonic Bb (Ab concert), with the lower note ascending chromatically in each of the first three measures (C-Db-D). The Db in the second bar (#64) melodically implies a Db (B concert) diminished passing chord.
Listen
If there were ever something close to a "perfect" 2-chorus improvised solo, where everything sounds organic, in the right place and inspired - this would be it!
In fact, the whole album is that way, and should be considered a Classic!
For anyone learning the language and nuances of BeBop, at any level, this Gene Ammons solo is a great resource.
Take a swig from the Jug!
In fact, the whole album is that way, and should be considered a Classic!
For anyone learning the language and nuances of BeBop, at any level, this Gene Ammons solo is a great resource.
Take a swig from the Jug!
B. Stern
For more about the life and music of Gene "Jug" Ammons, check out NPR's page.
If you've ever seen the film "Faded Gigolo", starring John Turturro and Woody Allen, you'll notice that the soundtrack is made up of cuts from Jug's "Boss Tenor" album, including "Canadian Sunset".
Solo-styled Etudes are a fun and entertaining way to study tunes!
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