Born in Chicago, Illinois, Ammons studied music with instructor Walter Dyett at DuSable High School. Ammons began to gain recognition while still at high school when in 1943, at the age of 18, he went on the road with trumpeter King Kolax's band. In 1944 he joined the band of Billy Eckstine (who bestowed on him the nickname "Jug" when straw hats ordered for the band did not fit), playing alongside Charlie Parker and later Dexter Gordon. Notable performances from this period include "Blowin' the Blues Away," featuring a saxophone duel between Ammons and Gordon. After 1947, when Eckstine became a solo performer, Ammons then led a group, including Miles Davis and Sonny Stitt, that performed at Chicago's Jumptown Club. In 1949 Ammons replaced Stan Getz as a member of Woody Herman's Second Herd, and then in 1950 formed a duet with Sonny Stitt.
The 1950s were a prolific period for Ammons and produced some acclaimed recordings such as "The Happy Blues" (1955), featuring Freddie Redd and Lou Donaldson. Musicians who played in his groups, apart from Stitt, included Donald Byrd, Jackie McLean, John Coltrane, Kenny Burrell, Mal Waldron, Art Farmer, and Duke Jordan.
His later career was interrupted by two prison sentences for narcotics possession, the first from 1958 to 1960, the second from 1962 to 1969. He recorded as a leader for Mercury (1947-1949), Aristocrat (1948-1950), Chess (1950-1951), Prestige (1950-1952), Decca (1952), and United (1952-1953). For the rest of his career, he was affiliated with Prestige. After his release from prison in 1969, having served a seven-year sentence at Joliet penitentiary, he signed the largest contract ever offered at that time by Prestige's Bob Weinstock.
Ammons died in Chicago in 1974, at the age of 49, from cancer.
Ammons and Von Freeman were the founders of the Chicago school of tenor saxophone. Ammons's style of playing showed influences from Lester Young as well as Ben Webster. These artists had helped develop the sound of the tenor saxophone to higher levels of expressiveness. Ammons, together with Dexter Gordon and Sonny Stitt, helped integrate their developments with the emerging "vernacular" of the bebop movement, and the chromaticism and rhythmic variety of Charlie Parker is evident in his playing.
While adept at the technical aspects of bebop, in particular its love of harmonic substitutions, Ammons more than Young, Webster or Parker, stayed in touch with the commercial blues and R&B of his day. For example, in 1950 the saxophonist's recording of "My Foolish Heart" made Billboard Magazine's black pop charts. The soul jazz movement of the mid-1960s, often using the combination of tenor saxophone and Hammond B3 electric organ, counts him as a founder. With a thicker, warmer tone than Stitt or Gordon, Ammons could at will exploit a vast range of textures on the instrument, vocalizing it in ways that look forward to later artists like Stanley Turrentine, Houston Person, and even Archie Shepp. Ammons showed little interest, however, in the modal jazz of John Coltrane, Joe Henderson or Wayne Shorter that was emerging at the same time.
Some fine ballad performances in his oeuvre are testament to an exceptional sense of intonation and melodic symmetry, powerful lyrical expressiveness, and mastery both of the blues and the bebop vernacular that can now be described as, in its own way, "classical."
King Pleasure recorded his vocalese take on Ammons' composition "Hittin' the Jug" under the title "Swan Blues".
"Answer Me, My Love" written by Fred Rauch, Carl Sigman and Gerhard Winkler, performed by Gene Ammons, is featured on the soundtrack for Romance & Cigarettes (2005).
He played on a Bb Conn 10M tenor saxophone with a Brilhart Ebolin mouthpiece.
Ammons is considered a major influence on the style of popular jazz tenor saxophonist Joshua Redman a.o..
Until The Real Thing Comes Along
Gene Ammons Lyrics
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I'd slave for you
I'd be a beggar or a knave for you
If that isn't love, it will have to do
Until the real thing comes along
I'd gladly move
The earth for you
And its worth for you
If that isn't love, it will have to do
Until the real thing comes along.
With all the words, dear, at my command
I just can't make you understand
I'll always love you darling
Come what may
My heart is yours
What more can I say?
I'd lie for you
I'd sigh for you
I'd tear the stars down from the sky for you
If that isn't love, it will have to do
Until the real thing comes along
With all the words, dear, at my command
I just can't make you understand
I'll always love you baby
Come what may
My heart is yours
What more can I say?
I'd lie for you
I'd cry for you
I'd lay my body down and die tor you
If that isn't love, it will have to do
Until the real thing comes along
These lyrics express a deep and unwavering love for someone, even if that love is not fully reciprocated. The singer is willing to do anything for their beloved, including waiting, working hard, and sacrificing their own well-being. They express a desire to prove their love and show its worth, even if their efforts go unrecognized or unappreciated.
The singer acknowledges that their words may not be enough to convey the depth of their love, but they insist that their heart belongs to their beloved and they will always love them, no matter what happens. They even go so far as to say that they would lie, cry, and die for this person, indicating the immense depth of their devotion.
Line by Line Meaning
I'd wait for you
I am willing to patiently wait for you.
I'd slave for you
I am willing to work excessively hard for you.
I'd be a beggar or a knave for you
I am willing to sacrifice my dignity and social standing for you.
If that isn't love, it will have to do
Until the real thing comes along
What I am offering may not be the best, but it is all I can offer until I find something better.
I'd gladly move
The earth for you
To prove my love, dear
And its worth for you
I am willing to do anything, even the impossible, to show you that my love is valuable.
With all the words, dear, at my command
I just can't make you understand
I'll always love you darling
Come what may
My heart is yours
What more can I say?
I have run out of ways to express my love, but I promise to always love you unconditionally.
I'd lie for you
I'd sigh for you
I'd tear the stars down from the sky for you
If that isn't love, it will have to do
Until the real thing comes along
I am willing to go to extreme lengths to prove my love, even if it means being dishonest or destroying the universe.
I'd lie for you
I'd cry for you
I'd lay my body down and die for you
If that isn't love, it will have to do
Until the real thing comes along
I am willing to suffer and even die for you; that's how much I love you, and I hope it is enough until something better comes along.
Lyrics © Warner/Chappell Music, Inc., IMAGEM MUSIC INC
Written by: ALBERTA NICHOLS, L.E. FREEMAN, MANN HOLINER, SAMMY CAHN, SAUL CHAPLIN
Lyrics Licensed & Provided by LyricFind