Houston Person - Houston Express (1971) [re-rip]

As period soul-jazz goes, this is considerably above the average. It's funky, but not in the bland crossover sense; there's a sense of jazz ensemble discipline to the arrangements, but it's still R&B-based enough to groove to. Cecil Bridgewater (trumpet), Billy Butler (guitar), Bernard Purdie (drums), and Motown bassist Gerry Jemmott are among the more notable contributors to this 1971 session. ~ by Richie Unterberger, AMG.

There are some great players on this album. The electric piano really kicks in on a number of tunes and the brass section adds further highlights, but as usual Houston’s tone is very undeniable and full. Enjoy!

Prestige Records, PR 10017, 1971

Recorded 8^th & 9^th April, 1971 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Houston Person - Tenor Saxophone

Cecil Bridgewater - Trumpet (#A4-B2)

Harold "Money" Johnson - Trumpet (#A1-A3,B3)

Thad Jones - Trumpet (#A1-A3,B3)

Ernie Royal - Trumpet (#A1-A3,B3)

Garnett Brown - Trombone (#A1-A3,B3)

Jack Jeffers - Trombone (#A1-A3,B3)

Harold Vick - Tenor Sax, Flute (#A1-A3,B3)

Babe Clarke - Baritone Sax (#A1-A3,B3), Tenor Sax (#A4-B2)

Paul Griffin - Piano, Electric Piano (#A1-A3,B3)

Jimmy Watson - Organ

Ernie Hayes - Organ, Electric Piano (#A4-B2)

Billy Butler - Guitar

Jerry Jemmott - Electric Bass

Bernard Purdie - Drums

Buddy Caldwell - Congas

Tracks:

A1. Young Gifted And Black {Nina Simone, Weldon Irvine} (5:17)

A2. The Houston Express {Horace Ott} (5:50)

A3. Enjoy {Horace Ott} (4:57)

A4. [For God's Sake] Give More Power To The People {Eugene Record} (3:42)

B1. Chains Of Love {Ahmet Nugetre} (7:33)

B2. Just My Imagination {Norman Whitfield, Barrett Strong} (5:34)

B3. Lift Every Voice {James Weldon Johnson, John Rosamond Johnson} (5:40)

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Horace Ott (#A1-A3,B3)

Art Direction, Cover Art - Tony Lane

Back Cover Photo - Al Johnson

Note:
Ahmet Nugetre aka Ahmet Ertegün [Founder Atlantic Records]

Pucho & The Latin Soul Brothers - Jungle Fire! (1970)

Henry “Pucho” Brown, and his Latin Soul Brothers continue in the vein of their previous albums, exploring elements of jazz, Latin music, soul, and funk. What sets this LP apart from its predecessors is the interpretation of three Norman Whitfield, Barrett Strong tunes. Both writer and lyricist are renowned for their contribution to the Motown Sound and of the late-1960s subgenre of psychedelic soul. The remaining two tracks are penned by Sonny Phillips, an organist, composer and noted soul jazz giant; also, a featured musician and leader on a number of other Prestige LPs. Apart from the great songwriting the album is boosted by the inclusion of saxophonist Seldon Powell, guitarist Billy Butler and as a regular electric pianist Neal Creque, adds his own magical touch. Of course, the Latin beats would not come to much if Pucho & his Latin Soul Brothers didn’t insurmountably fuse into each of the tunes their intoxicating rhythms. In the end another fine and entertaining album, enjoy!

Prestige Records, PRST 7765, 1970

Beat Goes Public, BGPD 1049, 1992

Recorded 12^th January, 1970 At Van Gelder Studio, Englewood Cliffs, NJ

Musicians:

Pucho - Timbales

Al Pazant - Trumpet

Seldon Powell - Tenor Saxophone, Saxophone [Varitone], Flute

Eddie Pazant - Tenor Saxophone

Earl Neal Creque - Electric Piano

Billy Bivins - Vibraphone, Percussion

Billy Butler - Guitar

Seaborn Westbrook - Bass [Fender]

Bernard "Pretty" Purdie - Drums

Joe Armstrong - Congas

Norberto Appellaniz - Bongos

Tracks:

A1. Friendship Train {Norman Whitfield, Barrett Strong} (5:10)

A2. Got Myself A Good Man {Norman Whitfield, Barrett Strong} (5:48)

A3. The Spokerman {Sonny Phillips} (5:15)

B1. Cloud 9 {Norman Whitfield, Barrett Strong} (8:59)

B2. Jamilah {Sonny Phillips} (6:17)

Total Time: 31:29

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Photo - H. Armstrong Roberts

Neal Creque - Creque (1972) [vinyl]

Creque is the 3rd album I’ve bought from this keys player. Bassist Gene Taylor starts things off with a grooving open bass line leading into a bit of an off-kilter song called Rafiki. Sis Daisy is a light and upbeat soul-jazz number with some nice congas by Richard “Pablo” Landrum. What’cha Call It is a slow and bluesy number that would make a nice listen when you’re in the right mood. ~ Soulstrut.com.

Cobblestone Records, CST 9005, 1972

Muse Records, MR 5226, 1976

Recorded at RCA Recording Studio, New York City

Musicians:

Neal Creque - Piano, Electric Piano, Organ, Clavinet

Billy Butler - Guitar

Alfred Brown - Violin

Kermit Moore - Cello

Gene Taylor - Bass, Fender Bass

Steve Berrios - Drums, Tympani

Julian Barber - Drums

Richard Landrum - Conga, Bongos, African Oboe, Misc. Percussion

Selwart Clarke - Misc. Percussion

Jackie Soul & Johnny Gittens - Misc. Percussion

+

Strings

The Ikinen Singers (#A2)

Tracks:

A1. Rafiki (4:57)

A2. Years Of Regret (4:29)

A3. Sis Daisy (4:34)

A4. Nina (4:38)

B1. What'Cha Call It (5:02)

B2. Black Velvet Rose (4:28)

B3. Cease The Bombing (4:56)

B4. Before The Rain Came (5:41)

All Compositions by Neal Creque

Credits:

Producer, Design, Photography - Don Schlitten

A&R Coordinator, Liner Notes - Joe Fields

Recording Engineer - Paul Goodman

Note:

Released on Cobblestone Records, and reissued January, 1976 on Muse Records as "Black Velvet Rose".

Billy Butler - Yesterday, Today & Tomorrow (1970) [re-rip]

Billy Butler is well known to guitarists only, as the co-author of the early R&B funked-up standard "Honky Tonk," with organist Bill Doggett. But the almighty groove wasn't Butler's only strength. With a saxophonist like Houston Person, he could play the most elegant swing - as in their read of the Rodgers & Hart classic "Dancing on the Ceiling" The wildest tune on the Person sessions is Neil Hefti and Bobby Troup's "Girl Talk." Before this I could never have imagined hearing this tune as an instrumental, but it works like grease on a bicycle chain with Butler punching up the melody and bending his strings all over it to make the language impenetrable to all but his rhythm section, and Person who flies over the top making the simple pop song into a work of groove jazz artistry. This album is a welcome introduction to one of the great, all-but-lost talents in jazz history. Billy Butler was a guitarist's guitarist and an innovator in both production and arrangements. This album is solid from top to bottom and reveals the restless spirit of a quiet yet demanding artist. ~ extracts taken from review by Thom Jurek, AMG.

This album is a continuation of display of ability and versatility presented in his first Prestige albums: This is Billy Butler! (Prestige 7622) and Guitar Soul! (Prestige 7734). This goes a bit further than the others in that it presents some music written and arranged by Billy for a guitar choir as well as some cooking things and standards he is known for. Most of the album reunites Billy with Ernie Hayes and Houston Person who were a part of his debut album for Prestige. Jimmy Lewis is no stranger to Billy since they worked together with King Curtis for some time. I think that once you have listened to the latest effort of Billy Butler you'll agree that it is every bit as good as his other two albums. If you are unfamiliar with him up to this point, welcome aboard! ~ Extract from Liner Notes by Sonny Mann.

Prestige Records, PRST 7797, 1970

Recorded 27th April (#B2,B3) & 29th June (#A1-B1,B4), 1970 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Billy Butler - Guitar, Bass Guitar

Houston Person - Tenor Saxophone (#A1-B1,B4)

Jerome Richardson - Tenor Saxophone, Flute (#B2,B3)

Ernie Hayes - Organ, Electric Piano (#A1-B1,B4)

Sonny Phillips - Organ, Electric Piano (#B2,B3)

Everett Barksdale - Guitar (#B2,B3)

Billy Suyker - Guitar (#B2,B3)

Jimmy Lewis - Electric Bass (#A1-B1,B4)

Chuck Rainey - Electric Bass (#B2,B3)

Jimmy Johnson - Drums

Track Listing:

A1. Yesterday, Today And Tomorrow {Billy Butler} (5:12)

A2. Girl Talk {Bobby Troup, Neal Hefti} (4:56)

A3. Dancing On The Ceiling {Lorenz Hart, Richard Rodgers} (5:43)

B1. Hold It! {Billy Butler, Clifford Scott} (3:51)

B2. Evening Dreams {Billy Butler} (4:10)

B3. The Butler Did It {Billy Butler} (3:47)

B4. Sweet Georgia Brown {Ben Bernie, Kenneth Casey, Maceo Pinkard} (4:49)

Credits:

Supervision - Bob Porter

Recording Engineer - Rudy van Gelder
Photo - Al Johnson
Design - Don Schlitten

Liner Notes - Sonny Mann, WFAS Radio, White Plains, N.Y. (Sept. 1970)

Billy Butler - Night Life (1971) [re-rip]

Butler was a versatile musician who, on ballads in particular displayed a very interesting sound, sometimes sliding between notes as if he were playing a steel guitar. ~ Scott Yanow, AMG.

The music on this LP is generally in the Soul Jazz vein. Butler apart from the title track Nightlife performs mostly standards including Wave, Watch What Happens, Prelude To A Kiss and In A Mellow Tone; along with one of his own; Peacock Alley. His sidemen include Houston Person or Jesse Powell on tenors, Johnny "Hammond" Smith on keyboards (electric piano or organ), electric bassist Bob Bushnell, and Jimmy Johnson on drums. This is a distinct improvement on "This Is BillyButler!" and is highly recommended

Prestige Records, PRST 7854, 1971

Recorded in 1971 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Billy Butler - Guitar

Johnny "Hammond" Smith - Organ, Electric Piano (#A3)

Jesse Powell - Tenor Saxophone

Houston Person - Tenor Saxophone (#A3,B3)

Bob Bushnell - Electric Bass

Jimmy Johnson - Drums

Tracks:

A1. Nightlife {Walt Breeland, Paul Buskirk, Willie Nelson} (5:57)

A2. Wave {Antonio Carlos Jobim} (5:52)

A3. Watch What Happens {Jacques Demy, Norman Gimbel, Michel Legrand} (5:03)

B1. Peacock Alley {Billy Butler, Bill Doggett} (4:08)

B2. Prelude To A Kiss {Duke Ellington, Irving Mills, Irving Gordon} (5:07)

B3. In A Mellotone {Duke Ellington, Milt Gabler} (9:44)

Credits:

Producer, Recording Supervisor - Bob Porter

Recording Engineer - Rudy van Gelder
Design - Don Schlitten

Liner Notes - Sonny Mann: WFAS Radio, White Plains, N.Y. (February, 1971)

Whether you as an individual are a “day lifer" or a "night lifer", Billy Butler has something to say to you. Within this jacket is an album that will appeal to people young and also not so young. And better appeal - or diversity - is hard to come by! ~ Extract from Liner Notes by Sonny Mann.

Billy Butler - Guitar Soul! (1969) [re-rip>flac]

If you haven't heard Billy Butler before this, you're due for a welcome surprise. On the other hand, if you've checked out Billy’s first Prestige LP This Is Billy Butler! (Prestige 7622) or remember his work with Bill Doggett's combo, then you already know that he's just about the best all-around guitarist going. The first thing about Billy's music that's likely to get to you is the rich, deep tone he produces on every member of the guitar family he plays. Interestingly, that sound is matched almost exactly by the warm, masculine baritone of his speaking voice. Of course, when you're talking about sound you can't neglect the unique "singing sound" which is becoming Billy's trademark. He politely declined when I asked him if he cared to reveal the method he uses to make the guitar sound like a swinging violin - after all, when you've got something good that's all your own you don't broadcast trade secrets. Still, he did explain that it involves careful co-ordination between the volume control and picking. You can hear the results all through 'Honky Tonk' and as occasional spice on other tracks. After sound, there’s the matter of swing and ideas, and here too Billy is right on top. His time has the mellow maturity that can only come from experience, and, to quote from my review of his first album, he has the ability to construct long, graceful melodies which resolve with an all’s-right-with-the-world equilibrium. You might say that there's something for everyone on this LP, but I prefer to think that everyone will dig all of it. And, if there's an annual award for the Noblest Deed By A Record Company. I nominate Prestige for turning the spotlight on Billy Butler. Albums like this are going to keep him there. ~ Extract from Liner Notes by Larry Kart (November, 1969).

Prestige Records, PRST 7734, 1969

Recorded 22^nd September, 1969 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Billy Butler - Guitar, Bass Guitar, Classic Guitar, Vocals (#A1)

Seldon Powell - Tenor Saxophone, Flute, Varitone

Sonny Phillips - Organ

Bob Bushnell - Electric Bass

Specs Powell - Drums

Tracks:

A1. Blow For The Blessing {Billy Butler, Charles Black} (9:28)

A2. Golden Earrings {Ray Evans, Jay Livingston, Victor Young} (4:04)

A3. The Thumb {Wes Montgomery} (4:18)

B1. Honky Tonk {Bill Doggett, Billy Butler, Clifford Scott, Shep Shepherd} (5:46)

B2. B & B Calypso {Bob Bushnell} (3:03)

B3. Seven Come Eleven {Benny Goodman, Charlie Christian} (5:43)

B4. Autumn Nocturne; You Go To My Head {Josef Myrow, Kim Gannon; J. Fred Coots, Haven Gillespie} (3:28)

Credits:

Supervision - Bob Porter

Recording Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Liner Notes - Larry Kart

Billy Butler - This Is Billy Butler! (1968) [re-rip]

In the 1960s, Billy Butler was not only one of the top guitarists in the soul-jazz field - he was also a busy, in-demand session player who backed his share of R&B heavyweights. Butler, one of the countless jazz greats who came out of Philadelphia, had so much work as a sideman that it took him a long time to record an album under his own name. In fact, the guitarist had just turned 43 when, in December 1968, he recorded his first session as a leader, This Is Billy Butler. This vinyl LP is a soul-jazz/hard bop classic, and Butler has a talented cast of players to help him pull it off - one that includes producer Bob Porter and engineer Rudy van Gelder, as well as tenor saxman Houston Person and pianist/organist Ernie Hayes (among others). While Person delivers his share of inspired solos, Butler is the man in the driver's seat, and he really soars on material that ranges from Nat Adderley's "Work Song" to Butler originals like "Bass-ic Blues" and "The Soul Roll." Butler and his sidemen also turn their attention to Don Redman's "Cherry," a standard that has often been heard in classic jazz and swing settings, but easily lends itself to an inspired soul-jazz makeover. In retrospect, it's surprising that a guitarist of Butler's stature didn't record as a leader extensively - after providing four of his own LPs for Prestige in 1968-1970, he only recorded a few more LPs for various independent labels. But then, Butler's sidemen work didn't leave him with a lot of free time. It took the Philadelphian 43 years to record as a leader, and this excellent LP proved that he was certainly up to the task. ~ by Alex Henderson, AMG.

Prestige Records, PRST 7622, 1969

Recorded 16^th December, 1968 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Billy Butler - Guitar, Bass Guitar (#B3)

Houston Person - Tenor Saxophone (Except #B3)

Ernie Hayes - Organ (#A1,A3-B2), Electric Piano (#A2,B3)

Bob Bushnell - Electric Bass

Rudy Collins - Drums

Tracks:

A1. The Twang Thang {Billy Butler, Ernie Hayes} (5:13)

A2. Cherry {Don Redman, Ray Gilbert} (6:44)

A3. Work Song {Nat Adderley} (5:52)

B1. The Soul Roll {Billy Butler} (4:41)

B2. She Is My Inspiration {Connie Wharton, Edward Wharton} (5:12)

B3. Bass-ic Blues {Billy Butler} (6:23)

Credits:

Supervision, Liner Notes - Bob Porter

Recording Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Neal Creque - Contrast! (1972) [vinyl>flac]

Neal Creque was a soul-jazz luminary of the late ‘60’s and ‘70’s, recording extensively with Grant Green, and writing and arranging many of Cuban conguero Mongo Santamaria’s funkiest efforts. This album of his is all over the map stylistically, from solo piano tunes to Latin-funk fusion, and it encapsulates a number of varied moods within its relatively short playing time. Not easy to acquire. ~ by dmay28.

Ripped from a well-used LP, contains a few artifacts, otherwise a great listen, Enjoy!

Cobblestone Records, CST 9023, 1972

Personnel:

Neal Creque - Piano, Electric Piano, Clavinet, Organ, Bells

Billy Butler - Guitar

John Hart - Fender Bass

Kermit Moore - Cello

Al Foster - Drums

James Morrison, Leo Flemming, Richard Landrum, Steve Kroon, William Bivins:
Congas, Bongos, Tambourine, Triangle, Cuica, Shekere, Bells, Oboe [African],
Bajo Quinto, Claves, Guiro, Percussion [Other Miscellaneous]

Alfred Brown, Selwart Clarke, Winston Collymore - Viola

Tracks:

A1. Kenya (8:00)

A2. Help Yourself (4:32)

A3. Bacalau (4:24)

A4. Happy Go Lucky (2:23)

A5. Just A Moment (2:52)

B1. D Train (3:27)

B2. Love And Life (5:18)

B3. Jasmine (2:59)

B4. Two Loving Hearts (3:19)

B5. All This World Has To Offer (6:00)

All Compositions by Neal Creque

Credits:

Producer, Design, Photography - Don Schlitten

Executive-Producer, A&R Coordinator - Joe Fields

Recording Engineer - Paul Goodman

Mastering - Sam-Feldman (Bell Sound Studios, New York City)

Composer, Arranger - Neal Creque

David "Fathead" Newman - The Many Facets Of David Newman (1969) [re-rip]

This set along with "Bigger & Better" from 1968 'are among tenor-saxophonist David "Fathead" Newman's more commercial efforts. The Many Facets of David Newman is less poppish and more blues-oriented with the lengthy "Children of Abraham" showing some passion.' According to Mr. Yanow he states that 'overall the material is rather weak and has not aged very well. Skip this set in favor of Newman's more recent efforts.' However, I am not sure he truly listened to this album. Even though he did make mention of "Children of Abraham" there is still some great playing and artistry going down across many other tunes found on this LP. Listen with an open mind and judge for yourselves. Enjoy!

Atlantic Records, SD 1524, 1969

Recorded 7/03/68 (#A2,B2,B3); 2/12/68 (#A1,B1); 3/12/68 (#A3);
4/12/68 (#B4) and 11/2/69 (#A4) in New York City

Personnel:

David "Fathead" Newman - Alto, Tenor & Soprano Saxophones, Flute

Seldon Powell - Tenor Saxophone

Haywood Henry, Jerome Richardson - Baritone Saxophone

Melvin Lastie, Joe Newman, Jimmy Owens, Ernie Royal - Trumpet

Bennie Powell - Trombone

Paul Ingram, Julius Watkins - French Horn

Jack Knitzer - Oboe

Gene Orloff, Emanuel Green, Leo Kruczek, Richard Elias, Leo Kahn - Violin

Selwart Clarke, Alfred Brown - Viola

Kermit Moore - Cello

Joe Zawinul, George Stubbs - Piano

Billy Butler, Eric Gale - Guitar

Richard Davis, Ron Carter - Acoustic Bass

Chuck Rainey - Electric Bass

Bernard Purdie, Bruno Carr - Drums

Omar Clay - Percussion

Tracks:

A1. Shiloh {David "Fathead" Newman} (4:29)

A2. We're A Winner {Curtis Mayfield} (3:06)

A3. Children Of Abraham {William Fischer} (10:06)

A4. Headstart {David "Fathead" Newman} (2:53)

B1. Chained No More {David "Fathead" Newman} (6:23)

B2. The Funky Way To Treat Somebody {Calvin Arnold} (3:05)

B3. Sylvia {Henry Cosby, Stevie Wonder, Sylvia Moy} (3:17)

B4. That's All {Alan Brandt, Bob Haymes} (6:11)

Credits:

Producer - Joel Dorn

Recording Engineer - Adrian Barber, Bruce Tergesen, William Arlt

Arranger - Arif Mardin (#A2,B2,B3), David "Fathead" Newman (#A1,A4), William Fischer (#A3,B1,B4)

Gene Ammons - My Way (1971) [vinyl>flac]

Although late in the Prestige jazz funk years, and not in the small combo mode of some of Ammons' best early 70s sides, this is still an excellent batch of tracks - thanks to hip arrangements from Bill Fisher! The format's almost in a Kudu/CTI mode, as larger arrangements envelope Jug's soulful tenor - funking away with a blacksploitation on tracks like "Chicago Breakdown", "Back In Mérida", and a great cover of "What's Going On", all done with tight horns, compressed guitar, and even a bit of strings. There's a few mellower numbers that aren't as great - but these tracks more than make the album worth having! © Dusty Groove America, Inc.

Ammons is joined with some great players on these sessions, in particular Roland Hanna & Ted Dunbar on the 1^st Side. On the 2^nd side Billy Butler does his thing along with Ron Carter and banging away in the background is the mighty Idris Muhammad. Also with brass and strings added there are some very dynamic grooves going down. Even though this is a latter-day album by Ammons he still blows amazing hard right throughout, Enjoy!

Prestige Records, PR 10022, 1971

Recorded 26^th July (#B1-B3) & July (#A1-A3), 1971 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Gene Ammons - Tenor Saxophone

Robert Prado- Trumpet (#A1,A2,B1-B3)

Ernie Royal - Trumpet (#A1,A2,B1-B3)

Garnett Brown - Trombone (#A1,A2,B1-B3)

Richard Landry - Tenor Saxophone (#A1,A2,B1-B3)

Babe Clark - Baritone Saxophone (#A1,A2,B1-B3)

Roland Hanna - Electric Piano (#A1-A3)

Ted Dunbar - Guitar (#A1-A3)

Billy Butler - Guitar (#B1-B3)

Ron Carter - Bass (#B1-B3)

Chuck Rainey - Electric Bass (#A1,A2)

Idris Muhammad - Drums (#A1,A2,B1-B3)

Omar Clay - Percussion (#A1,A2,B1,B2)

Yvonne Fletcher, Patricia Hall, Loretta Ritter, Linda Wolfe - Vocals (#A2,B1,B2)

Unidentified String Section (#A2,B1,B3)

Bill Fischer - Arranger And Conductor

Track Listing:

A1. Chicago Breakdown {William S. Fischer} (9:37)

A2. What's Going On {Renaldo Benson, Al Cleveland, Marvin Gaye} (4:15)

A3. A House Is Not A Home {Burt Bacharach, Hal David} (3:41)

B1. Sack Full Of Dreams {Gary McFarland, Louis Savary} (6:19)

B2. Back In Mérida {William S. Fischer} (4:17)

B3. My Way {Paul Anka, Claude François, Jacques Revaux} (5:58)

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Bill Fisher

Photography & Design - Tony Lane

Gene Ammons - Brother Jug! (1969) [vinyl>flac]

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. ~ by Stewart Mason, AMG.

Nice soul jazz vibes from Mr. Ammons featuring Bernard Purdie, Candido and Billy Butler amongst others. The track Jungle Strut is a stone cold B-boy throwdown. ~ Mista WARZ!!!

Prestige Records, PR 7792, 1969

Recorded 10th (#B3) & 11th (#A1-B2) November, 1969 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Gene Ammons - Tenor Saxophone

Sonny Phillips - Organ (#A1-B2)

Junior Mance - Piano (#B3)

Billy Butler - Guitar (#A1-B2)

Bob Bushnell - Electric Bass (#A1-B2)

Buster Williams - Bass (#B3)

Bernard Purdie - Drums (#A1-B2)

Frankie Jones - Drums (B3)

Candido - Congas (#B3)

Track Listing:

A1. Son Of A Preacher Man {John Hurley, Ronnie Wilkins} (4:20)

A2. Didn't We {Jimmy Webb} (5:58)

A3. He's A Real Gone Guy {Nellie Lutcher} (4:59)

B1. Jungle Strut {Gene Ammons} (5:03)

B2. Blue Velvet {Lee Morris, Bernie Wayne} (4:02)

B3. Ger-Ru {Gene Ammons} (8:37)

Credits:

Supervisor - Bob Porter

Recording Engineer - Rudy Van Gelder

Liner Notes - Dan Morgenstern (May 1970)

Note:

There is discrepancy in the session listing at the ‘Prestige Records Discography Project’.
Prince James not listed, but is on album cover. Also Billy Butler only seems to play on tracks A1, B1.