Selection: Latona (Patton)
Bobby Hutcherson (vibes) John Patton (organ) Grant Green (guitar) Otis Finch (drums) recorded Rudy Van Gelder Studio, Englewood Cliffs, NJ, December 11, 1965
John Patton led six albums for Blue Note and a further five in the Liberty /Transamerica years, small fare compared with the 30 titles Jimmy Smith racked up for Blue Note before defecting to Verve. Patton was a major figure in the funk and blues-rooted jazz style known as soul jazz, dubbed here at LJC: The Tendancy Boogaloo.
Otis “Candy” Finch was a long-serving drummer with another soul/jazz organist, Shirley Scott, so no stranger to Boogaloo. The chemistry between Patton and Grant Green is well established over a number of these Patton Blue Note records, but the unexpected ingredient here is Bobby Hutcherson, an uncommon pairing of Hammond B3 and vibraphone. How will it play out? Let’s find out.
“(Latona) is a modal Latin groover using F#dorian. This is one of the most incredible examples of John’s ability to juggle a difficult polyrhythmic bassline. The bassline itself seems like a simple 3 note figure, but when used against the rhythm…it is a bitch. Also, love how the melody is constructed around the scale but it doesn’t sound especially driven that way, very subtle and beautiful. Especially the two note phrases before they punch the chords. Super hip. John’s solo is so, so, so…JOHN. He’s really finding his voice on this album.”
Vinyl: BST 84239 NY/ Liberty , Van Gelder, no ear.
Liberty/All Disc pressing after the sale of Blue Note, Van Gelder metal. Has the 114 pin-etch commonly found on Liberty, whose meaning is unknown, and likely to stay that way. I’m not sure it has as much traction as the intriguing Blue Note 9M etching. It is also a much bigger number than 9, so the possibilities are more or less endless. As if anyone cared.
Patton albums are much more readily found than many other Blue Notes, not as expensive, but still sought after by the Tendancy Boogaloo. I was of the Boogaloo persuasion myself when I first started out as a BN collector, though nowadays less hipster, more hip-replacement.
The most Let ‘Em Roll has fetched at auction is $255, it averages $50 – $60, so no holy grail, not much investment growth potential, not one to provoke collector envy, or to show off -shakes head in bewilderment, How Much? Crazy! (ups collection insurance valuation) The only reason to own it is to play it, and enjoy it. Simple, but is it enough for the “collector”? Perhaps, the collector’s dark side needs more. Who invests in a Ming dynasty vase, and then puts flowers in it?
My copy of has a few crackles I noticed. It would benefit from another run through the RCM but that’s been banished to the shed, too noisy for the house. The shed has an external power supply that can’t be hooked up in the rain, which is what the weather is now. So I aplogise for the rain, for the location of the RCM, the fact it’s very noisy, and a few crackles. It’s times like this you think that neat Audio Desk Systeme ultrasonic record cleaner might be a good investment. If only it weren’t so darned expensive. Strictly entre-nous, don’t let on to the Moth I’ve been flirting with the idea of a new cleaner. It’ll get very upset. It didn’t take too kindly to being despatched to the shed.