John Grant

'Big' John Patton - The Organization! The Best of 'Big' John Patton (1963-70) {Blue Note, 1994}
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© 1994 Blue Note / Capitol | 7243 8 30728 2 8
Jazz / Soul Jazz / Hard Bop / Hammond

Super 78-minute anthology of Patton's prime (1963-70) era, unfortunately released only in the U.K., drawn from nine albums. 1963's "Along Came John," and 1966's "Amanda," and the two cuts from his best album, 1965's Let 'Em Roll ("The Turnaround" and "Latona") are particular cookers, but the organ-guitar-horn groove is always solid, and the riffs basic but compelling. This is some of the best soul-jazz ever, usually featuring Grant Green on guitar, though a young James Ulmer takes over on axe for the 1970-era cuts.

John Patton - Along Came John (1963) {2009 Analogue Productions DSD Remaster}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 217 Mb | MP3 @320 -> 82 Mb
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© 2009 Blue Note / Analogue Productions | CBNJ 84130 SA
Jazz / Hard Bop / Soul Jazz / Hammond B-3

John Patton, Grant Green and Ben Dixon were introduced to Blue Note by Lou Donaldson and quickly became the quintessential rhythm section for Blue Note's funkier session. They came together for this, John Patton's first album, with two of the label's tenor saxophonists Fred Jackson and Harold Vick. The double tenors and organ trio make an unbeatable combination for some soulful, swinging music. The title tune and "The Silver Meter" were radio hits that remain among the most popular of Patton's recorded performances.

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.

This magnificent performance is without a doubt among the top two or three Handel opera recordings in the catalog. John Nelson outdoes even the period instrument competition, conducting with a vitality and freshness that sweeps all before it. Kathleen Battle is a great Semele (if listening to this woman sing "Myself I Will Adore" isn't a classic example of typecasting, then what is?). But the real palm must go to Marilyn Horne as the jealous Juno, who simply stops the show with her two arias (she sings Ino as well). A very great recording.

Previously unreleased recordings of guitarist Grant Green taped in December 1959 and February 1960 at the Holy Barbarian coffee house in St. Louis. Features saxophonist Bob Graf, organist Sam Lazar and drummer Chauncer Williams.

The rediscovery of Florence Price’s music has revealed one of the most significant bodies of work by an African American composer in the 20th century. The variety of genres represented on this release place Price’s immense artistic imagination on full display. The two Concert Overtures explore her engagement with spirituals, both episodically and coloristically, in music that embraces the somber, the poignant and the ebullient. Songs of the Oak is a tour de force of Hollywood-influenced storytelling while The Oak offers a more anxious, ultimately tragic portrait. Price’s best-known work is the Suite of Dances – originally for piano it is heard here in the composer’s full, sumptuous orchestration.