Don Patterson - The Best Of Don Patterson & The Jazz Giants (1969)

The term "jazz giants" is no overstatement for this selection of choice tracks from the brilliant organist's output for Prestige between 1964 and 1969. The various lineups on the LP's six tracks are made up of players who excel in playing Patterson's brand of smart, hard-bopping soul jazz: Sonny Stitt, Pat Martino, Charles McPherson, George Coleman, Blue Mitchell, Junior Cook among others. Cohesive pacing and sound put this release a few notches above most all-star/best-of sets. There's no awkward shoehorning guests in for celebrity cameos, rather the players all sound like members of tight, working units. It helps to have Patterson stalwarts guitarist Martino and drummer Billy James on board for most of the music, as they share the artist's ability to generate exciting, hard-driving music with their great blues feeling and outstanding chops. The three tracks with Martino are the high points: Stitt's "Ratio and Proportion," Billy James' "Little Shannon," and Charlie Parker's "Donna Lee." As he consistently does in his work with Patterson, Martino impresses with his stunning rhythm work, in addition to his more widely recognized role as a killer soloist. The version of "Donna Lee" here is also significant for the presence of veteran bebopper Howard McGhee, who is in excellent form on this feature for his trumpet. The mark of a strong best-of package is one that stands on its own as a coherent presentation of the artist's work, as well as one that prompts the listener to seek out the complete sessions that were drawn on for the compilation. On both these accounts, this survey of Patterson's work is a complete success. ~ by Jim Todd, AMG.

Prestige Records, PRST 7772, 1969

Recorded 24^th September, 1968 (#A1) in New York City

Recorded 2^nd June, 1969 (#A2) At Van Gelder Studio, Englewood Cliffs, New Jersey

Recorded 22^nd February, 1968 (#A3) in New York City

Recorded 10^th May, 1967 (#B1) At Van Gelder Studio, Englewood Cliffs, New Jersey

Recorded 19^th March, 1964 (#B2) At Van Gelder Studio, Englewood Cliffs, New Jersey

Recorded 5^th June, 1968 (#B3) in New York City

Personnel:

Don Patterson - Organ

Virgil Jones - Trumpet (#A2)

Howard McGhee - Trumpet (#A3)

Blue Mitchell - Trumpet (#B3)

Charles McPherson - Tenor Saxophone (#A1)

Sonny Stitt - Tenor Saxophone (#A1,B2)

George Coleman - Tenor Saxophone (#A2)

Houston Person - Tenor Saxophone (#A2)

David "Fathead" Newman - Tenor Saxophone (#B1)

Junior Cook - Tenor Saxophone (#B3)

Pat Martino - Guitar (#A1-A3,B3)

Billy James - Drums (#A1,A3,B1,B2)

Frankie Jones - Drums (#A2)

Tracks:

A1. Ratio And Proportion {Sonny Stitt} (5:09)

A2. Perdido {Ervin Drake, Hans Lengsfelder, Juan Tizol} (8:50)

A3. Donna Lee {Charlie Parker} (6:16)

B1. Mellow Soul {Don Patterson} (6:35)

B2. Please Don't Talk About Me When I'm Gone {Sidney Clare, Sam H. Stept} (5:42)

B3. Little Shannon {Billy James} (6:56)

Total Time: 39:28

See Session Info [Personnel].txt for further details

Don Patterson - Four Dimensions (1967) [vinyl]

Sweet soulful work from the legendary Don Patterson – a great Prestige set that has tenorist Houston Person joining the organist's hip trio with Pat Martino on guitar and Billy James on drums! The tunes have that loping soul jazz sound you'd find in Person's best early work at the time – a groove that's got plenty of bottom, but also a nice dose of lyricism as well – and the use of Houston's horn here seems to bring out a different approach from Patterson than you'll hear on his sessions with Booker Ervin. There's a very slight hardbop element at times - and titles include "Sandu", "Freddie Tooks Jr", "Red Top", and "Last Train From Overbrook". © Dusty Groove America, Inc.

Prestige Records, PRST 7533, 1968

Recorded 25^th August, 1967 in New York City

Musicians:

Don Patterson - Organ

Houston Person - Tenor Saxophone

Pat Martino - Guitar

Billy James - Drums

Tracks:

A1. Sandu {Clifford Brown} (4:45)

A2. Freddie Tooks Jr. {Don Patterson} (5:41)

B1. Embraceable You {George Gershwin, Ira Gershwin} (9:23)

B2. Red Top {Gene Ammons} (10:16)

B3. Last Train From Overbrook {James Moody} (3:57)

Total Time: 34:02

Credits:

Supervisor, Design - Don Schlitten

Engineer - Richard Alderson

Notes - Bob Porter (Jan. 1968)

Don Patterson - Soul Happening! (1966)

Similar to Satisfaction! Don puts together another fine soul Jazz groove. Again, he opts for a trio format with himself organist, Vincent Corrao guitarist and his long-term drummer Billy James and sets about interpreting a number of jazz standards and couple popular tunes to great effect, Enjoy!

Those of us who have been fortunate enough to hear Don on his other Prestige albums will recognise that he is not only able to play long, well-constructed solos, but that his ability as an accompanist is first rate. On this album we can hear how Don ably and sympathetically backs his guitarist, Vincent Corrao. In this, as in many other respects, Don is one of those complete musicians who is slowly gaining a large following on the jazz scene. It will be a worthwhile experience. Altogether, with the cohesive strength of Don, Vincent and Billy, we have another good example of what can happen when three fine musicians get together for a swinging ‘Soul Happening.’ ~ Extract from Liner Notes by Walter Catt (Jan. 1967)

Prestige Records, PR 7484, 1967

Recorded 5^th August, 1966 At Van Gelder Studio, Englewood Cliffs, NJ

Personnel:

Don Patterson - Organ

Vincent Corrao - Guitar

Billy James - Drums

Tracks:

A1. Wade In The Water {Traditional} (5:17)

A2. La Bamba {Hector Acosta, Harry Belafonte} (4:50)

A3. Strangers In The Night {Bert Kaempfert, Charles Singleton, Eddie Snyder} (7:12)

B1. Up Tight {Henry Cosby, Sylvia Moy, Stevie Wonder} (3:12)

B2. Love Letters {Victor Young, Edward Heyman} (6:47)

B3. Wee Dot {J.J. Johnson, Leo Parker} (5:55)

Total Time: 33:12

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Liner Notes - Walter Catt (Jan. 1967)

Don Patterson - Satisfaction! (1965)

Patterson had been working with drummer Billy James for four years, notably as backing group for Sonny Stitt. They don’t dwell on matters and head into two up-tempo blues shuffles, Bowl Full Of Yok and Goin' To Meeting, commenting on each other’s phrases ebulliently. Patterson is a great storyteller and capable of stretching out to the limit. Bowl Full Of Yok’s many choruses never have a dull moment. After the theme is stated guitarist Jerry Byrd immediately grabs attention in dissonant vein and launches into a solid solo. Byrd flavors his personal style with touches of Charlie Christian and Pat Martino. In this session Byrd takes some interesting solo’s; his guitar sound is a bit distorted, which enlivens the down home-type proceedings. Jagger/Richard's Satisfaction has gotten a lighthearted, funky treatment. On John Brown’s Body - a marching song about an abolitionist in the American Civil War - the resemblance of Patterson's play to the famous character that influenced him to take up the organ in the first place, Jimmy Smith, is most striking. Don Patterson operated within the classic organ combo format - a quartet consisting of organ, guitar, drums and saxophone. On Satisfaction the horn is left out. It's not sorely missed. Patterson keeps things interesting in many areas: that of technical ability, harmonic coherence and, last but not least, that of the blues. Extract from FlopHouseMagazine.

Prestige Records, PR 7430, 1966

Recorded 19^th July, 1965 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Don Patterson - Organ [Hammond B-3]

Jerry Byrd - Guitar

Billy James - Drums

Tracks:

A1. Bowl Full Of Yok {Don Patterson} (9:50)

A2. Goin' To Meeting {Don Patterson} (6:51)

B1. John Brown's Body {Traditional} (7:57)

B2. Satisfaction {Mick Jagger, Keith Richards} (3:21)

B3. Walkin' {Richard Carpenter} (5:53)

Total Time: 33:52

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Liner Notes - Bob Porter (Dec. 1965)

Don Patterson, Sonny Stitt, Billy James - The Boss Men (1965) [re-rip]

Fruitful partnerships in jazz are one the principal ways both the music and the musicians stay creatively vital. Having a close colleague to riff off of and goad on keeps even an art form based on improvisation from going stale. Stitt and Patterson shared just such a relationship. The saxophonist and the organist teamed up on over a dozen dates together in the late 60s, frequently with drummer James in tow. This Prestige LP "The Boss Men" is ostensibly helmed by Patterson. Blues-based originals and a handful of standards round out the crop of tunes and the trio wastes no time in harvesting them. One of the immediately audible aspects of this errant trio is their reverence for space and thematic flexibility. While several of the tunes traffic in rapid tempos nothing ever seems rushed. Stitt’s a venerated veteran and he knows it, taking the changes with a diplomatic amiability that proves a model of self-assurance and pacing. His alto positively sings in points and it’s a true joy to hear him blowing so effusively in such economical setting. Whether soloing or filling in the chordal cracks around his partners’ Patterson is similarly confident. His glimmering lines sport a slippery weightlessness at odds with the stereotypical heavy-handed, lead-footed organists of the era. James is at times a basher, striking his skins with a strident urgency, as on But more often he slides easily into an accompanist’s role sculpting syncopated grooves and soothing brush patterns with equal alacrity. Excerpts by Derek Taylor, AAJ.

Prestige Records, PRST 7466, 1966

Recorded 28^th December, 1965 At Van Gelder Studio, Englewood Cliffs, New Jersey

Tracks:

A1. Diane {Erno Rapee, Lew Pollack} (5:48)

A2. Someday My Prince Will Come {Frank Churchill, Larry Morey} (8:21)

A3. Easy To Love {Cole Porter} (5:43)

B1. What's New? {Bob Haggart, Johnny Burke} (5:34)

B2. Big C's Rock {Don Patterson} (3:12)

B3. They Say That Falling In Love Is Beautiful {Irving Berlin} (7:52)

Personnel:

Don Patterson - Organ

Sonny Stitt - Alto Saxophone

Billy James - Drums

Credits:

Producer - Cal Lampley

Engineer - Rudy van Gelder
Design - Don Schlitten

Liner Notes - Ahmad Basheer, June 1966

Eric Kloss - Introducing Eric Kloss (1965) [re-rip]

Eric Kloss' great first jazz outing, recorded back when he was a teenage virtuoso attending the Western Pennsylvania School for Blind Children. Recorded with Don Patterson's trio, with Pat Martino on guitar, and very (and surprisingly) groovy all the way through. The tracks are mostly standards, but Kloss plays with a lot of imagination and fire, and really wails along with Patterson's organ. © Dusty Groove, Inc.

And what an introduction. The 16-year-old Eric Kloss joins forces with organist Don Patterson in what is a top-flight date for both of them. Patterson always had premier players with him who were attuned to his unique blend of hard-bopping soul jazz. In his debut recording, Kloss is equal to any of them. Regular Patterson collaborators -- guitarist Pat Martino and drummer Billy James -- are also on board. Martino is superb in his rhythm and solo work, his extraordinary technique and natural way with the blues always a sure bet on a Don Patterson date. Similarly, James' progressive style and command of the blues are key to this group's sound. The titular star sticks to his tenor, except for a modern, swinging treatment of "Embraceable You," where he switches to alto. Kloss favors the higher end of the tenor's register, plays with little or no vibrato, and makes little use of the tenor's trademark honks and barks. Although he is not unorthodox in his approach, Kloss, while still a teenager, does not sound overtly like anyone else, except, perhaps, for an inevitable John Coltrane influence. For this session, the program comprises standards, originals, and blues, including a version of Miles Davis's "All Blues," which gets a slightly more low-down treatment than usual, without sacrificing the tune's innate sophistication and cool. Kloss went on to record many fine sessions in the ensuing years, including dates with members of the rhythm section on Miles Davis' Bitches Brew, but since the early '80s, he has been absent from the jazz scene. When he arrived with this introduction, though, Kloss combined with the others in this quartet to produce a hard bop, organ jazz session that stands with the best. ~ by Jim Todd.

Prestige Records, PR 7442, 1965

Recorded 1^st September, 1965 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Eric Kloss - Alto & Tenor Saxophones

Don Patterson - Organ

Pat Martino - Guitar

Billy James - Drums

Tracks:

A1. Close Your Eyes {Bernice Petkere} (6:51)

A2. Old Folks {Dedette Lee Hill, Willard Robison} (5:47)

A3. 'S 'Bout Time {Don Patterson} (8:09)

B1. That's The Way It Is {Jimmy Giuffre, Eric Kloss} (5:29)

B2. All Blues {Miles Davis} (5:42)

B3. Embraceable You {George Gershwin, Ira Gershwin} (4:31)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten
Liner Notes - Jack Yard (Nov. 1965)

Don Patterson - The Exciting New Organ Of Don Patterson (1964) [vinyl]

Great album with Booker Ervin on tenor sax. ~ by Michael Erlewine, AMG.

Presumably, as it goes, Prestige headquarters called it The Exciting New Organ Of Don Patterson for marketing purposes. Three years of experience playing alongside tenor and alto giant Sonny Stitt saw Patterson cooperating with guitar player Paul Weeden, and the remaining decade he would strike up an engaging companionship with Pat Martino. Martino and Patterson certainly inspired each other to career heights. Without the guitar, however, Patterson is far from handicapped. The dynamics are not so much better as different.

Patterson original S'Bout Time is a whole different ballgame. By far the album’s greatest achievement, eclipsing the rendition of Sonny Rollins' Oleo, itself a fine performance that receives meticulous attention to its tricky theme and a fair dose of fast-fingered bop-blues riffs from Patterson and tenorist Booker Ervin, and Up In Betty's Room, a lively blues composition containing some freewheeling improvisation. S'Bout Time stretches the boundaries of soul jazz by way of a modal "feel" reminiscent of the work of contemporaries such as Joe Henderson, Wayne Shorter and Herbie Hancock.

A sassy build-up from drummer Billy James and Patterson's "walkin" bass lines is followed by a simple melody that is somewhat in the vein of (a speeded-up) So What, from whence Booker Ervin takes off. And I do mean take off! Ervin, an astute contributor to many of Charles Mingus' finest recordings, is fiery all the way, splendid in his combination of blues and the depth of Coltrane. Patterson's answer to Ervin's spontaneous combustion is dynamic, coherent, unashamedly free flowing. Patterson uses his right hand almost exclusively and the effect is mesmerizing. After four and a half minutes of classy soloing, Ervin re-enters for a few heated bars and the trio trades fours down to the coda.

It’s a powerful statement from a refreshing record of organ jazz. ~ Extract from Flop House Magazine

Prestige Records, PRST 7331, 1964

Recorded 12^th May, 1964 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Booker Ervin - Tenor Saxophone (#A1-B1)

Billy James - Drums

Tracks:

A1. S'bout Time {Don Patterson} (10:08)

A2. Up In Betty's Room {Don Patterson, Billy James} (5:12)

A3. Oleo {Sonny Rollins} (3:50)

B1. When Johnny Comes Marching Home {Traditional} (10:56)

B2. The Good Life {Sacha Distel, Jack Reardon} (9:59)

Credits:

Supervision - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Liner Notes - Robert Levin (July, 1964)

Don Patterson - The Best Of Don Patterson (1969) [vinyl]

A fine compilation of tracks from Don Patterson albums released on Prestige Records stretching from 1964-1967. He is joined by a solid cast of players including: Houston Person, David “Fathead” Newman, Sonny Stitt, Booker Ervin, Jerry Byrd, Pat Martino, Vinnie Corrao, Billy James on broad selection of soul jazz tunes, Enjoy!

Prestige Records, PRST 7704, 1969

See Session Info text file for Dates & Personnel

==============================

Tracks:

A1. 42639 {Sonny Stitt} (5:21)

A2. Satisfaction {Richard Carpenter} (3:21)

A3. Up In Betty's Room {Don Patterson} (5:12)

A4. Last Train From Overbrook {James Moody} (3:57)

B1. Humpa Snapa Blues {Don Patterson} (5:01)

B2. Up Tight {Don Patterson} (3:13)

B3. Big C's Rock {Don Patterson} (3:12)

B4. Sister Ruth {Don Patterson} (4:56)

Recording Engineer - Rudy van Gelder

=========================================================

42639 was originally released on:

Don Patterson - Patterson's People (1965)

PR7381

Satisfaction was originally released on:

Don Patterson - Satisfaction! (1965)

PRST 7430

Up In Betty's Room was originally released on:

Don Patterson - The Exciting New Organ Of Don Patterson (1964)

PRST 7331

Last Train from Overbrook was originally released on:

Don Patterson - Four Dimensions (1967)

PRST 7533

Humpa Snapa Blues was originally released on:

Don Patterson - Mellow Soul (1967)

PRST 7510

Up Tight was originally released on:

Don Patterson - Soul Happening (1967)

PRST 7484

Big C's Rock was originally released on:

Don Patterson - The Boss Men (1965)

PRST 7466

Sister Ruth was originally released on:

Don Patterson - Hip Cake Walk (1964)

PRST 7349

Don Patterson - Mellow Soul (1967) [re-rip]

"Patterson is one of the few jazz organists with any kind of critical notices. A number of critics, notably Down Beat's Harvey Pekar, has noted that, unlike most organists, Patterson plays straight ahead with no nonsense and reliance on the trick bag. His ability to swing without utilizing the built-in histrionics of his instrument is an indication of his taste. Taste which has convinced Sonny Stitt, wowed the critics and become an identifying characteristic of his playing is what Patterson displays here. Patterson's constant musical companion in recent years has been drummer Billy James. James is one of the few drummers who knows what and how to play with an organist. Others with this talent are few and far between." Patterson is also joined by David "Fathead" Newman who on this date picks up both tenor and flute. 'In 1959, Ray Charles showcased Newman for the first time in an album of his own. Many people discovered then and there that the true roots of "Fathead" lay in the music of men like Rollins and Stitt. Since leaving the Charles band, Newman has freelanced extensively' and is especially accomplished on this album. Overall this LP is an exceptional opportunity to hear 'three men with roots who have moved comfortably in the mainstream of modern jazz.'
~ Excerpts taken from the Liner Notes by Bob Porter, July 1967.

Prestige Records, PRST 7510, 1967

Recorded 10th May, 1967 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

David "Fathead" Newman - Tenor Saxophone (#A1,B1-B3), Flute (#A2,A3)

Billy James - Drums

Tracks:

A1. Hump Snapa Blues {Don Patterson} (5:01)

A2. Music To Think By {Dick Boyell} (3:57)

A3. Darben The Redd Foxx {James Moody} (4:52)

B1. Mellow Soul {Don Patterson} (6:35)

B2. Head {David "Fathead" Newman} (6:08)

B3. These Foolish Things {Harry Link, Jack Strachey} (9:42)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten
Liner Notes - Bob Porter (July 1967)

Don Patterson - Oh Happy Day (1969) [re-rip]

Don's got a great group on here - featuring trumpeter Virgil Jones, plus a twin tenor lineup on most tracks that includes George Coleman and Houston Person. The album includes one very long, very nice groover called "Hip Trip" - and it also features a cover of Edwin Hawkins "Oh Happy Day", turned into a surprisingly nice solo vehicle, plus "Perdido", "Good Time Theme", and "Blue 'N Boogie". © Dusty Groove America, Inc.

Despite claims to the contrary, organist Don Patterson was very much of the Jimmy Smith School, a hard-driving player with fine improvising skills but lacking a distinctive sound of his own. This set features Patterson in prime form in a group that features trumpeter Virgil Jones and both George Coleman (who solos first on “Perdido” and second on his other appearances) and Houston Person on tenors. Although "Oh Happy Day" is a throwaway, Patterson's spirited renditions of the blues and standards make this a fairly definitive example of his talents. ~ by Scott Yanow, AMG. 

Not sure I really take to Scott’s appraisal; what is a 'throwaway' the album or the tune?

Prestige Records, PR 7640, 1969

Recorded 2^nd June, 1969 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Virgil Jones - Trumpet

Houston Person - Tenor Saxophone

George Coleman - Tenor Saxophone (#A2,B1,B2)

Frankie Jones - Drums

Track Listing:

A1. Oh Happy Day {Edwin Hawkins} (7:19)

A2. Perdido {Ervin Drake, Hans Lengsfelder, Juan Tizol} (8:50)

A3. Good Time Theme {Oliver, Mike Douglas} (3:41)

B1. Hip Trip {Don Patterson} (13:41)

B2. Blue 'N Boogie {Dizzy Gillespie, Frank Paparelli} (4:44)

Credits:

Supervision - Bob Porter

Recording Engineer - Rudy van Gelder

Liner Notes - Yvonne Daniels (August, 1969)

Don Patterson - Why Not... (1978) [vinyl>flac]

Later work from Don Patterson -- but a record that still shows him in fine fine form! The tunes are all long and spacious -- no gimmicks, just straight ahead soul jazz, in that beautiful back-to-basics mode that Muse was using with Charles Earland around the same time. The group's a quintet -- bigger than usual for Patterson -- with Don on the Hammond, plus Bootsie Barnes on tenor, Eddie McFadden on guitar, Virgil Jones on trumpet, and Idris Muhammad on drums. Titles include "Aries", "Why Not", "Three Miles Out", and "Freddie Tooks Jr". © Dusty Groove America, Inc.

Don was born in Columbus, Ohio, July 22, 1936. He’s now living in Philadelphia, a city that is a mecca for artists, as well as a stronghold for organist Jimmy Smith, Jimmy McGriff, Trudy Pitts, just to name a few. “Fats” Waller in the late 1930's was one of the first to use the organ as a jazz instrument. This is the fourth Don Patterson album on Muse Records. Don Patterson is not only a master organist, but also a talented compose. There are three of his originals on this album. He uses the melodic, harmonic and rhythmic lines in their proper colors. Tonal colors are important when playing or mastering the organ. ~ rappamelo.com.

Don Patterson is among my top five favourite organists. Never heard a bad recording of his. I always found him the closest to Horace Silver of all organists, especially as a composer. I think he inspired Sonny Stitt to some of his best playing. I like all the Muse sessions. The fourth Muse "Why Not" is nice, I always have a cassette of it in the car, with a nice Horace Silver vibe in the heads. ~ Mike Weil.

Don is the MAN! Another giant we lost too soon. He's really not on enough recordings, either. Have you got the Muse dates? Those are killer! ~ Jim Alfredson.

Muse Records, MR 5148, 1978

Recorded 26^th January, 1978 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Bootsi Barnes - Tenor Saxophone

Virgil Jones - Trumpet

Eddie McFadden - Guitar

Idris Muhammad - Drums

Track Listing:

A1. Why Not {Houston Person} (11:39)

A2. Aries {Don Patterson} (8:12)

B1. Dem New York Dues {Don Patterson} (8:02)

B2. Three Miles Out {Bootsi Barnes} (5:23)

B3. Freddie Tooks Jr. {Don Patterson} (6:36)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Art Direction and Cover Photo - Hal Wilson

Liner Notes - Samir Ali Sadiq, WRTI FM, Philadelphia, PA

Don Patterson with Sonny Stitt - Donny Brook (1969) [re-rip]

Organist Don Patterson and saxophonist Sonny Stitt recorded together frequently between 1961 and 1969. On this LP from their last session, they are joined by guitarist Grant Green -- the only date Green ever recorded with them. Regular Patterson collaborator, drummer Billy James, completes the group. It's good organ jazz, although not the best performances in this style from the three lead players. Green's title track is the highlight. It's a two-chord vamp that sounds as if at any moment it's going to break into the melody from Classics IV's hit, "Spooky." What's impressive is how the players drive off from this very basic tune to produce sophisticated, imaginative solos. The group's readings of Tad Dameron's "Good Bait" and Sonny Rollins' "St. Thomas" are not definitive, but they yield satisfying choruses from Stitt, Patterson, and Green. Patterson can usually be counted on for a stylish, soulful, slow blues. For this set, it's "Mud Turtle" -- close to ten minutes of steaming solo work all around. The Patterson ballad feature "Starry Night" starts off in roller-rink territory, but soon develops into a highly dramatic and progressive piece. ~ by Jim Todd, AMG.

Prestige Records, PR 7816, 1970

Recorded 15^th September, 1969 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Sonny Stitt - Tenor Saxophone [Varitone]

Grant Green - Guitar

Billy James - Drums

Track Listing:

A1. Donny Brook {Grant Green} (8:25)

A2. Mud Turtle {Don Patterson} (9:58)

B1. St. Thomas {Sonny Rollins} (5:32)

B2. Good Bait {Tadd Dameron, Count Basie} (8:32)

B3. Starry Night {John H. Densmore} (5:53)

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder
Photo - Al Johnson
Design - Don Schlitten
Liner Notes - Nat White (September, 1970)

Extracts From Liner Notes:

A donnybrook is a fight. This donnybrook is a bit different, however, because the participants are merely supporting each other and results are much mellower than the knock-down drag-out one might expect. For many years, I have listened to and enjoyed the straight-ahead swing of Don Patterson-a gifted young man. Hearing Don is always a joy but hearing him in the company of burner extraordinaire Sonny Stitt is an added bonus. Don, Sonny, and Billy James worked up and down the country for several years and they know what to expect from each other. The addition of Grant Green can only add some spice to an already together congregation.

This album is an example of the affirmation of jazz in these times of social unrest-at home and abroad. Noting that indifference and conflict have invaded many of the arts, it is a pleasure to know that jazz, the only true American art form, has not fallen to the depths of mediocrity. It has broadened its horizons, expanded its viewpoint, and survived with its best feature intact. Men like Don Patterson will be in the vanguard of change for the music and it is a good thing because a man like Patterson has deep roots in modern jazz. Good hard-cooking music will not fade from the scene if he has anything to say about it. ~ by Nat White.

Don Patterson with Booker Ervin - Hip Cake Walk (1964) [vinyl>flac]

A massive pairing of the tenor of Booker Ervin and Hammond of Don Patterson – a record that's got a very famous cover image, and which marks for one of the greatest meetings of soul and modernism at mid-60s Prestige Records! There's no bass at all on the set – just lots of quick, tight rhythm lines from Patterson on the pedals of the Hammond – mixed with drums from Billy James, and served up with plenty of space for Ervin to open up on tenor – blowing with more soul than on some of his modernist sides of the time! The title cut – "Hip Cake Walk" – is a 16 minute groover, and other tracks include "Rosetta", "Sister Ruth", and "Donald Duck". Very cool cover, too! © Dusty Groove, Inc.

Organist Don Patterson went through a richly productive period in the 1960s, fashioning a fortress of funky organ jazz hi-fi on the Prestige label. Various brave knights marched forth through the massive gates which can be imagined as fronting this real estate, their identity at times key to decisions made by fussy collectors regarding which Don Patterson album to own, which to stroll on by. Hip Cake Walk can also get the nod based on album title coolness, a set of standards promoted by individuals who absorb this kind of information as if blotting up anaesthetic. Meanwhile the aforementioned scouts have identified brave knight Booker Ervin, a favourite of tenor saxophone fans one and all, the man who plays a beat as if winning the penalty kick, whose horn was once used to cook fish soup for Pancho Villa. The presence of one solid Patterson original after the other, from the title tune through the holistic introduction of 'Sister Ruth' and the webbed-foot swing of 'Donald Duck', trumps any previously stated reason for this album's special status. 'Hip Cake Walk' is sliced and strolled with for more than a quarter-of-an-hour, alto saxophonist Leonard Houston jousting, knocking burning candles off drummer Billy James' head which he then replaces with icing dripped off his sticks. Cover material is also nicely selected, an Earl Hines classic given a clever updating and 'Under The Boardwalk' allowed to conclude the program with an enduring vision of the Drifters drifting out to sea, clinging to the keys of Patterson's organ, a lifesaver indeed. ~ Eugene Chadbourne, All Music Guide.

Prestige Records, PR 7349, 1965

Recorded 12^th May (#B1) 10^th July (#A1-A3,B2), 1964 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Booker Ervin - Tenor Saxophone (#A1-A3)

Leonard Houston - Alto Saxophone (#B1)

Billy James - Drums

Track Listing:

A1. Sister Ruth {Don Patterson} (4:56)

A2. Donald Duck {Don Patterson} (5:48)

A3. Rosetta {Earl Hines, Henri Woode} (8:02)

B1. Hip Cake Walk {Don Patterson} (16:30)

B2. Under The Boardwalk {Arthur Resnick, Kenny Young} (3:02)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Liner Notes - Walter Catt (Oct. 1964)

Don Patterson - Tune Up! (1964-1969) [vinyl>flac]

An enjoyable set of stretched organ/tenor grooves. This LP is made up of four different sessions from Patterson's Prestige days; including the title track, all given the strong early groove of organist Don at a time when some of his contemporaries were tightening things up on the B-3, going for shorter tunes aimed at the jukebox and radio crowd. Don Patterson was a great reminder that the organ was best used on lengthier jamming tracks, on tunes that stretched out nicely with a style that was heard best in the clubs, and where an organ player could really do his thing. The album kicks off  with "Just Friends'', Patterson uses a cut down trio format; Billy James on drums and tenorist Booker Ervin,  another player who always knows what to do with plenty of space! The other titles include versions of "Flyin' Home", "Tune Up" a Miles Davis tune featuring Sonny Stitt on Varitone and Grant Green, listed on the album cover as Blue Grant! The album finishes up with "Blues For Mom", Don's own composition, showcasing a dual tenor line-up of George Coleman & Houston Person plus Virgil Jones on trumpet. Overall this LP is quite a magnificent soul jazz package.

Prestige Records, PR 7852, 1971

Recorded 10^th July, 1964 (#A1); 25^th August, 1964 (#A2);
15^th September, 1969 (#B1) and 2^nd June, 1969 (#B2)
at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Booker Ervin - Tenor Saxophone (#A1,A2)

Sonny Stitt - Tenor Saxophone (#A2,B1)

Grant Green - Guitar (#B1)

Virgil Jones - Trumpet (#B2)

Houston Person - Tenor Saxophone (#B2)

George Coleman - Tenor Saxophone (#B2)

Billy James - Drums (#A1,A2,B1)

Frankie Jones - Drums (#B2)

Tracks:

A1. Just Friends {John Klenner, Sam M. Lewis} (5:56)

A2. Flyin' Home {Lionel Hampton, Benny Goodman} (10:12)

B1. Tune Up {Miles Davis} (4:24)

B2. Blues For Mom {Don Patterson} (12:52)

Credits:

Producers - Ozzie Cadena (Side A), Bob Porter (Side B)

Recording Engineer - Rudy van Gelder

Liner Notes - Joe Segal (January, 1971)

Don Patterson - Movin' Up! (1977) [re-rip]

This re-rip is for those newer visitors, but especially for KingCake, because I know how much he loves these grooves.

This date was produced much more by Richie Cole than me, but I learned a lot during the session. Mostly, it was firsthand experience with the darker side of the jazz life. But I loved the almost pop quirks of Don’s song selection when he gave a wonderful reading of the obscure theme song to the almost forgotten movie of the novel The World of Suzie Wong. ~ Fred Seibert.

This record is smoking hot. The personnel are all on point but the real draw here for me is the incredible synergy between Patterson on the B-3 and Cole on sax in tunes like; Trenton Makes The World Takes and The World of Susie Wong. Most tunes on the record feature Patterson and Cole jamming on one another with Juris adding ambiance on the guitar, though Juris features more prominently on The Good Life and in several excellent solos elsewhere. Billy James plays some tight drums with a great groove throughout the record. All in all another top deck release for Muse; if you are a fan of jazz-funk and soul-jazz, this is one to get. ~ S. Caron.

Muse Records, MR 5121, 1977

Recorded 31^st January, 1977 At CI Recording, New York City

Personnel:

Don Patterson - Organ, Arp Synthesizer

Richie Cole - Alto Saxophone

Vic Juris - Electric Guitar

Billy James - Drums

Tracks:

A1. Room 608 {Horace Silver} (5:49)

A2. Bossa de Leon {Richie Cole} (9:37)

A3. Trenton Makes The World Takes {Richie Cole} (6:02)

B1. [The World Of] Susie Wong {George Dunning, Sammy Cahn} (11:05)

B2. The Good Life {Sacha Distel, Jack Reardon} (9:09)

B3. Harold's House Of Jazz {Rex Cadwallader} (4:30)

Credits:

Producers - Fred Seibert & Richie Cole

Engineers - Chuck Irwin & Fred Seibert

Cover Design & Photo - Hal Wilson

Liner Notes - Bill Bennett (Radio Free Jazz)