BLP 4174

"Big" John Patton - The Way I Feel

Released - October 1964

Recording and Session Information

Van Gelder Studio, Englewood Cliffs, NJ, June 19, 1964
Richard Williams, trumpet #1-4; Fred Jackson, tenor, baritone sax #1-4; John Patton, organ; Grant Green, guitar; Ben Dixon, drums.

1376 tk.9 Jerry
1377 tk.17 The Rock
1378 tk.20 The Way I Feel
1379 tk.22 Just 3/4
1380 tk.28 Davene

Track Listing

Side One
Title	Author	Recording Date
The Rock	John Patton	June 19 1964
The Way I Feel	John Patton	June 19 1964
Side Two
Jerry	John Patton	June 19 1964
Davene	John Patton	June 19 1964
Just ¾	John Patton	June 19 1964

Liner Notes

SINCE the Hammond organ has gained prominence in the realm of modern jazz its explorations and developments have been exploited by many. But only a select few have been able to meet with the challenge and intricacies of this electrically powered instrument From these few emerges John Patton.

Patton, unlike many that merely “tinker” with the instrument is a very serious minded young man. He is extremely aware of the beauty, passion, power, and depth of the organ, and the many stops” employed to produce color and clarity. The basic necessities of the foot boss, and the control of the volume pedal, ore all essentials of his finesse.

Since Patton’s first date as a sideman for Blue Note, Alfred Lion recognized his genuine talent, and his growth has been highly evident ever since. (And I bear witness to his growth.) So much so, that this marks his third album as leader.

Patton’s first album Along Come John (4130), basically a hard-driving, straight ahead type album, demanded that more be heard of this forceful young man. And more was. His second album Blue John (4143) featured a spicier set, as Hot Sauce, Country Girl, and Bermuda Clay House confirms.

Now this, his third album is varied even more. The Way I Feel, tells it like it is. The personnel is basically the same, except for newcomer Richard Williams. This marks his first recording for Blue Note, and he makes a terrific impression on all. His ensemble work and solo duties ore both done with such immaculate grace that it is in plain view why his friends affectionately call him “Notes.” Listen to his solo on Rock.

Grant Green and Ben Dixon are no strangers to Blue Note listeners, or to Patton recordings. They were both on the previous two Patton albums. Green literally “belongs” to Blue Note, and has made countless recordings as both leader and sideman. Among his credits as leader are the albums Grantstand (4086), Feelin’ The Spirit (4132), Sunday Mornin,’ (4099), Am I Blue (4139), and the soon to be released Idle Moments (4154).

Dixon, on the other hand, has never recorded as leader for Blue Note, but his contributions hove been unsurpassed. He is one of the few “musical” drummers. By that I mean that he can write and arrange. He wrote most of the tunes from the Along Came John album, and did all of the arrangements. It’s obvious to Blue Note, that when Patton is preparing on album Green and Dixon are mainstays. All that needs to be done is to call in another horn or two.

This time Fred Jackson was recalled, playing both tenor and baritone saxophones. (He was on the Along Came John album too.) I’ve known Jackson since 1944, when we were in high school together in Atlanta, Ga. Even though his first instrument was the alto saxophone, it’s hard to distinguish from the three reed instruments I’ve heard him play which one is more his forte. His sole album for Blue Note as leader is called Hootin’ ‘N Tootin’ (4094). Check this one.

Even though all of the performers are individually acclaimed, the album is still Patton’s. Appropriately titled, The Way I Feel lets you know that “Big John” is ready to take care of business. And T.C.O.B. he does. From the unpretentious repetition of the title tune, to the superbly articulate Just 3/4.

All of the compositions and arrangements are Patton’s. And rarely in the annals of jazz recordings does a leader contribute as much with equal dexterity.

The Rock, being built upon the firmness of a pedal-like bass, has a solid Foundation. It is not a walking bass, but more of a defined point of departure.

As I mentioned before, “Notes” ploys a delightful solo on this one, and is followed by the leader, Patton. He in turn is followed by Jackson, but Patton returns for one more chorus to set the stage for Green. A very well executed piece.

Jackson’s robust baritone leads the solo parade on The Way I Feel, and the melodic Williams Follows. Green enters with his familiar singing style, before Patton states the way he feels. Patton ploys around the backgrounds very well, and does o highly commendable ob on the out chorus and tag.

On Jerry, Green assists Patton with the melody line, but it is the leader that lays the groundwork for the ensuing soloists. Patton’s solo moves with such grace and skill, that it gives one the impression of o bird on the wing. Jackson enters teasingly, and blows up a storm. For this reason (not too long ago), he was affectionately tagged “Hurricane.” Green plays two choruses of single lines mixed with chords, and Ben Dixon fills in the breaks of the tag.

Davene is strictly Patton’s, other than sixteen bars of guitar on the third chorus. Patton’s ability to play a ballad is as notable as his natural, forceful swing.

Just 4, as I mentioned before, is superbly articulate. All of the solos ore good. The melody interesting to the point, that at times, you may think that the composer wrote four-four, against three-four. But after all, isn’t it titled “Just Three-Four”?

Patton is born of the mold, “I must play what I feel.” And as long as he is allowed to play what he feels, his music promises to be as entertaining and impressive as this, and his first two recordings. He has certainly impressed Blue Note, and the writer of these notes.

— DUKE PEARSON

Cover Photo by FRANCIS WOLFF
Cover Design by REID MILES
Recording by RUDY VAN GELDER
Englewood CliFfs, New Jersey. June 19, 1964.