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| 1. | Gil's Pills
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| 2. | Angel Eyes
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| 3. | Three Little Words
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| 4. | Glad 'A See Ya'
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| 5. | Medley: September Song, Easy Living, Deep Purple
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| 6. | Dancing On The Ceiling
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| 7. | It Might As Well Be Spring
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| 8. | This'll Get To Ya
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| 9. | Tu'gether
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| 10. | Jambalaya
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| 11. | Backtrack (Twistin' Train)
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| 12. | Without A Song
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| 13. | Snake Crawl
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Jazz
Soul-Jazz
Hard Bop
Ballads
Standards
Recorded: May 25, 1959-Dec 13, 1961, Van Gelder Studios, Englewood Cliffs, New Jersey
TOGETHER AGAIN contains 2 LPs on 1 CD:
* TOGETHER AGAIN! (1965)
* TOGETHER AGAIN, AGAIN (1967)
Willis Jackson (teno saxophone); Jack McDuff (organ); Bill Jennings (guitar); Tommy Potter, Wendell Marshall, Milt Hinton, Jimmy Lewis (bass); Al Johnson, Bill Elliot, Frank Shea (drums)
It was confusing enough that Willis Jackson, with Jack McDuff as sidekick, recorded first an album titled Together Again!, and then a different album with the similar title Together Again, Again. Combining both of these on a single-CD reissue, and titling the whole caboodle Together Again!, is downright pitiless. But to preface appraisal of the music with a gotta-make-this-clear explanation, this 2003 reissue, though titled Together Again!, is not the same as the original album Together Again!, though it contains every track from that LP. Instead, it collects every track from Together Again! and Together Again, Again, though not presented in their original running orders. Rather, the 13 tracks are sequenced in the chronological order in which they were recorded, from May 1959 to December 1961. More important than untangling this discographical train wreck is appreciating the music, which is solid if typical early soul-jazz. The combos (always including Bill Jennings on guitar) can either bop energetically, get bluesy (on Jackson's "This'll Get to Ya"), skirt R&B ("Backtrack (Twistin' Train)"), or wind down for smoochy, slightly smoldering stuff like "Angel Eyes." Tenor saxophonist Jackson and organist McDuff might be the spotlighted performers in the marketing, but actually it's a pretty integrated full-band, small-group sound. There's not much original material from Jackson, though (and no original tunes from McDuff), with a New Orleans-tinged version of Hank Williams' "Jambalaya" the most unexpected cover choice.
---Richie Unterberger, AMG
Willis "Gator" Jackson
Active Decades: '40s, '50s, '60s, '70s and '80s
Born: Apr 25, 1932 in Miami, FL
Died: Oct 25, 1987 in New York, NY
Genre: Jazz
Styles: Ballads, Hard Bop, Jump Blues, R&B, Soul-Jazz, Swing
An exciting tenor saxophonist whose honking and squeals (although influenced by Illinois Jacquet) were quite distinctive, Willis Jackson was also a strong improviser who sounded perfectly at home with organ groups. He played locally in Florida early on, until joining Cootie Williams (on and off during 1948-1955). His two-sided honking feature "Gator Tail" with "Cootie" (which earned Williams a lifelong nickname) was a hit in 1948, and he started recording as a leader in 1950. Jackson was married to singer Ruth Brown for eight years, and often appeared on her recordings during this era. His extensive series of Prestige recordings (1959-1964) made him a big attraction on the organ circuit. Although generally overlooked by critics, Willis Jackson continued working steadily in the 1970s and '80s. In 1977, he recorded one of the finest albums of his career for Muse, Bar Wars.
---Scott Yanow, All Music Guide |
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