John Patton Aong

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.

Big John Patton's Soul Connection originally appeared on drummer Alvin Queen's Nilva label in 1983 - just before the organist's "rediscovery" by John Zorn in the 1990s. It is the lost gem in his catalog and showcases him in one of the most provocative quintets in his career; it feels quite directly like an extension of Patton's late Blue Note period on titles like Memphis to New York Spirit and Accent on the Blues. Patton is accompanied here by the great soul-jazz guitarist Melvin Sparks; tenor saxman Grant Reed; trombonist, composer, and arranger Grachan Moncur III; and Queen - who produced the set - on drums. Musically, the material reflects the diverse range and demeanor of this band. Reed is the least well-known member, but his jazz and funk associations run deep…

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.

Big John Patton's Soul Connection originally appeared on drummer Alvin Queen's Nilva label in 1983 - just before the organist's "rediscovery" by John Zorn in the 1990s. It is the lost gem in his catalog and showcases him in one of the most provocative quintets in his career; it feels quite directly like an extension of Patton's late Blue Note period on titles like Memphis to New York Spirit and Accent on the Blues. Patton is accompanied here by the great soul-jazz guitarist Melvin Sparks; tenor saxman Grant Reed; trombonist, composer, and arranger Grachan Moncur III; and Queen - who produced the set - on drums. Musically, the material reflects the diverse range and demeanor of this band. Reed is the least well-known member, but his jazz and funk associations run deep…

By the time John Patton recorded Along Came John, his debut as a leader, he had already become a familiar name around the Blue Note studios. He, guitarist Grant Green, and drummer Ben Dixon had become the label's regular soul-jazz rhythm section, playing on sessions by Lou Donaldson, Don Wilkerson, and Harold Vick, among others. They had developed an intuitive, empathetic interplay that elevated many of their sessions to near-greatness, at least in the realm of soul-jazz. That's one of the reasons why Along Came John is so successful - the three know each other so well that their grooves are totally natural, which makes them quite appealing. These original compositions may not all be memorable, but the band's interaction, improvisation, and solos are…