There are many Gene Ammons recordings currently available on CD in Fantasy's Original Jazz Classics, since the versatile tenorman was a longtime Prestige recording artist. Unlike his earlier jam sessions, this particular outing finds Ammons as the only horn, fronting a talented rhythm section (pianist Tommy Flanagan, bassist Doug Watkins, drummer Art Taylor, and Ray Barretto on congas). Ammons explores standards (including a near-classic version of "Canadian Sunset"), blues, and ballads in his usual warm, soulful, and swinging fashion. This is a fine outing by one of the true "bosses" of the tenor.

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.

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 and also released on Hybrid SACD. All mastered from the original analog master tapes by mastering maestro Kevin Gray.

This fourth installment in the Classics Gene Ammons chronology sews together everything recorded and released under his name for the Prestige, Decca, and United record labels between June 1951 and June 1953. Instrumental highlights, in addition to Ammons' sensually charged tenor saxophone, include Sonny Stitt on supporting tenor (on tracks 13-16, Stitt plays baritone sax); trombonist J.J. Johnson (tracks 13-16); and trumpeter supreme Johnny Coles, who was destined to make outstanding records with James Moody and Charles Mingus (tracks 17-24). This particular slice of Gene Ammons' career is delightfully gutsy and easy to relate to…

As is often the case in this CD reissue series, the music has little to do with acid jazz, but it does feature a few organists. Tenor saxophonist Gene Ammons is heard on music that formerly comprised two complete LPs from 1970-1971 (The Black Cat and As You Talk That Talk), plus a pair of titles from a 1962 date only previously out on a sampler. The Black Cat is an interesting if erratic set that finds Ammons (along with guitarist George Freeman, Harold Mabern on electric piano, bassist Ron Carter, and drummer Idris Muhammad) playing everything from the pop tune "Long Long Time" and George Harrison's "Something" (both of those tunes have unimaginative strings) to "Jug Eyes" and the boppish blues "Hi Ruth." As You Talk That Talk is a reunion with fellow tenor Sonny Stitt…

This was Ammons' final recording before "being made an example of" and getting a lengthy jail sentence for possession of heroin; his next record would be cut over seven years later. The music is surprisingly upbeat, with Ammons joined by two guitars (Bucky Pizzarelli and Kenny Burrell), a fine rhythm section (pianist Hank Jones, bassist Norman Edge, and drummer Oliver Jackson), and the bongos of Al Hayes for a set of Latin-flavored jazz that was masquerading as bossa nova. The music is offbeat if not all that memorable, a decent effort but not essential.

For those who love Gene "Jug" Ammons' playing, there are various reasons to be frustrated. First, the tenor titan was only 49 when he died of cancer on August 6, 1974 - in an ideal world, a player that masterful would have had as long a life as Benny Carter. And second, there is the fact that Ammons was imprisoned for heroin use from 1962-1969; the harsh sentence that he received makes an excellent case for combating drug abuse with treatment rather than incarceration. But here's the good news: When Ammons wasn't behind bars, he recorded frequently and his work was - despite his drug problems - amazingly consistent. If Fantasy decided to put together a 20-CD Ammons box set, there would be a wealth of five-star material to choose from…

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…

This encounter between tenor saxophonist Gene Ammons and Sonny Stitt (who doubles on tenor and alto) is a true classic. Ammons and Stitt teamed together many times over a three-decade period, including co-leading a band during 1950-1952, but Boss Tenors is arguably their finest recording. Backed by pianist John Houston, bassist Buster Williams, and drummer George Brown, Ammons and Stitt battle it out on "There Is No Greater Love," Ammons' "The One Before This," "Autumn Leaves," "Blues Up and Down," and Stitt's "Counter Clockwise." This is competitive bebop at its best, with Stitt and Ammons proving to be equal matches. Essential music for all jazz collections.

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 you united Ammons 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 final of his series of jam sessions for Prestige features an excellent septet (the leader on tenor, trumpeter Idrees Sulieman, baritonist Pepper Adams, pianist Mal Waldron, bassist Doug Watkins, drummer Art Taylor and Ray Barretto on congas) stretching out on three original blues and the ballad "Hip Tip"; all four pieces were written by Waldron. Few surprises occur but everyone plays up to their usual high level.