Big John Patton Albums (16)
'Soul Connection'
Release Date 6/10/2008
Tracks 5
Label Just a Memory
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What The Critics Say
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. He appeared with Jack Walrath on the front line of Don Pullen's quintet, and in the early '70s was a member of Mongo Santamaria's band. A disciple of Texas tenor Booker Ervin, he has a big soulful tone that reaches both ends of the spectrum, from Arnett Cobb shouts to John Coltrane's angles. There are two tunes apiece by Patton and Moncur. However, the opening title track is a reading of one of trumpeter Dusko Goykovich's finest soul-jazz numbers (in which the composer directly pays homage to the early-'70s Crusaders). It begins with a break-heavy Latin shuffle from Queen before the front line kicks it into stomp groove. Goykovich wrote some mean titles in his day, and this is one of the very best. It's complex progressive jazz, yet lies deeply in the soul pocket, lending it an earthy quality, too -- thanks in large part to Sparks' choppy chord voicings that allow Patton to solo freely. Patton's "Pinto" and "Extensions" follow. They are two of the big surprises here. While they come right out of the hard bop realm, they open up inside in unique ways, all the while relying on the same melodies to provide plenty of room for improvisation. This is especially true of the former, which is based on a breezy, hard bop blues and has some excellent honking by Reed; he takes it just outside enough to push Patton and Moncur into some compelling places. The latter number is even more adventurous, with some turnstile breaks by Queen. The knotty funk comes out of the Horace Silver book, but given that it's a B-3 quartet, it changes almost immediately -- Sparks' solo is stellar. Moncur's tunes are shocking yet bear his trademark signature. "Space Station" riffs on the pop tune theme "Bewitched" before giving way to a driving hard bop center with a fine solo by Moncur and killer fills in the high register from Patton. The closer, "The Coaster," is classic Moncur. It opens with a staggered call and response between the trombonist and Reed, with Sparks taking the first solo. It employs everything from bebop to soul-jazz to swing, and evokes the entire history of the jazz guitar. Patton eggs him on, playing against the tune's rhythm like another percussionist, popping two-fisted chords in chopped-up bursts, leaving Queen to concentrate on keeping the swing intact. The repeated interactions by Reed and Moncur preface excellent solos by both before the melody returns, closing this set like a well-sprung trap. This is a necessary Patton date for fans. [This set was reissued on CD by Justin Time's Just a Memory imprint in 2008.] ~ Thom Jurek, All Music Guide
What The Critics Say
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. ~ Stephen Thomas Erlewine, All Music Guide
'Memphis to New York Spirit'
Release Date 1/1/1996
Tracks 8
Label Blue Note
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What The Critics Say
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. Patton leads his combo through a selection of originals and covers that range from Wayne Shorter and McCoy Tyner to the Meters. Though the group is rooted in soul-jazz, they stretch the limits of the genre on these sessions, showing a willingness to experiment, while still dipping into the more traditional blues and funk reserves. Consequently, Memphis to New York Spirit doesn't have a consistent groove like some other Patton records, but when it does click, the results are remarkable; it's worthy addition to a funky soul-jazz collection. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
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. Patton's second comeback date of the '90s features Zorn with Ed Cherry (guitar) and Kenny Wollesen (drums) on six originals and Larry Young's "Tyrone." Patton and Zorn embrace Young's influence by employing elements of harder edged post bop that a large portion of groove-soul organ players tend to avoid. Although these sessions may be harder to obtain than his Blue Note dates, the '90s DIW and Evidence releases are highly recommended. ~ Al Campbell, All Music Guide
What The Critics Say
The 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. ~ Scott Yanow, All Music Guide
What The Critics Say
Though Big John Patton isn't the innovator that Larry Young was, it would be a mistake to think of him as being strictly a soul-jazz player. Patton can get funky, to be sure, but he hasn't been afraid to venture into post-bop territory and take the Hammond B-3 away from traditional soul-jazz settings. Recorded when the organist was 57, Blue Planet Man is an unpredictable set that ranges from grits-and-gravy soul-jazz to more intellectual post-bop. Patton gets into a funky, down-home soul-jazz groove on "Funky Mama," and vocalist Rorie Nichols has a very R&B-minded cameo on "What's Your Name?." Yet Patton is very Thelonious Monk-ish on the angular "Popeye" and is just as cerebral on "Bama" and Archie Shepp's "U-Jaama." In fact, one of the CD's main soloists is alto saxman John Zorn, who is primarily known for playing avant-garde and free jazz. Not one of Patton's essential releases, Blue Planet Man is definitely enjoyable and well-intended -- the album reminds us that Patton can hardly be considered one-dimensional. ~ Alex Henderson, All Music Guide
What The Critics Say
Big John Patton's second album, Blue John, was one of several '60s sessions the organist led for Blue Note that remained unissued until much later (in this case, 1986). Although the six selections are all straightforward soul-jazz, the results end up far more offbeat than one might expect. That's due largely to the presence of soprano sax/stritch player George Braith, one of the very few Rahsaan Roland Kirk disciples to master the art of playing multiple horns simultaneously. Braith is far and away the most distinctive element of Patton's quintet, which also includes trumpeter Tommy Turrentine and frequent Patton collaborators Grant Green on guitar and Ben Dixon on drums. While the grooving interplay between Patton, Green, and Dixon is as instinctive as ever, Braith's piercing, honking stabs are what really liven up the proceedings, giving Blue John a crazed sense of fun that makes it one of Patton's most infectious and enjoyable records. There may be something of a novelty element to Braith's playing, but bluesy, groove-centered soul-jazz rarely sounds this bright and exuberant, which is reason enough not to dismiss his contributions. Highlights include the opener, "Hot Sauce," one of Braith's signature compositions, and drummer Dixon's "Nicety." ~ Steve Huey, All Music Guide
'Accent on the Blues'
Release Date 1/1/1969
Tracks 10
Label Blue Note
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What The Critics Say
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. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Patton with saxman Harold Alexander and drums. Alexander is playing sax that is just a tad too "out" for an organ combo than is standard for soul jazz, thus turning the sound toward something other than a real groove. If you like progressive sax, you might be able to stay in the groove. Not me, the sound keeps popping me out. I like to get in the groove and ride. ~ Michael Erlewine, All Music Guide
