Dwain

• Groovin’ with Jug has a special place in my jazz catalog. It is an album that has molded the way I listen to, enjoy, and play jazz music. It is such a fun and energetic recording of two incredible musicians. The album delivers with such high intensity and swing from one end to the other. I almost have to find time to catch my breath; I am so enthralled. The live recording atmosphere does a great job of creating such a fun environment for the musicians to thrive and feed off of the energy.

• This album serves as a great introduction of Groove Holmes to the masses (being only his second album on Pacific). He’s playing alongside one of the most swingin’ cats of the era and he is making it look easy. Groove’s feel is absolutely impeccable; it’s no wonder he got the nickname huh? His left-hand is out of this world, he makes bass players tremble in their boots. He is an absolute pleasure to listen to and his name should be just as well-known as Jimmy Smith and Jack McDuff.

• Gene Ammons delivers a performance that is hard to forget. He plays with so much energy and is so fun to listen to. I get lost in his playing at times and when I close my eyes I get the feeling that I am sitting at the Black Orchid in 1961 (I WISH!). The chemistry between Groove and Jug is unmatched and incredible knowing this was one of the first times they had played together.

• This album delivers again and again from the start to the finish and it would be hard to find a live, raw, energetic performance that is much better or more captivating than this. If you are wondering what jazz organ music is all about, go find out!

Overall score: 9.2/10

Max

• Groovin’ with Jug is one of those albums I will never have a problem revisiting. The soul and fiery expressiveness of Gene “Jug” Ammons will alway be attractive to me. His sound is unmatched and it is on full display here alongside a tremendous pairing with organist Richard “Groove” Holmes. The two deliver a heavily swingin’ album full of blues, soul, creativity and fun. Aside from the standards “Exactly Like You” and “Willow Weep For Me,” we get a mix of originals from Jug and Groove that are based in the roots of jazz composition, yet come across as fresh and fun as anything else typically found in the contrasting ‘modern’ landscape.

• One interesting note about Groovin’ with Jug on the Pacific Jazz Label is that it is a partial live album. The first 3 tracks (first 5 tracks on the CD version) are live from a performance at The Black Orchid, while the last few tunes are recorded in an LA studio from that same week in 1961. The album opens with a 12-bar blues tune titled “Good Vibrations,” even though the melody is the same as another tune previously performed by Ammons called “The Happy Blues.” It’s based on a 4-bar riff repeated six times. Such simple melodic construction lends itself nicely to opening up on the solos, letting players stretch. The opener also contains solos from everyone in the quartet, including guitarist Gene Edwards and drummer Leroy Henderson, lending itself as a great first track to the record. Fortunately, we do get a ballad on the album, the second tune “Willow Weep For Me.” I say fortunately because Jug is one of the major balladeers of the tenor saxophone. We’re met with blues-drenched, attention-engulfing playing from Jug filled with an inventive use of octave-jumping, iconic vibrato, lip-fall moans, rhythmic interplay, and moments of bop language. Edwards’ guitar solo during the tune’s bridge is also a nice touch before we round out the track with a cool Gene Ammons cadenza to end it (Jug’s cadenza’s are personally a favorite of mine). We get a fast AABA tune with “Juggin’ Around” that features a really neat trading section between Jug and Leroy on drums complete with creativity and a hard-to-match fiery energy. “Hittin’ the Jug” is a live track not on the original record that has yet another moment of great energy as they eventually transition seamlessly in-n-out of a double-time feel. Gene’s saxophone screams are particularly noticed by the audience. Groove Holmes delivers a whole lotta ‘groove’ too!

• “Exactly Like You” is the other standard on the album. Drums are featured on this track a bit more heavily while we get swingin’ bass lines and great double-time licks from Groove Holmes. Jug also provides more language-based playing here paired with his hard-to-resist swing-era romps and blues tendencies. The tune “Groovin’ with Jug” has a catchy melody, cool introduction, and neat harmonic movement on the bridge. Groove and Jug swing us right along to Groove Holmes’ tune “Morris the Minor,” a minor 12-bar blues that should be able to speak to anybody. If you can’t feel anything on that one then go ahead and get yourself checked out. Jug and Groove stretch on it too, with each one taking an extra solo chorus after already performing a ‘shout’ section. The album closer “Hey You, What’s That?” is another blues tune; yet, with a melody defined by its use of space. They also change keys during the second sax solo on the tune, moving in 4ths through every key until they end back to the original key of Eb when Jug comes back the head: very cool!

• All in all, this record comes along with everything I love about jazz music: soul, blues, stretched improvisation, camaraderie, heavy swing, and unfiltered or unpretentious playing. Do yourself a favor and listen to Groovin’ With Jug; it will undoubtedly make you more hip.

Overall score: 9.3/10