Search - John Patton :: Along Came John

Near definitive soul-jazz session

Thomas Aikin | San Diego, CA | 07/04/2000

(4 out of 5 stars)

"I would rate this album 4 1/2 stars, but thats not an option. While not quite an all-time classic its certainly first rate and a necessary buy for soul-jazz enthusiasts. Its probably the best available introduction to John Patton's talents on the Hammond B3 as well. This session marks Patton's first as a leader for Blue Note. Rounding out the group are Grant Green {guitar), Ben Dixon (drums), and Fred Jackson and Harold Vicks (both on tenor sax). The strength of this release lies in the rhythm section of Patton, Green, and Dixon. As a trio they backed numerous classic Blue Note groove sessions and have a competely organic interplay and sound. Their experience playing together really is evident on this session. The sound is effortless and easy. Jackson and Vick are two obscure but excellent soul-jazz saxophonists who are are in good form here with a bluesy, gritty sound. For those not familiar with Patton, he is perhaps the best of the legions of Jimmy Smith followers on the Hammond organ. Patton may actually be a better groove player than Smith as his playing is more blues and less bop. He's certainly in top form here. Most of the tempos are moderate to brisk and induce foot-tapping. All in all a most welcome reissue. If you like soul jazz and haven't been exposed to John Patton you simply must purchase this title. Excellent sound quality as well."

SMOKIN'

political idiot | california | 07/22/1999

(5 out of 5 stars)

"Big John Patton + Grant Green = killer jam. This set smokes from the get go. Highly recommended."

Nothing quite like it...

Eddie Landsberg | Tokyo, Japan | 03/11/2007

(5 out of 5 stars)

"Its so sad that a great deal of Big John Patton's albums have been relegated to obscurity... In a world where arguably many Jazz organ sessions are guilty of sounding the same - - Patton definitely did his own thing, and opened the doors for others - - anticipating not only the experimentalism of Larry Young, but the whole "funk" thing as well... as this was before "funk" became a genre. (Back then people "played funky", but it wasn't until JB that it was proclaimed a genre.)



So what's to be said about this LP... Well... its bluesy... very... At the same time its cool... very... and at the same time, typical to John, at times off center... very... Extremely moody... And typically him. - - I knew Big John and was a student of his in his last years... my biggest memory of him was that he was always kicking his blues, always experimenting... and always had that "dark", but groovy sound. He could be your best buddy and joking one minute and a mad frothing manic depressive genius the next. - - As for his playing: He didn't quite play the blues licks like Jimmy Smith... nor hot bop like Don Patterson... but there were elements of both in his playing - - as well as mistakes. Not bad ones, but delightful ones... this was a guy who was always experimenting and had a very passionate philosophy... If you play one more note than you have to, its a crime and boy you gonna get it. (He was also obsessed over chords and basslines... and how they were connected smoother and smoother and slicker and slicker.) Note the ABSENCE of certain changes in some of the tunes on these albums and all he's able to do with them (*yet this definitely isn't one chord funk or typical modal Jazz.)



Featuring the perfect ensemble, at times when I think of Big John Patton's playing I think "Ray Charles on Acid" (*Big John himself was a veteran Chitlin Circuit R & B player.) What is also amazing is the enormous and potent groove Grant Green/Dixon and Patton were able to get through concept packed, bluesed based"underplaying" - - The "mondo" funk/bop/R&B of this album might be missed by those more used to the more pyrotechnic/soul-less Jazz styles of more recent artists... but will be deeply missed by those who truly appreciate this sound !



Deep yet danceable..."