Al Carter-Bey, a very popular, well-known, veteran Chicago born and
raised, jazz radio host/promoter/activist/athlete, who has worked at
seven radio stations, and who has written a newspaper column called
"Jazz Rapp" for years, has now written his first book, It Was Jug That I
Dug (KHA Books), an excellent, eye-opening book about the life and
times of the great tenor saxophone legend, Chicago, native Gene "Jug"
Ammons. It is an easy-to-read, touching, autobiographical work that
covers not only the story of how Ammons became a well-known giant in the
jazz world, but, it traces Al's life, his love for African-American
culture, and his eyewitness account of his beloved Chicago's vibrant
music scene.
This is oral history at its best because Al fills in the holes and
destroys the lies, rumors, the false stories about Gene Ammons,
especially the one that most writers, journalists, pundits and critics
have told for years-that Ammons started shooting heroin when he was a
member of the 1945 Billy Eckstine Big Band. According to Al, Ammons
didn't start until much later, in 1956 in Washington, D.C., around the
time Gene married his second wife.
"Billy Eckstine's Band of 1945 included Jug, with a reed section that
was labeled the unholy four-Sonny Stitt, Leo Parker, Dexter Gordon and
John Jackson was the four," writes Al Carter-Bey. "They were called
this because of the way they carried themselves. They would not show up
for rehearsals, when they did participate they clowned around.
Accusations were made that the entire reed section was strung out on
heroin, including Jug. During the years with Eckstine, Jug did not mess
around with drugs. In fact, Jug had a dislike for drugs and those who
used them."
Carter-Bey's book is a gem because it is full of such happy and sad
recollections of when he hung out with the musicians, before, after and
during the gigs. He highly respected, became a good friend and follower
of Gene Ammons. Al met Ammons when he was youngster, and he recalled
hearing Gene and Al's cousin Dickey practice in the living room of his
childhood home on Hudson Avenue. It is at that point in the book that
the fascinating story comes alive with tale after tale from a "jazz
impresario" who is hopelessly hooked on what he rightfully calls
"American Classical Music."
It Was Jug That I Dug contains rare photographs of Ammons, including one
at Jug's funeral in 1974, a discography of Gene Ammons recordings that
Al owns, and an insightful radio interview on WHPK-FM on Al's swinging
Sunday show with the 88-year-old Chicago guitarist George Freeman, who
played with Gene Ammons. Let's hope that this fine, bear witness book
Is just the beginning for "the Jazz Impresario," the cat who constantly
uses the term "American Classical Music," Brother Al Carter-Bey. We can
hardly wait for part two and beyond!
More Information: http://www.khabooks.com" rel="nofollow - http://www.khabooks.com
from www.jazzcorner.com
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