Willis Jackson

Nuthern-Like-Thuthern

Nuther'n Like Thuther'n

  • Release Date: 23 Apr 2002
  • PRCD-24265-2

When it came to keeping the soul-jazz pot boiling, tenor saxophonist Willis "Gator Tail" Jackson (1932-1987) had few peers. But in the early to mid-1960s, when organ-tenor groups were still abundant and the jazz press devoted most of its pages to improvisers who in one way or another seemed to suffer for their art, it was easy to overlook Jackson's tight, punchy sextet. A fixture on the urban club circuit, all they did was keep their listeners happy, whether essaying relaxed, straig… MORE

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Before signing with Prestige in 1959, Willis “Gator Tail” Jackson had made his mark as a honkin’, shoutin’… More

The 1959-60 sessions from which Keep on a Blowin' (the first LP reissued herein) is derived marked a significant turning point in the… More

With the Cootie Williams orchestra in the Forties and with R&B queen Ruth Brown (to whom he was married for eight years) in the Fifties, as… More

Willis "Gator Tail" Jackson's meat-and-potatoes tenor saxophone moved easily from the blues and R&B on which he initially made his… More

This Gentle release is a compilation of Jackson’s ballads from his 61-62… More

ABOUT WILLIS JACKSON

Willis Jackson

 



Willis “Gator” Jackson (1932-1987) was originally famous as a honking r&b tenor saxophonist before modifying his style and becoming a success in hard bop/soul-jazz.




Born in Florida, Jackson initially played locally until he got his big break and joined Cootie Williams in 1948. Jackson was showcased honking and screaming throughout the two-sided recording “Gator Tail” which earned him the nickname of “Gator” and led to him making his first records as a leader in 1950.




Willis Jackson was a popular attraction in the r&b field throughout the first half of the 1950s before rock and roll took over. He was married to Ruth Brown and appeared on many of her recordings of the era. But by 1959 he had wisely altered his approach, eliminating some of the more excessive shrieks but still playing in a highly expressive style that fit in well with organ combos and in soul-jazz settings.




During 1959-1968, Jackson recorded constantly for Prestige, making a couple of dozen albums. Among the sets that are currently available are Please Mr. Jackson, Legends of Acid Jazz, Keep on a Blowin’, Gentle Gator, At Large, Gravy, Soul Night Live, With Pat Martino, and Nuther’n Like Thuther’n. Several of these CDs feature guitarist Pat Martino when he was a talented teenager. Jackson honks and screams within the context of the songs (rather than just as effects) and he displays much more versatility and variety than he did in his r&b days.




Willis Jackson continued playing in prime form up to the time of his 1987 death.