album comes from his last sessions, a three-day date about five months before his death. Most of his recent studio work had been structured, often with background strings — but this album is a conscious return to the freewheeling blowing style of his famed Fifties "sax battles" with men like Sonny Stitt.

But in the company of Nat Adderley (coronet), Gary Bartz (alto) and Kenny Drew (piano)—it ain't a cutting contest—it's more shared exploration and exuberance. All but two of the six tracks are up, cooking numbers. "Out in the Sticks" uses a three note punctuation as a kickoff for solos, everybody gets a few choruses to stretch out in. When it's Nat's turn, midway through his ride he scat growls—and it fits. On "Jeannine" Jug does some agile leaping and running around the riffs — but you're aware of his sound rather than his chops.

"Geru's Blues" (an Ammons composition) is a standout track. A medium tempo cooker, it starts with ensemble playing, then Gary and Nat take their rides—when Gene steps in he does it with an authoritative bite, and plays one of his best solos here—taking notes and shaping them with casual power.

But the two ballads are where Ammons shines strongest for me. "Alone Again (Naturally)" is mostly Jug and Nat, with a strong intro of musing ease. "Goodbye" is the capper—four-and-a-half minutes of Ammons blowing his soul over restrained rhythm backing. With a beautiful sense of dynamics he builds the piece carefully but with emotion—his sound virile and tender ... and above all moving.

Not Ammons's best album (I'd probably pick Got My Own), but like all of them it has moments of incredible strength and beauty. His death leaves a hole in the world. (RS 192)

TONY GLOVER