Willis Jackson - Smoking With Willis (1965) [re-rip]

'Smoking with Willis' is a soul jazz album by American tenor saxophonist Willis Jackson, recorded in 1965 and released on the Cadet Records label. The album features Jackson leading a sextet with an organ-driven rhythm section, blending two original compositions "Doin' the Mudcat" and "Goose Pimples" with The Beatles covers "And I Love Her," "Yesterday," "A Hard Day's Night", alongside standards "Broadway" and "Who Can I Turn To (When Nobody Needs Me)" in a groovy, mid-1960s soul jazz style that emphasizes playful saxophone solos and tight ensemble interplay. Musically, it showcases Jackson's proficiency on tenor saxophone within a compact group featuring organist Butch Cornell, guitarist Vincent Corrao, trumpeter Franklyn Robinson, bassist Bob Bushnell, and drummer David Niskanan, all under the production supervision of Esmond Edwards. The album captures the vibrant soul jazz scene of the era, with its infectious rhythms and accessible interpretations. The jazz idiom of "smoking" describes Willis' fiery, energetic performances that captivated audiences. By incorporating organ combos, 'Smoking with Willis' evokes the gritty, repetitive grooves typical of soul jazz, blending earthy melodies with a rhythmic punch that appealed to both jazz enthusiasts and broader listeners seeking an upbeat, soulful fare. ~ Extract from grokipedia.com. 

Cadet Records, LPS-763, 1965
Recorded November, 1965 at A&R Recording Studios, Studio D, New York City 

Musicians:
Willis Jackson - Tenor Saxophone
Franklyn Robinson - Trumpet
Butch Cornell - Organ
Vincent Corrao - Guitar
Bob Bushnell - Bass
David Niskanan - Drums 

Tracks:
A1. Doin' The Mudcat {David C. Randolph, Willis Jackson} (4:16)
A2. And I Love Her {John Lennon, Paul McCartney} (4:34)
A3. Goose Pimples {David C. Randolph, Willis Jackson} (4:38)
A4. Yesterday {John Lennon, Paul McCartney} (3:13)
B1. Broadway {Bill Bird, Henry Woode, Teddy McCrae} (6:51)
B2. Who Can I Turn To [When Nobody Needs Me] {Anthony Newley, Leslie Bricusse} (4:44)
B3. A Hard Day's Night {John Lennon, Paul McCartney} (5:37) 

Total Time: 33:53 

Credits:
Producer, Supervisor, Design [Cover], Photography - Esmond Edwards

LINK

Goose Pimples

Willis Jackson - Gentle Gator (1995)

Gentle Gator is a compilation album by American jazz saxophonist Willis "Gator" Jackson, released in 1995 by Prestige Records. The album showcases the "mellow" side of Jackson, who was primarily known as a high-energy "honker" and rhythm and blues tenor man. The collection features recordings from 1961 and 1962, focusing on "deep soul ballads" and "caressing blue ballads". It includes tracks originally released on his Prestige albums like In My Solitude (Moodsville, Vol. 17), Really Groovin' (Prestige 7196), Neopolitan Nights (Prestige 7264) and Shuckin' (Prestige 7260). Jackson is joined by notable sidemen including pianists Tommy Flanagan and Richard Wyands, guitarists Kenny Burrell and Bucky Pizzarelli, bassists Peck Morrison and Wendell Marshall, Drummers Mickey Roker and Gus Johnson, conga player Juan Amalbert, along with a myriad of other fine musicians. Overall, this album captures Jackson's ability to render "ravishing" and "enchanted" balladry. 

Prestige Records, PRCD-24158-2, 1995
Recorded 11th April, 1961 (#1,2,4,10-12) [My Solitude]
Recorded 10th January, 1961 (#3,6-8) [Really Groovin']
Recorded 19th December, 1962 (#5) [Neopolitan Nights]
Recorded 30th October, 1962 (#9) [Shuckin'] 

Musicians:
Willis Jackson - Tenor Sax
Richard Wyands - Piano (#1,2,4,10-12)
Jimmy Neeley - Piano (#3,6-8)
Gildo Mahones - Piano (#5)
Tommy Flanagan - Piano (#9)
Bucky Pizzarelli - Guitar (#5)
Kenny Burrell - Guitar (#9)
Peck Morrison - Bass (#1,2,4,10-12)
Wendell Marshall - Bass (#3,6-8)
George Tucker - Bass (#5)
Eddie Calhoun - Bass (#9)
Mickey Roker - Drums (#1,2,4,10-12)
Gus Johnson - Drums (#3,6-8)
Bobby Donaldson - Drums (#5)
Roy Haynes - Drums (#9)
Juan Amalbert - Congas (#3,6-9)
Montego Joe - Congas (#5), Percussion (#9)
Jose Paulo - Percussion (#9) 

Tracks:
01. Solitude {Duke Ellington, Eddie Delange, Irving Mills} (5:04)
02. Estrellita {Manuel María Ponce Cuéllar} (4:10)
03. Girl Of My Dreams {Sunny Clapp} (6:36)
04. It Never Entered My Mind {Richard Rodgers, Lorenz Hart} (4:01)
05. Al Di La {Carlo Donida} (4:46)
06. Careless Love {Traditional} (4:24)
07. I Remember Clifford {Benny Golson} (3:48)
08. Again {Dorcas Cochran, Lionel Newman} (4:05)
09. Amor {Gabriel Ruiz, Ricardo Lopez Mendez} (7:48)
10. Nancy [With The Laughing Face] {Jimmy Van Heusen, Phil Silvers} (5:22)
11. Home {Geoffrey Clarkson, Harry Clarkson, Peter Van Steeden} (5:10)
12. They Didn't Believe Me {Jerome Kern, Michael E. Rourke} (3:37) 

Total Time: 58:51 

Credits:
Supervisor - Esmond Edwards (#1-4,6-8,10-12)
Supervisor - Ozzie Cadena (#5,9)
Recording Engineer - Rudy van Gelder
Digital Remastering - Phil De Lancie
Compilation, Liner Notes - Bob Porter
Art Direction - Phil Carroll
Liner Notes - Sidney Falco

LINK

It Never Entered My Mind

Various Artists - Jazz For When You're Alone (1999)

The 32 Jazz label, under the leadership of Joel Dorn, continues to release compilations designed to fit a particular mood or state of being. Thus, there have been albums as Jazz for a Rainy Afternoon, Groove Jammy, and Songs That Made the Phone Light Up. Now we have an album dedicated to being alone, not loneliness as Dorn explains his liner notes. But with this play list, the line between the two gets really blurred. Whatever, this is a comprehensive collection of tracks by the top jazz luminaries for albums they cut for the now defunct Muse label and all of them are outstanding regardless of the mood you're in. The Sonny Stitt performance of "Sweet and Lovely" is one of the album's highlights as his sax works in, out, under, and through the piano of Duke Jordan and Sam Jones' bass. The credits list Stitt playing a soprano, but it's the alto he has in his hands for introspective blowing of this classic standard. Wallace Roney is the ostensible leader on "Lost." But his Miles Davis-like trumpet is subordinated to the classical oriented piano of Jacky Terrasson who penned this song. Donald Byrd, sounding even more like Miles than Roney, is united with Joe Henderson for a ruminative rendering of his "That's all There Is to Love." A memorable track is Houston Person's "Everything Happens to Me." Not only does Person's Ben Webster influenced tenor fit nicely with the tune's theme, but there's major soloing by Cecil Bridgewater's muted trumpet and the under recorded Stan Hope piano. The quintessential "alone" song, Thelonious Monk's "'Round Midnight," has been assigned to major electric guitar improviser Larry Coryell who gets considerable assistance along the way from Stanley Cowell's piano. Phil Woods creates a vision of a summer ending with "The Summer Knows" as his engages in musical discussion with bass player Richard Davis. Woods, and all the other artists on this album, are in fine fettle resulting in another superior compilation from jazz impresario Dorn's 32Jazz label. 

32 Jazz, 32106, 1999 

Personnel:
See included Tracks [Personnel].txt for further details. 

Tracks:
01. Willis Jackson, Pat Martino - Blue Velvet (7:41)
02. Red Garland - The Second Time Around (3:15)
03. Houston Person - Everything Happens To Me (6:06)
04. Les McCann - Sunny (8:09)
05. Larry Coryell - 'Round Midnight (4:39)
06. Sonny Stitt - Sweet And Lovely (7:09)
07. Wallace Roney - Lost (3:50)
08. Vincent Herring - Stars Fell On Alabama (6:25)
09. Donald Byrd - That's All There Is To Love (5:47)
10. Phil Woods - The Summer Knows (6:25)
11. Pat Martino - You Don't Know What Love Is (4:46)

Total Time: 64:17 

Credits:
Compilation Producer - Adam Dorn
Producer [Series] - Joel Dorn

Willis Jackson - In My Solitude (1961) [vinyl]

One of the rarest Willis Jackson albums of the 60s - recorded for the smaller Moodsville subsidiary of Prestige, and done in a dreamy late nite mode that's quite different from some of Jackson's other sets! The group is a quartet with Richard Wyands on piano - offering a starker, darker backing than Willis received on his organ-based albums for Prestige - a sound that allows Jackson to open up in these mellow and introspective solos, blown out of sadness into the darkness - with a tone and sound that seems to know no bottom. The set is recorded with a nice use of echo that seems to enforce this quality - and titles include "It Never Entered My Mind", "Home", "They Didn't Believe Me", "Estrellita", and "In My Solitude". © Dusty Groove, Inc.

Prestige/Moodsville Records, MVLP 17, 1961

Recorded 10^th January, 1961 (#A4) & 11^th April, 1961 (#A1-A3,B1-B4)
At Van Gelder Studio in Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Richard Wyands - Piano (#A1-A3,B1-B4)

Jimmy Neeley - Piano (#A4)

Peck Morrison - Bass (#A1-A3,B1-B4)

Wendell Marshall - Bass (#A4)

Mickey Roker - Drums (#A1-A3,B1-B4)

Gus Johnson - Drums (#A4)

Juan Amalbert - Congas (#A4)

Tracks:

A1. Nobody Knows The Trouble I Seen {Traditional} (4:12)

A2. Sometimes I Feel Like A Motherless Child {Traditional} (3:41)

A3. [In My] Solitude {Eddie DeLange, Duke Ellington, Irving Mills} (5:04)

A4. Estrellita {Manuel Ponce} (4:11)

B1. It Never Entered My Mind {Lorenz Hart, Richard Rodgers} (4:03)

B2. They Didn't Believe Me {Jerome Kern, Michael E. Rourke} (3:38)

B3. Home {Harry Clarkson, Geoffrey Clarkson, Peter van Steeden} (5:11)

B4. Nancy [With The Laughing Face] {James van Heusen, Phil Silvers} (5:23)

Credits:

Producer, Photo - Esmond Edwards

Recording Engineer - Rudy van Gelder
Design - Don Schlitten
Liner Notes - Sidney Falco

Willis Jackson - Soul Grabber (1967) [vinyl]

One of our favorite albums ever by Willis Jackson - and in fact one of our favorite soul jazz sides of the 60s! There's a mad groove here that's quite different than any of Jackson's earlier work - freer, looser, and more experimental - handled with a sound that's almost fuller in the arrangements, but which also gives the soloists more room to groove around. Willis himself plays the amazing ‘Gator’ horn on "Alfie" - a long funny-looking variation on the tenor, and a horn that has an almost George Braith or Roland Kirk-like sound. The rest of the group features some great guitar by Wally Richardson and smoking organ by Carl Wilson - plus electric bass at the bottom from Bob Bushnell, a key component to the harder-hitting quality of the grooves. The set features a fantastic version of Baden Powell's "Song of Ossanha", plus great covers of "Sunny", "Girl Talk", and "Ode to Billy Joe" - and the tracks "Soul Grabber", "Alfie", "I Dig Rock & Roll Music", and "Rhode Island Red". © Dusty Groove America, Inc.

Prestige Records, PRST 7551, 1968

Recorded 20^th October, 1967 (#A1,A4,B4,B5) in New York City;

25^th October, 1967 (#A2,A3,A5-B3) at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis “Gator” Jackson - Tenor Sax, Gator Horn (#B3)

Wilbur “Dud” Bascomb - Trumpet

Sammy Lowe - Trumpet

Heywood Henry - Baritone Saxophone (#A1,A4,B4,B5)

Carl Wilson - Organ

Lloyd Davis - Guitar

Wally Richardson - Guitar

Bob Bushnell - Electric Bass

Lawrence Wrice - Drums

Tracks:

A1. The Song Of Ossanha {Baden Powell, Vinícius de Moraes} (2:39)

A2. Sunny {Bobby Hebb} (6:35)

A3. Girl Talk {Neal Hefti, Bobby Troup} (5:26)

A4. Ode To Billie Joe {Bobbie Gentry} (2:55)

A5. Sometimes I'm Happy {Vincent Youmans, Irving Caesar, Clifford Grey} (5:13)

B1. Soul Grabber {Willis "Gator" Jackson} (1:58)

B2. Rhode Island Red {Willis "Gator" Jackson} (3:33)

B3. Alfie {Hal David, Burt Bacharach} (8:22)

B4. I Dig Rock & Roll Music {Noel Paul Stookey, James Mason, Dave Dixon} (2:49)

B5. These Blues Are Made For Walking {Willis "Gator" Jackson} (5:49)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Design, Liner Photo - Don Schlitten

Art - Irving Riggs

Liner Notes - Chris Albertson (Feb. 1968)

Note: “The Song Of Ossanha” also listed as “The Song Of Ossahna”

Willis Jackson Quintet - Please Mr. Jackson (1959) [vinyl]

Willis "Gator" Jackson originally made a strong impression as a honking R&B player, first with the Cootie Williams Orchestra, then with his own popular bands. In 1959, starting with this Prestige set, Jackson made his mark on soul-jazz. Teamed with the up-and-coming organist Jack McDuff, guitarist Bill Jennings, bassist Tommy Potter and drummer Alvin Johnson, Gator is heard modifying his style a little (gone are most of the screams) in favor of swinging. He performs four group originals, "Come Back to Sorrento," and "Memories of You" with soulful feeling. ~ by Scott Yanow, AMG.

Prestige Records, PR 7162, 1959

Prestige/OJC Records, OJC-321, 1988

Recorded 25th May, 1959 at Van Gelder Studio in Hackensack, New Jersey

Personnel:

Willis "Gator" Jackson - Tenor Saxophone

Brother Jack McDuff - Organ

"Wild" Bill Jennings - Guitar

Tommy Potter - Bass

Alvin Johnson - Drums

Tracks:

A1. Cool Grits {Bill Jennings, Jack McDuff, Willis Jackson} (8:33)

A2. Come Back To Sorrento {Ernesto De Curtis} (4:30)

A3. Dinky's Mood {Jack McDuff, Willis Jackson} (3:57)

B1. Please Mr. Jackson {Bill Jennings, Jack McDuff, Willis Jackson} (5:45)

B2. 633 Knocks {Bill Doggett, Bill Jennings} (5:20)

B3. Memories Of You {Andy Razaf, Eubie Blake} (6:06)

Total Time: 35:11

Credits:
Supervisor, Cover Photo - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Jack Walker

With a deliberate note of the coolest of funk, MR. WILLIS JACKSON seems determined at the outset of this album to dispense with the gyrating, honking, disrobing, screaming caricature of an earlier - far less mature - Willis. It is, to be sure, an understandable caricature, for Willis Jackson in the past, has been one of the gyratingest, honkingest, screamingest, disrobingest of saxophonists. Indeed, Willis Jackson came along in an era when you had to "cut" Illinois Jacquet to "make it" and Willis Jackson was a determined young man.

The MR. JACKSON here in this album "PLEASE ...” is a far more mature musician and he's out to prove it. The theatrics of his youth - a perhaps necessary window - dressing for his then budding talent - are gone ... The honking and screaming - exciting to a generation gone - have given way to solid sounds. And Willis Jackson, the "Gator" of yesterday emerges as a worthy musician in this era of modern sounds. ~ excerpts by Jack Walker.

Willis Jackson - Bar Wars (1978) [Bonus]

Willis Jackson, aka "The Gator", produced some of the finest examples of the "soul jazz" genre. This type of music was very popular in the late 50's, 60's and 70's but now seems to be forgotten. What’s a shame: If you dig jazz that has a heavy blues vibe, then Gator is your man. This disc is a stellar example, with the always solid Charles Earland on organ, as well as Jackson's most famous sideman, Pat Martino, by this time a legend in the jazz guitar world. While all the tracks feature stellar playing, the title track, and "The Goose is Loose" are especially noteworthy, with all three soloists giving you breathtaking work. Jackson in particular, takes chorus after fiery chorus, with each one building in intensity. There were few if any saxophonists who could hang with the Gator on an up-tempo blues. And as much as many fans wax poetically about Kenny Burrell being the master at combining blues with jazz guitar, for my money no one can touch the work Martino did with Jackson not only on this disc, but also on "Headed and Gutted" and "Single Action". Simply Superb!

Willis Jackson, a veteran of the jazz-oriented R&B music of the late '40s, was a powerful tenor in the tradition of Gene Ammons. This is a particularly exciting release with Charles Earland pumping away at the organ, guitarist Pat Martino offering a contrasting solo voice and Jackson in top form, wailing away on the uptempo pieces. The CD reissue of the original LP adds two alternate takes to the program. The chord changes might be fairly basic but Willis Jackson plays with such enthusiasm and exuberance that it almost sounds as if he had discovered the joy of playing music. ~ Scott Yanow, AMG.

Muse Records, MR 5162, 1978

32 Jazz, 32018, 1997

Recorded 21^st December, 1977 at Van Gelder Studio, Englewood, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone

Pat Martino - Guitar

Charles Earland - Organ

Idris Muhammad - Drums

Buddy Caldwell - Conga

Tracks:

A1. Later {Tiny Bradshaw, Sil Austin, Henry Glover} (5:53)

A2. Blue & Sentimental {Count Basie, Jerry Livingston, Mack David} (3:02)

A3. Bar Wars {Willis "Gator" Jackson} (7:00)

B1. The Breeze And I {Ernesto Lecuona, Al Stillman} (4:54)

B2. The Goose Is Loose {Willis "Gator" Jackson} (5:03)

B3. It's All Right With Me {Cole Porter} (7:11)

Bonus Tracks [32 Jazz]

07. The Breeze And I [Alternate] {Lecuona, Stillman} (5:11)

08. It's All Right With Me [Alternate] {Cole Porter} (7:02)

Credits:

Producer, Liner Notes - Joel Dorn

Executive Producer - Joe Fields

Production Coordination - Michael Weiner

Recording Engineer - Rudy van Gelder

Mastering Engineer - Gene Paul

Art Direction, Photography - Hal Wilson

Design - Nancy Dwyer, Page Simon

Illustrations - Oliver Wasow

Liner Notes - W.A. Brower

Willis Jackson with Jack McDuff - Cookin' Sherry (1959-60) [vinyl]

Seminal early work from Willis Jackson - Cookin' Sherry is solid-sending soul jazz from the great Willis Jackson! The album features Gator blowing in a group that includes Jack McDuff and Wild Bill Jennings on all cuts - plus bass by either Milt Hinton or Wendell Marshall, drums by Bill Elliott or Al Johnson, and some tasty added conga by Buck Clarke on a few cuts! The album's got a tight, yet laidback feel to - perfect kickback jam session material, in that classic Prestige soul jazz mode. Titles include "Contrasts", "Cookin Sherry", "Mellow Blues", and "Sportin". ~ Dusty Groove.

Prestige Records, PR 7211, 1961

Recorded 9^th November, 1959 (#A3); 26^th February, 1960 (#A2,B2)

& 16^th August, 1960 (#A1,B1,B3) at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Brother Jack McDuff - Organ

Bill Jennings - Guitar

Wendell Marshall - Bass (#A1,A3,B1,B3)

Milt Hinton - Bass (#A2,B2)

Bill Elliot - Drums (#A1,B1,B3)

Alvin Johnson - Drums (#A2,A3,B2)

Buck Clarke - Conga (#A2,B2)

Track Listing:

A1. Mellow Blues {Willis Jackson, Bill Jennings, Jack McDuff} (9:02)

A2. Sportin' {Willis Jackson, Bill Jennings} (4:49)

A3. When I Fall In Love {Edward Heyman, Victor Young} (4:03)

B1. Cookin' Sherry {Willis Jackson} (8:15)

B2. Where Are You? {Harold Adamson, Jimmy McHugh} (5:42)

B3. Contrasts {Jimmy Dorsey} (5:48)

Credits:

Supervision, Photography - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Howard Cook

Willis Jackson - Really Groovin' (1961) [vinyl]

A killer batch of tracks from Willis Jackson - recorded in a slightly different format than some of his other work for Prestige! The album features Gatortail in two different piano-based quartets - one with the obscure Jimmy Neely on the keys, the other with the great Richard Wyands riffing things up. Juan Amalbert of the Latin Jazz Quintet plays conga on a number of tracks - giving them that rolling groove that you'd often hear with Gene Ammons or Lou Donaldson during the time, and Jackson more than does his job of matching those two in adapting to the slight Latin tinge of the format. Titles include "Sweet Peter Charleston", "A Twist of The Blues", "Oatmeal", and "He Said She Said I Said". ~ Dusty Groove America.

Prestige Records, PRLP 7196, 1961

Recorded 10^th January (#A1-B3) and 11^th April (#B4), 1961

At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone

Jimmy Neeley - Piano (#A1-B3)

Richard Wyands - Piano (#B4)

Wendell Marshall - Bass (#A1-B3)

Peck Morrison - Bass (#B4)

Gus Johnson - Drums (#A1-B3)

Mickey Roker - Drums (#B4)

Juan Amalbert - Conga (#A1-B3)

Tracks:

A1. Careless Love {W. C. Handy, Spencer Williams} (4:28)

A2. Oatmeal {Johnny Griffin} (4:28)

A3. I Remember Clifford {Benny Golson} (3:53)

A4. A Twist Of Blues {Willis Jackson} (5:47)

B1. Sweet Peter Charleston {Johnny Griffin} (6:56)

B2. Again {Lionel Newman, Dorcas Cochran} (4:11)

B3. He Said, She Said, I Said {Willis Jackson} (3:58)

B4. Girl Of My Dreams {Sunny Clapp} (6:48)

Credits:

Supervision - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Joe Goldberg

Willis 'Gator Tail' Jackson - Mellow Blues (1970) [vinyl]

In the early 1970s, work became scarce for Willis. He was recording for the extremely dubious Paul Winley and his records were not publicised well. He was rescued from plans to leave music by Don Schlitten, who recorded him for Muse in 1973 and 1974. Then he made a couple of Disco albums for Atlantic, the first of which was his second hit album. And he was back on the road again, with a succession of recordings for Muse that were as good as anything he’d made. Indeed one, “Bar wars”, is among the greatest classics of Soul Jazz. This LP finds Willis in good form backed by an assortment of accomplished players, a bluesy affair, enjoy!

UpFront Records, UPF-184, 1970

Recorded 1970 in New York, NY

Musicians:

Willis Jackson - Tenor Saxophone

Dave "Baby" Cortez - Organ

George Benson, Sterling McGee - Guitar

Earl Williams - Drums

Kako - Conga

Tracks:

A1. Mellow Blues (Winley, Winley} (10:14)

A2. Funky Sterling (Winley, Winley} (7:27)

B1. Cryin' (Winley, Winley} (8:43)

B2. Groove On (Winley, Winley} (9:19)

Credits:

Co-Producer, Composer - Ann Winley, Paul Winley

Engineer - Tom Owen

Art Direction - David Lartaud

Willis Jackson - Bossa Nova Plus (1963) [vinyl]

Bossa Nova Plus (also released as Shuckin') is an album by saxophonist Willis Jackson which was recorded in 1962 and released on the Prestige label. ~ Wikipedia

On this studio album Jackson is joined with Tommy Flanagan on piano and Kenny Burrell on guitar along with a mighty rhythm section including Roy Haynes on drums, Eddie Calhoun on bass and a large contingent of Latin percussionists especially noted Juan Amalbert and Montego Joe driving a consistent and enthralling conga beat. The album provides enough room for most players to express some fine solos. Essentially it is an album that blends multiple styles and with Jackson great tenor sound to the fore the listener is in for an enjoyable ride. Disregarding the scintillating Latin-influenced tunes there are still some amazing Soul Jazz and Hard Bop drenched tracks for the die-hard Jackson fans. Allmusic awarded the album 4 stars stating "His second great album that year".

Prestige Records, PRST 7260, 1963

Recorded 30^th October, 1962 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Tommy Flanagan - Piano

Kenny Burrell - Guitar

Eddie Calhoun - Bass

Roy Haynes – Drums

Juan Amalbert - Congas

Montego Joe - Congas

Jose Paulo - Congas, Timbales

Tracks:

A1. Cachita {Rafael Hernández} (3:46)

A2. I Left My Heart In San Francisco {George Cory, Douglass Cross} (3:20)

A3. Amor {Ricardo Lopez Mendez, Gabriel Ruíz} (7:47)

B1. Mama Inez {L. Wolfe Gilbert, Eliseo Grenet} (4:53)

B2. What Kind Of Fool Am I? {Leslie Bricusse, Anthony Newley} (5:08)

B3. Shuckin' {Willis "Gator" Jackson} (5:26)

Credits:

Supervisor - Ozzi Cadena

Recording Engineer - Rudy van Gelder

Liner Notes - Del Shields (December, 1963) WDAS FM Philadelphia
Design - Don Schlitten

Willis Jackson - Nothing Butt... (1980) [vinyl]

Tenor saxophonist Willis Jackson got into a routine on his Muse albums, but never lost his enthusiasm and creativity within the genre. This album features Jackson on a current hit ("Just the Way You Are"), a couple of ballads, and three romps ("Nothing Butt," "Hittin' and Missin'," and "Move"). Guitarist Pat Martino is heard in excellent form just before a serious illness; organist Charles Earland is up to his usual groovin' form, and drummer Grady Tate and percussionist Buddy Caldwell keep the music moving. An excellent effort full of enjoyable and fairly accessible music. ~ by Scott Yanow, AMG.

Here we have another exciting album by Willis Jackson. He is joined by a veteran team of musicians well versed in the “Soul Jazz” groove. Both Charles Earland and Pat Martino have worked alongside Jackson on previous outings and this adds to the dynamics. As usual Jackson chooses a diversity of tunes, mostly of his own doing that showcases effectively his skills and that of the other soloists. Pat Martino in particular takes the groove to greater heights. Similarly, Charles Earland’s organ licks undeniably meshes the tunes together. Willis’ strong tenor sound is at heart of all the compositions, especially on those penned by him. However, the listener is also presented with some wonderful interpretations of both newer and older ballad style compositions. In the end the album is definitely a keeper in that with continual playing it always delivers an enjoyable an uplifting mood. In some regards the title indicates “Nothing Butt…” the best from Jackson and his team.

Muse Records, MR 5294, 1983

Recorded 20^th June, 1980 at Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone

Pat Martino - Guitar

Charlie Earland - Organ

Grady Tate - Drums

Buddy Caldwell - Percussion

Tracks:

A1. Just The Way You Are {Billy Joel} (7:03)

A2. Nuages {Willis Jackson} (4:50)

A3. Nothing Butt {Willis Jackson} (4:43)

B1. Hittin' And Missin' {Willis Jackson} (7:55)

B2. Autumn Leaves {Joseph Kosma, Johnny Mercer, Jacques Prevert} (4:28)

B3. Move {Willis Jackson} (4:04)

Credits:

Producer - Bob Porter

Recording & Mastering Engineer - Rudy van Gelder

Art Direction - W. Dale Cramer

Cover Photo - Hugh Bell

Liner Notes - Cliff Tinder

Willis Jackson - 'Gator Tails (1964) [vinyl]

A great range of tunes, some standards and two of his own, Willis is in fine form backed by an unidentified Orchestra that is beautiful arranged and conducted by Robert Banks or Claus Ogerman. His tone is vibrant and powerful, and some of the other players set up some wonderful solos. If you are Willis fan like me you’ll want to hear this, enjoy!

Verve Records, V6-8589, 1964

Recorded 18^th March (#A4,B4) & 23^rd June (#A1-A3,B1-B3) 1964

At A&R Studios, New York City

Personnel:

Willis Jackson - Tenor Saxophone

Unidentified Orchestra

Robert Banks or Claus Ogerman - Arranger, Conductor

Tracks:

A1. I Almost Lost My Mind {Ivory Joe Hunter} (2:50)

A2. The Crocodile {Robert Banks, Willis Jackson} (4:03)

A3. On Broadway {Barry Mann, Cynthia Weil, Jerry Lieber, Mike Stoller} (2:30)

A4. Swimmin' Home, Baby [Fruit Cake] {Ben Tucker} (2:19)

A5. The Skillet {Claus Ogerman} (2:54)

B1. Frankie And Johnny {Traditional} (4:26)

B2. Someone To Watch Over Me {George Gershwin, Ira Gershwin} (4:17)

B3. Lonesome Road {Nathaniel Shilkret, Gene Austin} (3:27)

B4. Early One Morning (Part 2) {Willis Jackson} (5:52)

Credits:

Producer - Creed Taylor

Recording Engineer - Phil Ramone

Director of Engineering - Val Valentin

Cover Photo - Chuck Stewart

Cover Design - Acy R. Lehman

Willis Jackson - The Gator Horn (1977) [vinyl]

Virtually all of tenor saxophonist Willis "Gator" Jackson's albums for Muse in the 1970s (and fortunately, there are many of them) are well worth picking up. Jackson's basic tenor always contained plenty of soul, the potential of exploding, and an attractive warm sound. For this fine set, Gator alternates between romps (some of which are funky) and ballads ("You've Changed" and "This Is Always"). Excellent support is contributed by organist Carl Wilson, guitarist Boogaloo Joe Jones, bassist Dud Bascomb, drummer Yusef Ali, and Buddy Caldwell on conga. ~ by Scott Yanow, AMG.

Muse Records, MR 5146, 1979

Recorded 8^th March, 1977 in Rosebud Studio, New York City

Musicians:

Willis Jackson - Tenor Saxophone (#A1-A3), Saxophone [Gator Horn] (#B1-B3)

Ivan 'Boogaloo' Joe Jones - Guitar

Carl Wilson - Organ

Dud Bascomb Jr. - Bass

Yusef Ali - Drums

Buddy Caldwell - Congas

Tracks:

A1. Ungawa {Willis Jackson} (8:32)

A2. You've Changed {Bill Carey, Carl Fischer} (4:44)

A3. Hello, Good Luck {Peter Griffin} (7:32)

B1. The Gator Horn {Willis Jackson} (5:05)

B2. This Is Always {Mack Gordon, Harry Warren} (5:29)

B3. Gooseneck {Willis Jackson} (8:15)

Credits:

Producer - Frederick Seibert

Engineer - Richard Alderson

Assistant Engineer - Eric Bowman

Album Design - Ron Warwell

Cover Photo - Hugh Bell

Liner Notes - Clifford Jay Safane

For about a decade (1968-78) the avant-garde in jazz sparked a fashion of solo recordings, particularly with not so obvious solo instruments like saxophones. Wanna be that I was, I loved it, and thought it would be cool for Willis to try it on our second session together. He thought I was crazy but figured if I was willing to take his warm up and do the work to edit it into something reasonable he’d get off the session a little early and still get paid. ~ Fred Seibert.

Willis Jackson - In The Alley (1977) [vinyl]

Smooth and mellow 70s funk from Willis Jackson - a record that still has him working with funky stalwarts from earlier years, but which has a more 70s-influenced kind of groove! There's actually a nice dose of older soul jazz lurking underneath a few of the tracks - making for a record that skirts both sides of Willis' career at the time nicely - and tracks are all longish, with enough room for good tenor work. Players include Sonny Phillips, Carl Wilson, Jimmy Ponder, and Buddy Caldwell - and titles include "Niamani", "Gator's Groove", "More", and "In The Alley". © Dusty Groove America, Inc.

Muse Records, MR 5100, 1977

Recorded At Dimensional Sounds Studio, New York City

Musicians:

Willis Jackson - Tenor Saxophone

Sonny Phillips - Piano

Carl Wilson - Organ

Jimmy Ponder - Guitar

Jimmy Lewis - Bass

Yusef Ali - Drums

Buddy Caldwell - Congas, Percussion

Tracks:

A1. Niamani {Sonny Phillips} (7:22)

A2. Gator's Groove {Yusef Ali} (7:06)

A3. Blues, Blues, Blues {Willis Jackson} (5:07)

B1. Young Man With The Horn {Ray Anthony} (5:54)

B2. More {Riziero Ortolani, Nino Oliviero, Norman Newell, Marcello Ciorciolini} (7:39)

B3. In The Alley {Willis Jackson} (9:07)

Credits:

Producer - Fred Seibert

Engineers - Malcolm Addey and Fred Seibert

Art Direction, Design, Photography - Hal Wilson

Willis Jackson - Headed And Gutted (1974) [vinyl]

Willis "Gator" Jackson's series of albums for Muse during the 1970s helped keep alive the soulful, tough tenor tradition of Illinois Jacquet, Gene Ammons, and (later on) Houston Person. For this particular set, the participation of guitarist Pat Martino made the date more notable than it might have been. With Mickey Tucker on keyboards, electric bassist Bob Cranshaw, drummer Freddie Waits, and Richard Landrum and Sonny Morgan on percussion, Jackson still sounds very much in his prime, particularly on the exciting "Gator Whale." The other selections tend to emphasize ballads "My One and Only Love" and funky jazz "The Way We Were". ~ Scott Yanow, AMG.

Headed And Gutted is basically a one-tracker. That comes in the form of the title track that is a real nice, mid-tempo funky Jazz piece. It has a driving rhythm and Jackson’s soloing over the top. The rest of the album is more straight-ahead Jazz splitting between the slow and mellow Blue Velvet and The Way We Were, and the more upbeat Miss Ann and Gator Whale. ~ Soulstrut.com.

Muse Records, MR 5048, 1974

Recorded 16^th May, 1974

Musicians:

Willis Jackson - Tenor Saxophone

Mickey Tucker - Piano, Electric Piano, Organ

Pat Martino - Guitar

Bob Cranshaw - Bass

Freddie Waits - Drums

Sonny Morgan - Percussion

Richard Landrum - Congas

Tracks:

A1. Headed And Gutted {Sonny Phillips} (5:21)

A2. Blue Velvet {Bernie Wayne, Lee Morris} (8:16)

A3. Miss Ann [Willis' Wife] {Willis Jackson} (6:28)

B1. The Way We Were {Marvin Hamlisch} (6:49)

B2. Gator Whale {Sonny Phillips} (6:06)

B3. My One And Only Love {Guy Wood, Robert Mellin} (5:44)

Credits:

Producer, Design, Photo - Don Schlitten

Recording Engineer - Paul Goodman [RCA]

Liner Notes - Ralph Berton

Willis Jackson - Star Bag (1968) [vinyl]

Not for the alienated, compulsively cool generation that likes to hide its feelings, if any, behind oversize shades and make like it's very unhip to have a ball, is the tenor sax of Willis "Gator" Jackson, from Florida long ago, veteran of several thousands of wailing R&B sessions from here to eternity. Gator has that thing on the stove all the time, and never stops cooking. The ingredients are a big, fat, Black tone; roots, main; soul power; a time that relaxes right behind the beat, just enough to make you shut your eyes, rock your head, and pop your fingers, and murmur Oh yes, Gator, tell your story; a melodic thing that's as graceful as a Bird in flight; a chord sense that colors every tree a different hue; and always, that out-back tone. The cats (and one chick) Prestige gathered up to surround Willis on this date are all, as the album title clues you, stars in their own bag on the Soul Circuit: Trudy Pitts on organ, Wild Bill Jennings, the guitar man whose sound is as distinctive as his stance (he's lefthanded); Jimmy Lewis on Fender bass providing a solid underpinning to the chords; and swinging Bobby Donaldson on drums, abetted by Victor Allende on conga drums. ~ Excerpts from Liner Notes, Ralph Berton (June 1968).

Prestige Records, PRST 7571, 1968

Recorded 22^nd March, 1968 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Trudy Pitts - Organ [Hammond B-3]

“Wild” Bill Jennings - Guitar

Jimmy Lewis - Electric Bass

Bobby Donaldson - Drums

Victor Allende - Conga Drums

Track Listing:

A1. Star Bag {Willis Jackson} (7:14)

A2. The Girl From Ipanema {Antônio Carlos Jobim, Vinícius de Moraes, Norman Gimbel} (5:42)

A3. Good To The Damn Bone {Willis Jackson, Clarence Lewis, William Robinson} (5:16)

B1. More {Riz Ortolani, Nino Oliviero, Norman Newell} (7:07)

B2. Smoke Rings {Rudolf Friml, Otto Harbach} (5:51)

B3. Yellow Days {Willis Jackson} (5:35)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder
Design - Don Schlitten
Cover Art - Irving Riggs

Liner Notes - Ralph Burton (June 1968)

Willis Jackson with Von Freeman - Lockin’ Horns (1981) [vinyl]

This started out as Willis Jackson's spot on the 1978 Laren International Jazz Festival stage. He invited fellow tenorman Von Freeman aboard as a "guest" and Muse Records turned it into the double billed Lockin' Horns. Good for them, and good for Muse for giving us another chance to discover this gem.

On the surface, there couldn't be two more disparate players than Jackson and Freeman. Willis Jackson moved from the R&B circuit to the organ combos of the soul jazz circuit, which in the eyes of some is hardly a move at all. He possessed a huge, honking tenor sound, and was given to making the horn growl, wheeze, roar, and roll over at will. Freeman, on the other hand, is an almost pure bopper with one of the most distinctive, and at times delicate, sounds in the business. For many years, he was rarely heard away from his Chicago home, but in Chicago he was a member of one of the city's best known jazz dynasties, including his brothers George (guitar) and Buzz (drums), and his son, the illustrious Chico.

The disc opens with "Pow!"--a showcase for Jackson and his band, Carl Wilson (organ), Joe "Boogaloo" Jones (guitar), and Yusef Ali (drums). Together they were one of the most talented--and most under-rated--groups in the soul jazz genre, but they were all more than that. They could play in a variety of styles, and the promise of having the hard-bopping Freeman on board seemed to drive the band to another level. They push toward that level through the next two numbers, and when Freeman steps out of the wings for "Summertime," they're ready.

They take a run at "The Shadow Of Your Smile" next, and while it's just the kind of then-contemporary pop that was routine for soul jazz outfits, there's nothing routine about this cut. It's just a warm-up, though, for the tenor battle to come. The disc closes out with 8 minutes and 46 seconds of "Willis And Von," and I'm not even gonna try. You'll just have to hear it for yourself. ~ by Shaun Dale.

Muse Records, MR 5200, 1981

Recorded 11^th August, 1978 Live at the International Jazz Festival Laren, Holland

Musicians:

Willis Jackson - Tenor Saxophone

Von Freeman - Tenor Saxophone

Carl Wilson - Organ

Joe “Boogaloo” Jones - Guitar

Yusef Ali - Drums

Tracks:

1. Pow! {Willis Jackson} (10:09)

2. The Man I Love {George Gershwin, Ira Gershwin} (7:10)

3. Troubled Times {William Stevenson, Willis Jackson, Wade Marcus} (6:34)

4. Summertime {George Gershwin, Ira Gershwin, Dubose Heyward} (6:25)

5. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (8:28)

6. Willis & Von {Willis Jackson} (8:40)

Credits:

Producer - Bob Porter

Engineer - Malcolm Addey

Mastering Engineer - Joe Brescio (Master Cutting Room, NYC)

Album Design - Morty Yoss

Photography - Rico d'Rozario

Liner Notes - Neil Teeser

Willis Jackson - Ya Understand Me? (1980) [vinyl]

Willis plays in a well-balanced, full, warm, almost fleshy tone. He chooses three blues and two ballads and the records owes its success to the inclusion of Richard "Groove" Holmes an accomplished organ player and a perfect soloist and sideman. The two other younger musicians Steve Giordano and Roger Lee Humphrey supply a varied and swinging backing. Overall the album is landmark, even in the career of so prolific a musician as Willis Jackson. ~ Extract from Liner Notes by Bernard Niquet.

With "Groove" Holmes on organ duties, and some tart tenor from Jackson. ~ by Ron Wynn, AMG.

This album should get far more attention than the one-liner review above. The music is taken from a live date, later in Willis' career, but there seems no stopping to the power of his big tenor sound. Equally Richard "Groove" Holmes is right at home alongside the "Gator". Enjoy!

Muse Records, MR 5316, 1980

Digitally Recorded 26^th January, 1980, Live At Chateauneuf du Pape, France

Musicians:

Willis "Gator" Jackson - Tenor Saxophone

Richard "Groove" Holmes - Hammond Organ

Steve Giordano - Guitar

Roger Lee Humphrey - Drums

Tracks:

A1. Ya Understand Me? {Herb Abramson, Ahmet Ertegun, Jesse Stone} (7:34)

A2. Body And Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (6:34)

A3. My One And Only Love {Robert Mellin, Guy Wood} (6:26)

B1. The Head Tune {Willis Jackson} (8:59)

B2. More {Keith Newell, Nino Oliviero, Riz Ortolani} (9:11)

Credits:

Recording Engineer - Gerhard Lehner

Cover Photo - Clarence Eastmond

Cover Design - Lisa Emmons

Art Direction - Ron Warwell

Liner Notes - Todd Barkan

Alternate Release: Black and Blue [33.810 WE 312] France