The digital remastering on this compilation is just as superior to any previous attempts to transcribe Patton's marginally recorded and preserved legacy as that of the Document discs. And as it is only slightly less thorough - the Document discs include extra takes on "Elder Green Blues," "Hammer Blues," and "Some of these Days I'll Be Gone" - this compilation seems the likely choice for anyone with an interest in pre-war Delta blues. Both affordable and handsomely packaged, the three-disc box includes extensive liner notes written by blues historians Keith Briggs and Alex Van Der Tuuk, with reminiscences by Patton crony Son House.
Famous as the vocalist of Faith No More, notorious as the singer of Mr. Bungle, Mike Patton goes one step further with a debut album of experimental sounds never imagined possible from just voice and microphone. Recorded and mixed in hotel rooms using 4-track cassette deck, Adult Themes is a classic which will both surprise and delight Patton fans and newcomers alike. Compositions such as "Catheter", and "Orgy In Reverb" live up to their titles. In addition to his successful day job, Mike Patton has moonlighted with various ensembles and composers including Kronos Quartet, Bob Ostertag, Rova Saxophone Quartet, David Shea, Arto Lindsay, Bill Laswell, Boo-Yaa Tribe, Sepultura, John Zorn and Naked City (filling in for Yamatsaka Eye).
Grant Green always brought out the best in Big John Patton. Almost any record that featured the guitarist and organist was dominated by their scintillating interplay, and it always sounded like they were trying to top each other's blistering, funky solos. Patton and Green rarely sounded better than they did on Got a Good Thing Goin', a 1966 session that functioned as a showcase for the pair's dynamic interaction and exciting, invigorating solos. In particular, the duo's mastery is evident because there are no horns to stand in the way – only drummer Hugh Walker and conga player Richard Landrum provide support, leaving plenty of room for Green and Patton to run wild.
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.
On the third album of his '90s comeback, Big John Patton chooses to create a relaxed vibe, smoothly grooving through a surprising choice of material. Most of the record consists of challenging songs like Coltrane's "Syeeda's Song Flute" and Grachan Moncur III's "Sonny's Back," which gives Patton – as well as his supporting band, featuring guitarist Ed Cherry and tenor saxophonist Dave Hubbard – the chance to create intricate yet accessible music. This is music that can be heard as simply a good groove yet it rewards careful listening. This One's for J.A. again confirms that Patton has made one of the rare comebacks in jazz, one that does justice to his earlier work.
Organist John Patton is featured on this set in a stripped-down trio with Harold Alexander (on tenor and flute) and drummer Hugh Walker. Patton's one-chord funky vamps are fine in small doses, but the endless repetitions on these rather simplistic originals may drive alert listeners batty after awhile.