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John Patton (musician)

John Patton
Born July 12, 1935 (1935-07-12)
Kansas City, Missouri
Died Did not recognize date. Try slightly modifying the date in the first parameter.
Montclair, New Jersey
Nationality US
Other names Big John Patton
Malcolm Bass
Occupation musician

John Patton (July 12, 1935 in

  • Article (Jazz Organ Stories: John Patton)
  • John Patton discography on jazzlists.com
  • Obituary
  • Jazz Hammond organ trio Organissimo's site, from which the discography was taken

External links

  1. ^ Allmusic biography
  2. ^ Obituary - Big John Patton JazzHouse.org
  3. ^ Big John Patton - Jazzateria.com
  4. ^ Allmusic biography
  5. ^ Big John Patton - Jazzateria.com
  6. ^ Allmusic biography
  7. ^ Big John Patton - Jazzateria.com
  8. ^ Big John Patton - AllAboutJazz.com
  9. ^ Big John Patton - Jazzateria.com
  10. ^ Big John Patton - Jazzateria.com
  11. ^ Big John Patton - Jazzateria.com
  12. ^ Big John Patton - Jazzateria.com
  13. ^ Big John Patton - AllAboutJazz.com
  14. ^ Big John Patton - Jazzateria.com
  15. ^ Obituary - Big John Patton JazzHouse.org
  16. ^ Big John Patton - Jazzateria.com
  17. ^ Big John Patton - Jazzateria.com
  18. ^ Obituary - Big John Patton JazzHouse.org
  19. ^ Big John Patton - Jazzateria.com
  20. ^ Obituary - Big John Patton JazzHouse.org
  21. ^ Big John Patton - Jazzateria.com
  22. ^ Big John Patton - Jazzateria.com
  23. ^ Obituary - Big John Patton JazzHouse.org

References

As sideman

As leader

Discography

He died from complications arising from diabetes, in Montclair, New Jersey, on March 19, 2002.[23]

Patton continued recording until the late 1990s. In these later years he developed a loyal following in both Japan and Europe, both of which he toured in addition to his dates in the United States. Several dates were recorded by collectors. In 2001, Patton performed "Money Jungle" with Red Hot + Indigo, a tribute to Duke Ellington, which raised money for various charities devoted to increasing AIDS awareness and fighting the disease.

The Boogaloo and Memphis New York Spirit. Patton made several trips to England where he was embraced by the Acid Jazz community.[22]

Patton's style on the Hammond B-3 has been resistant to imitation because of its space and economy. Some have called it minimalist, but Patton claimed that he emulated the sounds of his favorite trumpet and reed players. "I love trumpet, I love trombone, I love reeds...I love it all...Musicians like Fred Jackson, Richard Williams, Grant Green, Ben Dixon and Johnny Griffin...I can go on and on ...This is where I got my concept..."[21]

It was his work in the Grant Green with drummer Ben Dixon in the soul-jazz fusion genre, though that he did some of his best and most ground-breaking work. He also worked with Johnny Griffin, Harold Vick and Clifford Jordan, and some of the early experimentalists, including many who worked with SunRa Records during its heyday: Trombonist Grachan Moncur III, guitarist James 'Blood' Ulmer, and saxophonists John Gilmore and Marshall Allen.[20]

Patton worked as a sideman for myriad other labels as well (See Discography). On one limelight recording "Hold On, I'm Coming," with Art Blakey, he appears under the pseudonym Malcom Bass.

During the 1960s in New York and on the road, Patton became one of the most recognizable figures in Jazz, and was a driving force of the sound of electric organ. He recorded for the Don Wilkerson and Lou Donaldson.

He worked as a sideman for Lou Donaldson for three and a half years, until 1964.[18] "He says 'Play the BLUES'," Patton recalled. "You don't mess with Lou 'cause Lou knows how to play the Be Bop and Blues and Rhythm and Blues ... I am very fortunate that I got a chance to spend that much time with him and I can't thank him enough." [19]

"Grant is my love...I never heard nobody play the guitar like that brother...Grant started playing when he was about twelve and he was out there a long time...and I was so thrilled that I got a chance to play with him, man, but he was greedy, (like a) Gemini, (but) I was a mule...I didn't care; I sho' learned!"[17]

Blue Note artist Ike Quebec became his mentor, introducing him into Blue Note and to one of the most important relationships in his career, with guitarist Grant Green.[16]

[15] Patton set up his own Hammond

"Man, listen, it's so sensitive and it will reveal its secrets if you try to get up in there and learn it...and learn the sound and contact. You can't play it like a piano 'cause that's another thing all together - The notes are the same but, see, that electricity puts another 'jammie' on you, you know what I mean? You must deal with touch and so many other thing...and I was very frustrated as first."[14]

A man called 'Butts' first showed Patton how to set up the organ and find the right registrations.[12] When he moved to New York in late 1959, and began playing gigs around town.[13] Herman Green, a friend who played with Lionel Hampton's band, took him to a Hammond in Asbury Park, New Jersey, and helped him learn how to play it. Patton was fascinated with the differences in the nuance of the sound that an electric organ could produce.

"Some of the clubs that we would play in would have an organ off to the side and every time I would have a chance to get with that organ, man, it was just fascinating to me...especially the bass line." [11]

It was a relationship that would last until 1959.[8] "I learned everything with Lloyd, "Patton said. "I was his 'straw boss' and the leader and he dumped all this on me and that was an experience that I got a chance to deal with."[9] He recruited top players for Lloyd, including drummer Ben Dixon.[10] Dixon, another self-taught player, encouraged John to check out the Hammond B-3 organ when they played in clubs that had one.

After high school, he headed East and found professional work. In 1954 in Washington D.C., he found out that R&B star Lloyd Price was playing at the Howard Theater, and that Price had just fired his pianist, and needed a new player. John played a few bars from the introduction to 'Lawdy, Miss Clawdy.' He was given the job.[7]

Patton's mother was a church pianist who taught him how to play fundamentals.[6] When he was about 13 years old, in 1948, he began to teach himself. He was inspired by the music he heard in KC, but he wanted to play beyond the Kansas City Jazz scene.

"'Remember the tune, 'Big Bad John'? ... yeah, well, that's what they started calling me and at first I didn't understand it but I love it now. It's just a name; if it's going to help you, then boogie on up in there!'"[5]

John Patton, born in Kansas City, Missouri on July 12, 1935, was an American Jazz and Jazz fusion composer and performer whose work included "Funky Mama" and Along Came John.. He developed the nickname 'Big John," not because of his size, but because of a song.

Biography

Contents

  • Biography 1
  • Discography 2
    • As leader 2.1
    • As sideman 2.2
  • References 3
  • External links 4

[4]. His music evolved to incorporate modal and free jazz, without ever losing the basic, minimalist groove that he brought to it from the beginning.John Zorn, and Lou Donaldson, Grant Green, Lloyd Price, and performed or collaborated with Blue Note He recorded extensively for [3][2] movement.acid jazz and is considered a roots player who inspired the soul jazz He was a major figure in the development of the funk and blues rooted jazz style known as [1]

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