With Brad Maiani, John Palowitch, Dan Davis.
Danielle Rode from RaleighMusic.com wrote a very nice article about my trio and my musical journey.
I had a great time with Brad Maiani and Dan Davis out at Lorraine’s Coffee House. Check it out:
Come celebrate The Looking Glass Cafe’s sixth anniversary this Saturday! We appreciate this amazing locally owned business, and we will be playing at the party from 1-3pm.
Chatham Hill Winery in Cary is a wonderful place to try locally made wines in an atmosphere filled with art and music. We plan on playing there about once a month.
We are also looking forward to playing at Lorraine’s Coffee House in Garner and Double Barley Brewing in Smithfield, in addition to our regular gigs at The Station and The Looking Glass.
With Brad Maiani and Dan Davis.
I was able to record just shy of one set before my phone cut off…
We are excited to celebrate the spring re-opening of the Honeysuckle Tea House, a wonderful outdoor venue built on shipping containers, right on a farm. They serve tea, smoothies, coffee, kombucha, and many great snacks.
It’s been a while since we played at Chatham Hill Winery, and we are looking forward to visiting them at their new location in Cary.
We are playing at Faire Seafood and Steakhouse in Raleigh for their Southern Oyster Roast- really excited about that one!
Thanks to our friends who always come out to support us at Looking Glass Cafe and The Station in Carrboro! Hope to see you all again this month.
From All-Music Guide:
“John Patton, often known as Big John Patton, was one of Blue Note’s busiest soul-jazz organists during the golden age of the Hammond B-3s. Between 1963 and 1970 Patton cooked up 11 albums’ worth of material as a leader and sat in with a dizzying procession of skilled improvisers, and his best work has since been compared with that of tragically short-lived innovator Larry Young. Patton also enjoyed a long overdue comeback during the ’90s when he collaborated with saxophonist and composer John Zorn.”
John Patton was influenced by McCoy Tyner, Larry Young, and John Coltrane with their use of quartal voicings and their modal approach to soloing. But while many of his contemporaries became increasingly free and turbulent, Patton’s playing always remained simple, clear and plainly stated.
He didn’t use many Hammond B3 tricks or effects- he was more concerned with communicating a logical musical idea than with filling a song with the swirls, trills, and squabbling usually associated with Hammond playing. He was able to voice chords in a way which made the instrument sound mellow and dark, but present.
I was initially drawn to John Patton because his compositions and playing were simple enough for me to understand. However, as I began to listen more closely his sophistication became apparent: his songs are almost always based on a syncopated bass line and often have shifting meters and odd forms. He uses a lot of call and response during the melodies, often calling for the right hand to alternate between the upper and lower manual. His melodies and solos are largely pentatonic and stay inside the key.
Two of my favorite albums of his are Let ’em Roll and Got a Good Thing Goin’, both still in print on Blue Note. We play at least one John Patton song at each of our shows, so if you’ve been to hear us play, you probably already know a few.
I hope to see you all out at one of our February shows. Take care!