John Patton Aong

John Patton - That Certain Feeling (1968) {Blue Note Japan SHM-CD TYCJ-81058 rel 2014} (24-192 remaster)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 249 Mb | MP3 @320 -> 98 Mb
Full Artwork @ 600 dpi (png) -> 225 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1968, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | TYCJ-81058
Jazz / Soul Jazz / Hard Bop / Jazz Funk / Organ Hammond B-3

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A brilliantly bubbling session from Hammond genius John Patton – and a set that serves as a real link between the gutbucket soul of his early years, and some of the fresher phrasing he was beginning to explore at Blue Note! Patton's lines on the keys are a wonderful thing to behold (and behear!) – as they're both rhythmic, but extremely fluid and exploratory – more conceived around some of the new ideas on tenor at the time, and pushing forward roughly into the same territory as Larry Young – but with more of Patton's rootsy soul still intact.

John Patton - Understanding (1968) {Blue Note Japan SHM-CD TYCJ-81087 rel 2014} (24-192 remaster)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 259 Mb | MP3 @320 -> 93 Mb
Full Artwork @ 600 dpi (png) -> 252 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1968, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | TYCJ-81087
Jazz / Soul Jazz / Hard Bop / Jazz Funk / Organ Hammond B-3

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. One of the coolest, hippest albums on Blue Note from organist John Patton – a set that really shows the Hammond giant taking on a new sense of direction – especially in his rhythms! The album's one of a few of John's to feature great drums from the massively overlooked Hugh Walker – a player who could really open up a tune, while still letting it swing – creating this sense of space that's really filled up by Patton's broad colors and tones on the keyboard, and by some mindblowing work on tenor sax by the equally overlooked Harold Alexander! The tunes have an open, flowing feel that's almost more in Larry Young territory – yet still retains the soul of Patton's other work too – and titles include "Soul Man", "Chittlings Con Carne", "Ding Dong", and "Congo Chant".

"Big" John Patton - Got A Good Thing Goin' (1966) {Blue Note Japan TOCJ-4229 rel 1997}
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© 1966, 1997 Blue Note / Toshiba-EMI | TOCJ-4229 | 20bit/88kHz mastering
Jazz / Soul Jazz / Hard Bop / Jazz Blues / Hammond Organ

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.

John Patton - Boogaloo (1968) {2014 Japan SHM-CD Blue Note 24-192 Remaster UCCQ-5025}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 269 Mb | MP3 @320 -> 99 Mb
Full Artwork @ 600 dpi (png) -> 293 Mb | 5% repair rar | 24bit 192kHz remaster
© 1968, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | UCCQ-5025
Jazz / Soul Jazz / Jazz Funk / Hard Bop / Organ

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Rare work by Hammond organ giant Big John Patton – recorded in 1968, but never issued until 1995, and even then, only briefly! The record features Patton at his finest – stretching out from his basic soul jazz roots, into a more searching use of the organ that's undoubtedly influenced by Larry Young's work at the same time. The record features great work by Harold Alexander on flute and tenor, plus trumpet by Vincent McEwan, drums by George Brown, and added conga by Richard Landrum. The groove is somewhere between 60s soul jazz and modal – and the tracks are long, with that heavy Patton swing! Title sinclude "B&J", "Boogaloo Boogie", "Milk & Honey", "Shoutin But No Poutin", and "Spirit".

Big John Patton - This One's For Ja (1996) {DIW Records Japan DIW-919 rec 1995}
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© 1996 DIW Records Japan | DIW-919
Jazz / Soul Jazz / Hard Bop / Organ Hammond B-3

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.

"Big" John Patton - Oh Baby! (1965) {Blue Note Japan SHM-CD UCCQ-5113 rel 2015} (24-192 remaster)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 279 Mb | MP3 @320 -> 96 Mb
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© 1965, 2015 Universal Japan / Blue Note | BN 75th The Masterworks | UCCQ-5113
Jazz / Soul Jazz / Hard Bop / Jazz Funk / Organ Hammond B-3

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Oh Baby is right – as the album's one of the best John Patton albums for Blue Note – a perfect mix of funky organ and burning hardbop! The tracks hare are all originals penned for the album – mostly by Patton, but also by other group members – the kind of fresh grooves that made John's organ work for Blue Note really stand out from the rest of the 60s Hammond generation – very creative stuff, with occasional modern touches, and a rhythmic conception that's not only unusual, but which also really lets the soloists stretch out on their grooves! Players include Harold Vick on tenor, Blue Mitchell on trumpet, Ben Dixon on drums, and Grant Green on guitar – and the album's about as sharp as you can get for a Blue Note organ session. Titles include "Fat Judy", "Each Time", "One To Twelve", and "Night Flight".

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.

John Patton - Memphis To New York Spirit (1969) {Blue Note Japan SHM-CD UCCQ-5010 rel 2014} (24-192 remaster)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 478 Mb | MP3 @320 -> 183 Mb
Full Artwork @ 600 dpi (png) -> 294 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1969, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | UCCQ-5010
Jazz / Soul Jazz / Jazz Funk / Organ

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Although it was scheduled for release two times, Memphis to New York Spirit didn't appear until 1996, over 25 years after it was recorded. The album comprises the contents of two separate sessions – one recorded in 1970 with guitarist James "Blood" Ulmer, drummer Leroy Williams and saxophonist/flautist Marvin Cabell; the other recorded in 1969 with Cabell, Williams, and saxophonist George Coleman – that were very similiar in concept and execution.

John Patton - Boogaloo (1968) {Blue Note 1995}
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© 1995 Blue Note / Capitol | CDP 7243 31878 2 9
Jazz / Hard Bop / Jazz-Funk / Organ

he main reason to purchase this previously unissued set from the declining years of Blue Note is not for the trivial rhythmic themes (which use fairly basic chord sequences) or even the solos of organist John Patton (who never does escape entirely from the shadow of Jimmy Smith) but for the somewhat out-of-place avant-garde outbursts by Harold Alexander (on tenor and flute) who often takes improvisations that go completely outside; his squeals on "Boogaloo Boogie" are a real surprise and he may very well be the reason that this music was not put out at the time. Otherwise this is a routine and now-dated set of commercial late-'60s jazz/funk.