John Patton Aong

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…

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…

John Patton - Minor Swing (1994) {DIW Records Japan Mini LP} (ft. John Zorn)
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© 1995 DIW Records / Disk Union | DIW-896
Jazz / Soul Jazz / Hard Bop / Organ

An organ trio fronted by an avant-garde alto saxophonist like John Zorn isn't usually a combination associated with groove oriented soul-jazz. Luckily, on Minor Swing, organist Big John Patton and John Zorn encourage taking chances and opening the music up, while not going so far out as to overwhelm the intended fundamental groove. Zorn sounds comfortable and content, always maintaining his individuality, taking a cue from tenor saxophonist Harold Alexander who played in a similar "out" style on Patton's 1968 session for Blue Note, Boogaloo.

John Patton - Along Came John (1963) {Blue Note Japan SHM-CD UCCQ-5099 rel 2015} (24-192 remaster)
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© 1963, 2015 Universal Japan / Blue Note | BN 75th The Masterworks | UCCQ-5099
Jazz / Hard Bop / Soul Jazz / Organ

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A really unusual album from the mighty Hammond giant John Patton – as the set features two tenor players in the group, both of them great! The tenor's no stranger to the sublime keyboard work of Patton – but here, the great one gets help from both Fred Jackson and Harold Vick – both of whom are at their early 60s soul jazz best, able to play with a hard edge, but also some surprisingly complicated moments too – which really fits into the spirit of Patton's overall groove!

John Patton - Accent On The Blues (1969) {Blue Note Rare Groove Series CDP 553924 rel 1997}
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© 1969, 1997 Blue Note / Capitol | CDP 553924
Jazz / Jazz Blues / Soul Jazz / Organ Hammond B-3

Most John Patton albums are hard-driving, edgy soul-jazz and funk, and the title of Accent on the Blues makes the record seem like it would be no different than his other sessions. Of course, that isn't the case. Accent on the Blues is among the most atmospheric music Patton has ever made. While it stops short of being free, it's hardly funky soul-jazz, and that may disappoint some fans of his rip-roaring style. Nevertheless, the album is a rewarding listen, primarliy because it displays a more reflective side of his talent, demonstrating that he can hold his own among the likes of guitarist James Blood Ulmer and saxophonist Marvin Cabell.

John Patton - Along Came John (1963) {2009 Analogue Productions DSD Remaster}
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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.

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…