Grant Green Step

Grant Green, being known mainly as a soul jazz guitarist, eventually gravitated into the popular boogaloo sound. The Latin Bit is the natural bridge to that next phase, though a bit premature for most in 1961-1963, even relative to the subsequent bossa nova craze. Pianist Johnny Acea, long an underrated jazzman, is the nucleus of this session, grounding it with witty chops, chordal comping, and rhythmic meat. The Latino rhythm section of drummer Willie Bobo and conga player Carlos "Patato" Valdes personify authentic, seasoned spice, while at times the chekere sound of Garvin Masseaux makes the soup too thick. At its collective best, the group presents a steady, serene, and steamy "Besame Mucho" and the patient, slow, slinky, sultry "Tico Tico"…

The Hammond organ, named after its inventor Laurens Hammond, debuted in 1935 as a cost-effective electro-acoustic alternative to the gigantic pipe organs mainly installed in churches. Among Hammond’s first customers were George Gershwin and Count Basie. Jazz pianists like Basie, Fats Waller, Wild Bill Davis and Milt Buckner were the founding fathers of the instrument’s international conquest, which led across all styles of popular music, from jazz to progressive rock, with its heyday in the 1960s and '70s…

This album is INCREDIBLE. The way Bobby Hutcherson, Grant Green and John Patton lock in on their lines is almost surreal. The selections groove, but they're also deep, and the the musicians seem to connect on a deeply spiritual level. - - This is NOT just another Jazz organ combo album. It takes a new direction - - the sound is modern and progressive… John Patton at times is earthy and bluesy and at other times, very off center and mesmerizing. Melodically the stuff he's doing is almost Coltrane-esque, however, John's style is to understate things, and play with your sense of melodic imagination. Its an interactive listen, but if you're not feeling deep, you can say, "What the heck !" and get up and dance and it'll be just as good. This is probably one of the most inspired sessions to come out of those studios.

Larry Young who like most organists originally sounded close to Jimmy Smith, took a big step away from the organ's dominant influence on this adventurous and colorful set, which was his debut as a leader for Blue Note. Performing with a quartet also including tenor saxophonist Sam Rivers, guitarist Grant Green and drummer Elvin Jones, Young performs four of his originals plus Green's "Plaza de Toros." Other than the blues "Backup," the music is fairly complex, grooving in its own fashion and showing that Young was quite aware of John Coltrane's modal excursions.