Soul Stream

I can see why some people get that impression from Patton - it's just the flip side of what others like about him. What some see as aimless meandering, others see as an intriguing, low key style that draws you in, bend after bend, .... until you you sit back and then realise that some great picture's just been painted. (oh shit - I sound like Thom Jurek now!) One of the things I like most about Patton is that he never pandered. The conventional arc of a Jimmy Smith-derived organ solo was what most organists delivered, live and on record. And although Big John certainly told a well-conceived story with his soloing, it was always a search. His style in this sense never changed. Even when I saw him play in his last couple of years, it was always a musical search. One time John and I were discussing Giant Steps and in general the relationship between music and mathematics. His reply was something to the effect of... "Well, it's like mathematics...but you've got to get your soul in there too." I think that sums up John's philosphy.

I guess you weren't here when there were some fireworks on this very subject when Scott Yanow visited the forum a while back. I'm sure the thread's here somewhere. Needless to say, there's varying opinions on this music. Pre-Mosaic Select, the Allmusic critics didn't know this was suppose to be hip, great music. After Mosaic signaled them it was...they changed their tune. Scott Yanow's take on it was pedestrian at best, and blasphemus at worst.

Tape machines ought to be big and cumbersome and difficult to use, if only to keep the riff-raff out. DAT machines make it possible for morons to make a living, and do damage to the music we all have to listen to. I've maintained this theory for a long time. As someone who spent a year assistant engineering for a studio in the 80's....Everyone who calls themselves an engineer should be able to operate, maintain and align a magnetic tape machine. That's the standard for serious engineers to this day.

Of course, when Mosaic reissued this....all of a sudden the session was amazing (as usual for allmusic guide's review of Mosaic sets) On the final session here, Understanding, the sound cut even closer to the bone: Harold Alexander was enlisted on tenor and flute, with drummer Hugh Walker the only other musician involved. The trio played all around the groove jazz sound, while turning it inside out in Alexander's out-ish honking solos. Patton's organ is way up in the mix, shape-shifting time signatures inside a 2/4 meter. The pace is aggressive, deep, and at times dissonant, making an excellent case for reappraisal here, as it dates better than anything else on this set. All in all, this is a deep, sometimes mystifying collection featuring Patton as a composer, bandleader, and arranger. His sense of rhythmic dynamics is among the most sophisticated in the history of the jazz B-3. There isn't a weak second on any of this material and it should be snapped up before Mosaic's copies go — they do not reissue. Blue Note should take the cue, do the entire catalog in 24-bit audio, and hustle it out there.

I think the thing that you'll notice about Patton's work is that he was always a group player. AOTB is really a superb performance. I know what you mean about the head on Rakin' & Scrapin'. Especially the outro head which the horn player messes up, but they continue on. That tune is essentially a showcase for Blood Ulmer which shows you how much of a giving personality Patton had on the bandstand. I'll have to disagree in your assumption that this was a tired or under-rehearsed group. I just don't hear that. To my ears, it just sounds like the emphasis had changed. Loose in the way Mile's Marathon sessions were in the sense that this was a working group that just came in and played. And if there were flaws, so be it as long as the performances were there. Patton plays some of his most amazing things on AOTB such as Lite Hit, ect. If anyone person adds a particular loose feel to me, it's Blood. He's super behind the beat on this record. Really pulling on Leroy Williams and Patton's basslines. Marvin Cabell always said Hugh Walker was the guy that fit best with the group. These guys really worked the road together and the empathy between Patton and Walker is just hand in glove.

I wonder if we all start e-mailing David Letterman to have Sonny Rollins on if he'd do it....

That Certain Feeling has.... Clifford Jarvis-drums Jimmy Ponder-guitar Junior Cook-tenor sax AMAZING session!

Yes...have you listened to That Certain Feeling? It's only CD release was on the John Patton Mosaic Select. If you haven't, I would suggest that's another one you would enjoy if you like his later Blue Note work. The depth of "Understanding", even after years and years of studying it, always amazes me. Especially considering the fact that when Alexander isn't soling or playing the head...the album is essentially John Patton and drums. That takes total musicianship. Patton was a musical giant.

I think the problem these days is that guys like Dave Letterman, Leno, Conan...they're rock and roll kids. They piss their pants when U2 comes on. Guys like Steve Allen and Johnny Carson were jazz guys. Carson played jazz drums and Steve Allen of course was a pianist/composer. It's a shame...hell, Kevin Eubanks just plays Led Zepplin songs for crissakes on commercial breaks! God forbid they actually have a jazz performance featured that isn't Diane Krall. It's really sad. Jazz should at least have some place at the table of today's television culture.

Isn't there audio of Miles Davis w/Trane on The Steve Allen show...I think I've got it on CD somewhere. Wish there were video to go along with it.

Coltrane Jazz

.o.k...my 'coltrane-linked' saxophonist is George Braith...

I just wanted to add.... That if you like David Murray's music, that's great. Enjoy it. Who cares what anyone else thinks, no matter who it is. I seriously have never heard his music. So dig it, if you dig it! Life and music can't really be judged. Beauty is in the ear of the behearer...

I have no clue how the white critics feel about him, but the "couldn't play at all" claim is crap -- whoever told you that has no clue what they are talking about. Guy Well...the guy who told me that was a Blue Note artist with a pretty solid musical background. Disagree with his opinion, but he does know what he's talking about...if what we're talking about is music.

There's a podcast interview with Pat Martino for his Tribute to Wes CD in which he recalls an instance where Wes and his organ player were carrying the B3 up a second story flight of stairs. He said Wes was really struggling and Pat was concerned for his health. Even for a musical giant like Wes Montgomery at the height of his fame, to think he was hauling around and carrying HIMSELF a Hammond B3 nightly is astounding. Those guys paid dues like we can't even imagine.

I used to think the same thing, but after seeing past AI winners like Taylor Hicks, Fantasia and Reuben, it seems America may not be caught up in looks as much as we think. I will say Melinda's hair, makeup and wardrobe have really been top notch throughout. Aretha Franklin and Gladys Knight were no beauty queens and I think Melinda might be a true legend in decades to come.

He has a very Phil Collins-ey thing happening for me which translates to a lot of lightweight, pop ugggg. But every once in a while he does something that makes me think twice. Last night was one of those times. Can we just go ahead and give Melinda first place....I mean does it really matter who comes in second at this point?

Melinda's performance proves once and for all she could sing the Phone Book and make it sound great. I mean, she made a damn convincing performance out of "Have A Nice Day" which has got to be the worst "song" every written. I thought Blake Lewis' arrangement and performance showed a real talent imho. That kid should be a producer if nothing else. Lakesha sounded great. Jordan and Phil were the worst for me.... Although I don't think Jordan will go, she actually might win this competition if she poisons Melinda's cheerios. I think the 2 voted off fantasy island this week will be Phil and Chris....or maybe Lakesha and Chris since there's no justice in a world containing Teflon Phil (I think he's evil incarnate).

Well, Love Bug is just an all out classic...I especially love "I Say A Little Prayer" and "I'm Gonna Make You Love Me." From Blue Mode, "Bus Ride" and "Orange Peel" basically define what organ soul jazz is.

Thanks Brownie...how's the bass sound on this?

I was speaking to a well known Coltrane-linked saxophonist who was saying the other day he thought David Murray was a complete white critics darling joke who couldn't play at all. I'm passing no judgement myself as I've never heard his music.

I just ordered this...seems like in flew in under my radar. Live with George Coleman! I've got the other two Kelly Left Bank sessions with Mobley and Joe Henderson. Can anybody tell me much about this one?

Have a great day Joe! Hope you play or listen to some great music today...

Yeah Andy, it's still on George's site. Great shot! There's still a picture George has that I've been trying to get him to send me for a long time...it's at the same Atlantic City gig which was a double bill with that group and McDuff's group. The shot is George, Grant Green, McDuff and Larry Young standing in front of the club and the sign with the groups names....

I'm from Denton....don't know what's left there, but I always LOVED Denton County Independent Hamburger on the Town Square. Also, I know it's fast food...but I'm a sucker for Taco Bueno, which they have in Denton and Dallas, but none down here in Austin.