In an unusual setting for a groove/soul jazz setting, B3 organist extraordinaire big
John Patton creates a band around himself that includes
Grant Green, drummer
Otis Finch, and vibraphonist
Bobby Hutcherson. It's truly weird to think of vibes on a groove date, but the way
Patton's understated playing works, and the way
Green is literally all things to all players,
Hutcherson's role is not only a clearly defined one, but adds immeasurably to both depth and texture on this date. What also makes this possible is the symbiotic relationship between
Patton and
Green. There is a double groove conscious swing happening on every track here, from the bluesed-out slip and slide of the title track which opens the record to a killer version of
Hank Mobley's "The Turnaround," which expands the blues vibe into solid soul territory because of
Hutcherson's ability to play pianistically and slip into the funk groove whenever necessary.
Green's deadly in his solo on the track, shimmering arpeggios through
Patton's big fat chords and chunky hammering runs. Also notable are
Patton's own tunes, the most beautiful of which is "Latona," a floating Latin number with a killer salsa rhythm in 6/8. As
Patton vamps through the chorus,
Green slips in one of his gnarliest solos ever. It begins with a groove like run in the hard bop blues and then shoves itself into overdrive, capturing the cold sweat of a
Bola Sete or
Wes Montgomery in his groove years. But when
Green goes for the harmonic edges, all bets are off:
Hutcherson lays out, and he and
Patton go running to the bridge and bring the melody back just in time to take it out. This is one of the least appreciated of
Patton's records, and there's no reason for it; it is great.