BLP 4192

John Patton - Oh Baby!

Released - 1965

Recording and Session Information

Van Gelder Studio, Englewood Cliffs, NJ, March 8, 1965
Blue Mitchell, trumpet; Harold Vick, tenor sax; John Patton, organ; Grant Green, guitar; Ben Dixon, drums.

1536 tk.7 One To Twelve
1537 tk.10 Night Flight
1538 tk.21 Oh Baby
1539 tk.27 Each Time
1540 tk.29 Good Juice
1541 tk.33 Fat Judy

Session Photos

Grant Green and John Patton

Photos: Francis Wolff

Track Listing

Side One
Title	Author	Recording Date
Fat Judy	Ben Dixon	March 8 1965
Oh Baby	John Patton	March 8 1965
Each Time	John Patton	March 8 1965
Side Two
One to Twelve	John Patton	March 8 1965
Night Flight	Harold Vick	March 8 1965
Good Juice	John Patton	March 8 1965

Liner Notes

SINCE most critics have never defined what a "legitimate" jazz instrument is — I am unable to ascertain if the organ will ever be rewarded with their indorsement. Its broad influence however, has at last found a status of acceptability in its reception among most jazz fans.

There is no doubt that in this year of 1965, musicians who play the Hammond Organ have finally succeeded in proving that the organ deserves a place in the ever expanding orchestra of jazz instruments.

The history of the Hammond Organ has been well reported through the years in its determined struggle to emerge with legitimate status. From the early experiments of Thomas "Fats" Waller and Count Basie to modernists "Wild" Bill Davis and Jimmy Smith, these practitioners of the organ have helped to establish proof that the organ could make a welcome contribution to the sound of jazz.

With its growing acceptance, there has been an increasing number of organists who no longer approach the organ as a challenge, as does Jimmy Smith. The doors have opened to newer organists to simply approach the organ as an instrument to play. They do not concern themselves with its acceptance or rejection as an instrument of jazz.

"Big" John Patton is a member and leader of the new school of organists. He said, "The numerous stops do not intrigue me. I feel the organ is an instrument to be played and not conquered. I do admit that you must learn to play the organ or it will play you."

As with most organists, John is an ex-pianist. In his case. his switch to the organ was not based on the lure of additional jobs to continue working a a musician. He liked the sound of the organ. He was fascinated by its melodic sound and its fullness.

His approach to the organ might be described as underplaying. It is not a style that is to be interpreted as fear of the instrument. The economy in his playing and his spacing is somewhat similar to that of Miles Davis. This is not unusual since John likes the trumpet. He stated, "The trumpet opens my ears. Its sound is so crystal clear when it is played right. I admit I do not listen to as many organ players as I do to trumpeters."

This is "Big" John's fourth album for Blue Note Records. In his appraisal of the album, he said, feel this album moves me closer to interpreting music my way." And he added, "I want to go on studying. A musician cannot stand still. The mechanical power of the organ can easily delude you into projecting strength as opposed to blending it with other instruments. Control is very important and so is direction."

John's clear analysis of his goal as an organist and a musician may be credited to his mother's influence. Not only was she an excellent pianist with taste, she also believed in the fundamentals. She insisted upon teaching him the basics which helped him to establish early the need to learn and develop his craft.

His gradual development continues through his efforts on this album. Previously he recorded on Lou Donaldson's The Natural Soul (4108), and as leader on Along Came John (4130), Blue John (4143), The Way I Feel (4174). Each album has given substantial proof of his remarkable progress and evidence that "Big" John's sound is here to stay.

His interest in blending his instrument with other members of the brass family continue in this album. Once again he has called upon a number of his colleagues he has worked With and shared other record dates — Grant Green, who is making a strong bid for Number One guitar honors, Ben Dixon, described by Duke Pearson as "one of the few musical drummers who writes and arranges." He added tenor man Harold Vick, a member of the Along Came John set, and ex-Horace Silverite Blue Mitchell on trumpet.

On this album there is a real feeling Of togetherness. Not only have the musicians had previous opportunities to record as a unit, but three of them have written the tunes recorded here. It is perhaps in this genre of homogeneity that the group is able to function and communicate so well.

Fat Judy opens the first side. It is fat in sound and warm in feeling. This tune, written by Ben, is not used as a cue for the drummer to display his technique. From "Big" John's opening chorus to the Vick, Green-Mitchell stanzas, each man is given room by Ben to speak his piece. Throughout the tune, the composer tastefully punctuates and underscores without destroying the unity.

In discussing the title tune, Oh Baby, Patton related that the inspiration came from his Wife Ellen and her sister, Evely Miller. The girls had been working on the tune and were writing lyrics When he decided to include the tune in this album. He describes his wife as a fine pianist and artist whose talents are very much "together". His bubbling enthusiasm for her is due, he says, to her inspiration and understanding.

Each Time closes out the first side. It is written in 4/4 and has John's intriguing bass line. Here is a fine example of a controlled bass that never overpowers and remains true and constant in its sound.

One To Twelve, another Patton original, is actually two tunes. John's interest in writing and experimenting is illustrated in an attempt to combine two separate compositions. Notice the sharp departure in the middle where the tunes become connected.

Vick's writing effort is represented by Night Flight. It is a tune described by John as, when played on dates we get a good feeling. You might call this a burner. It became a part of our book when we first appeared at Count Basie's. It started out as a bit and through constant playing, it developed and became a complete composition."

In a tune that is a burner, speed is the essence. here the musicians do not allow the fleetness of touch to obscure their musical dynamics. And John proves when he pulls out the Stops, he has dexterity and technique equal to any of the important jazz organists on the scene.

Good Juice, John's final offering on this album, is one With a loose and loping feeling in the writing and execution. It explores and changes into different melodic feelings. The ensemble work by the group is filled with 'That little big band feeling".

Despite the attempt by some critics to describe the organ as an artless attempt to project awkward sounds on a cumbersome instrument, "Big" John gives continuous evidence that in the hands of a talented artist, the organ can project sounds of beauty, color, depth and soul.

I have not singled out for praise each of the contributing artists on this date. Although John is the leader, the superb blending and ensemble work is a credit to each Of the performing musicians.

A leader can lead. But he must also be a catalyst and inspiration to each of the supporting players. "Big" John fills this position well.

— DEL SHIELDS WDAS AM-FM Philadelphia, Pa.

cover by RONNIE BRAITHWAITE
Model BRENDA DEAVER (Grandassa Models)
Recording by RUDT VAN GELDER

75th Anniversary CD Reissue Notes

"Oh Baby!" was Big John Patton's fourth Blue Note album and it featured what had become by 1965 when the album was recorded the greatest organ trio rhythm section of the time. John Patton, Grant Green and Ben Dixon were not only among the finest of their instruments, but they had the ability to gel into a single funky unit that instantly established a groove and kept it going. All three were excellent composers in the genre as well (Ben Dixon contributed the opening tune "Fat Judy").

On this album, they are reunited with Harold Vick and Blue Mitchell. This quartet first recorded together on May 27, 1963 to make Harold Vick's one Blue Note album, "Steppin' Out." Vick and fellow saxophonist had teamed up on Patton's first album as a leader "Along Came John" the previous April. Vick, who was gigging with Patton and Grant Green at this time of this recording contributes "Night Flight."

This would be Patton's last album with this classic rhythm section. After this album, he would begin working with a variety of guitarists and drummers and would begin to move his music into more experimental directions. But ""Oh Baby!" remains a superb and classic example of soul jazz in 1965 at its best in the hands of masters.

- MICHAEL CUSCUNA