Many thanks to the Sun Ra Trading community for recently dropping this wonderful LP into my lap. Though I believe this rip has circulated for some time, a copy of Baritone Saxophonist Pat Patrick's only album as a leader recently sold on Ebay for over $1,500.00.
This is a fine album and one which helps make clear the importance of Patrick to Sun Ra and the Arkestra. In fact, as award-winning author John Szwed points out in his much admired biography of Sun Ra, Patrick played an extremely important role in the career of the young bandleader, back when Ra was the Chicago pianist still known as Herman “Sonny” Blount. This was before he created his personal philosophy, a mystic hodgepodge hybridized from science fiction and Egyptian mythology, which became one of Sun Ra’s trademarks -- along with the visionary, rollicking music that accompanied it.
Patrick, who specialized in baritone sax but also excelled at alto (and occasionally played electric bass), had moved to Chicago primarily to study at DuSable High School with the legendary bandleader Walter Dyett. Even then, Dyett enjoyed a reputation for developing disciplined and motivated musicians. And Patrick stands out among the most impressive DuSable alumni, who have included saxophone great Von Freeman, bass icon Wilbur Ware, and the peerless vocalist Dinah Washington).
In 1952, Patrick joined Blount/Ra in a new trio on Chicago's south side; it would eventually blossom into one of the most unusual and influential orchestras in jazz, the Sun Ra Arkestra (as it was most often called). The band was known as much for their metallic capes and headgear -- trust me, Gene Simmons had nothing on these guys -- as for their innovative, other-worldly music. Over the decades, Patrick would come and go, a testament to the high regard in which Sun Ra held him: other key members of the Arkestra lived communally under the watchful eye of the leader (in part so that “Sunny” could ensure their abstinence from vices of all kinds).
In 1963, the versatile Patrick hired on as musical director of Mongo Santamaria’s Latin-jazz group – the one that had the giant hit “Watermelon Man.” Everyone knows that tune. Not so many recall another Santamaria hit called “Yeh! Yeh!” Patrick wrote that one; eventually it gained lyrics and climbed the pop charts, thanks to British rock-&-roller Georgie Fame’s hit recording of 1965.
Patrick also recorded with John Coltrane and performed in Duke Ellington’s band. He worked with Thelonious Monk and Clark Terry and co-founded a group called Baritone Retinue.
via Sun Ra Arkive
This is a fine album and one which helps make clear the importance of Patrick to Sun Ra and the Arkestra. In fact, as award-winning author John Szwed points out in his much admired biography of Sun Ra, Patrick played an extremely important role in the career of the young bandleader, back when Ra was the Chicago pianist still known as Herman “Sonny” Blount. This was before he created his personal philosophy, a mystic hodgepodge hybridized from science fiction and Egyptian mythology, which became one of Sun Ra’s trademarks -- along with the visionary, rollicking music that accompanied it.
Patrick, who specialized in baritone sax but also excelled at alto (and occasionally played electric bass), had moved to Chicago primarily to study at DuSable High School with the legendary bandleader Walter Dyett. Even then, Dyett enjoyed a reputation for developing disciplined and motivated musicians. And Patrick stands out among the most impressive DuSable alumni, who have included saxophone great Von Freeman, bass icon Wilbur Ware, and the peerless vocalist Dinah Washington).
In 1952, Patrick joined Blount/Ra in a new trio on Chicago's south side; it would eventually blossom into one of the most unusual and influential orchestras in jazz, the Sun Ra Arkestra (as it was most often called). The band was known as much for their metallic capes and headgear -- trust me, Gene Simmons had nothing on these guys -- as for their innovative, other-worldly music. Over the decades, Patrick would come and go, a testament to the high regard in which Sun Ra held him: other key members of the Arkestra lived communally under the watchful eye of the leader (in part so that “Sunny” could ensure their abstinence from vices of all kinds).
In 1963, the versatile Patrick hired on as musical director of Mongo Santamaria’s Latin-jazz group – the one that had the giant hit “Watermelon Man.” Everyone knows that tune. Not so many recall another Santamaria hit called “Yeh! Yeh!” Patrick wrote that one; eventually it gained lyrics and climbed the pop charts, thanks to British rock-&-roller Georgie Fame’s hit recording of 1965.
Patrick also recorded with John Coltrane and performed in Duke Ellington’s band. He worked with Thelonious Monk and Clark Terry and co-founded a group called Baritone Retinue.
via Sun Ra Arkive
Insterstellar Low Ways:
Pat Patrick and Free Jazz
Evan Smith
The history of jazz is littered with figures who never seem to be appropriately appreciated for their contributions. Recording mainly on baritone saxophone, longtime Sun Ra sideman Pat Patrick does not generally inspire the same abundant name recognition as the instrument’s best known players Gerry Mulligan, and longtime Duke Ellington sideman, Harry Carney.
Therefore, it is my purpose here to demonstrate that Patrick is one of the most important and overlooked voices in the history of the baritone saxophone. First providing a more comprehensive early biographical background for this little researched player, I will then show that Patrick represents a direct link from the early swing style of Harry Carney to “free jazz” while establishing that Patrick’s tenure with Sun Ra in the 1950’s and 1960’s was influential on the band’s movement away from conventional, swing oriented music.
Laurdine Kenneth “Pat” Patrick Junior was born in East Moline, Illinois on November 23, 1929. His career in jazz was set in motion from an early age as he studied drums and piano while also taking trumpet lessons from his father (also named Laurdine) and Clark Terry, who was living at the Patricks’ home at the time. When he was twelve, Patrick’s parents separated; and, his father moved to California. Soon after, Patrick suffered a hip injury playing football, and relocated with his mother, Laverne Williams, to Boston to receive treatment that would keep him in a cast for almost a year. After his recuperation, his mother took the family to the Chicago suburbs. However, after hearing about the influential music program led by Captain Walter Dyett at DuSable High School in the city, his family moved so that he could attend. About this time, Patrick notes “my interest in music was sharply increased when at sixteen I first heard Lester Young. Right away, I had to have a saxophone and my mother helped me to get one, an alto. Later in the school band I was switched to baritone as someone had robbed our apartment and taken the alto.” It is clear that his early years in Chicago were a major contributor to his eventual success with Sun Ra. Not only was Patrick learning from Dyett, who is credited with teaching a formidable roster of jazz notables, including future Sun Ra band members Von Freeman, John Gilmore, Julian Priester, and Ronnie Boykins, he was also active professionally as the house baritonist at the Regal Theatre. Patrick himself notes the importance of these formative years:
With this statement, Patrick shows his respect for the historical importance of Carney’s early influence, as the recordings cited above were recorded in 1932, when Patrick was only a few years old. Notable as well is the absence of any other contemporary baritone saxophonists. By the time Patrick was making his first Chicago recordings with Sun Ra, Gerry Mulligan had already asserted a considerable influence on the jazz community, establishing himself in the “cool jazz” school by contributing arrangements for the Claude Thornhill and Stan Kenton big bands, and participating in the famous Birth of the Cool sessions with Miles Davis in 1949-1950. Also by this time, Serge Chaloff had emerged as a notable baritone player in the bebop idiom, with his inclusion in the famous Woody Herman “Four Brothers” saxophone section from 1947 to 1949 gaining him considerable prominence. Yet, it seems that the approach of these players and others had little influence on Patrick. Indeed, Mulligan’s “cool” approach would seem to run antithetical to the transformation that Patrick was making under Sun Ra, while the bebop sensibilities of Chaloff, Leo Parker, and Cecil Payne were also taking place when Sun Ra’s music was already taking a turn away from the conventional. Moreover, the deaths of Chaloff in 1957 and Parker in 1962 surely diminished any influence these players would have had on Patrick as contemporaries.
Of course, Carney and Patrick’s careers share a similar quality in that both artists spent the majority of their time with one bandleader, Carney staying exclusively with Ellington from 1927 until the composer’s death in 1974, while Patrick was associated with Sun Ra for more than three decades, anchoring a consistent saxophone section along with Marshall Allen and John Gilmore. Due to his longevity, Carney is generally viewed as a figure who provided a stabilizing, consistent voice for Ellington throughout the decades, adhering to the style that he set forth on Ellington’s famous recordings from the 1930’s and 1940’s. Moreover, while Ellington’s output, generally regarded to be over two thousand compositions, is certainly diverse in its compositional techniques, it consistently draws from the tonal, swing style for which it is known. Certainly, Carney contributed to Ellington’s success by providing a flexible player who, at the same time, was dependable in drawing back to the classic Ellington sound that spawned the bandleader’s popularity. In his 1962 Downbeat conversation with Carney, interviewer Don DeMichael eloquently sums up the aesthetic of the later Ellington bands, stating that “in addition to carrying a large library filled with yesterday, the band carries a spirit and tradition that began the day before yesterday. Spirit and tradition are strong.”
It is my assertion that while Carney was a cornerstone of the Duke Ellington band due to his ability to convey the “spirit and tradition” of Ellington’s swing style, Patrick was an influential figure in Sun Ra’s ensemble owing to his ability to interpret numerous different styles while inciting further innovation through his forward looking solo improvisations. Concisely, while Carney’s legacy was established in the consistent reproduction of the Ellington swing ideal, Patrick’s importance comes from his striving for new techniques over Sun Ra’s evolving musical landscapes. Notably, it was in the early 1960’s that Sun Ra’s material began to peak out from its tonal blanket and “move farther [sic] away from any previous style of big band music.” Straying away from standard blues and swing conventions to employ such techniques as free and collective improvisations, microtonalities, and unconventional electronic instruments, the tradition underlying Sun Ra’s career was that of evolution.
(remainder available in LP download)Therefore, it is my purpose here to demonstrate that Patrick is one of the most important and overlooked voices in the history of the baritone saxophone. First providing a more comprehensive early biographical background for this little researched player, I will then show that Patrick represents a direct link from the early swing style of Harry Carney to “free jazz” while establishing that Patrick’s tenure with Sun Ra in the 1950’s and 1960’s was influential on the band’s movement away from conventional, swing oriented music.
Laurdine Kenneth “Pat” Patrick Junior was born in East Moline, Illinois on November 23, 1929. His career in jazz was set in motion from an early age as he studied drums and piano while also taking trumpet lessons from his father (also named Laurdine) and Clark Terry, who was living at the Patricks’ home at the time. When he was twelve, Patrick’s parents separated; and, his father moved to California. Soon after, Patrick suffered a hip injury playing football, and relocated with his mother, Laverne Williams, to Boston to receive treatment that would keep him in a cast for almost a year. After his recuperation, his mother took the family to the Chicago suburbs. However, after hearing about the influential music program led by Captain Walter Dyett at DuSable High School in the city, his family moved so that he could attend. About this time, Patrick notes “my interest in music was sharply increased when at sixteen I first heard Lester Young. Right away, I had to have a saxophone and my mother helped me to get one, an alto. Later in the school band I was switched to baritone as someone had robbed our apartment and taken the alto.” It is clear that his early years in Chicago were a major contributor to his eventual success with Sun Ra. Not only was Patrick learning from Dyett, who is credited with teaching a formidable roster of jazz notables, including future Sun Ra band members Von Freeman, John Gilmore, Julian Priester, and Ronnie Boykins, he was also active professionally as the house baritonist at the Regal Theatre. Patrick himself notes the importance of these formative years:
I wrote and arranged some music while still in high school and at about 18 I would say that my so called professional career began as I started playing jobs. Before leaving Chicago in early 1960, I had played with quite a few giant Blues and Jazz talents that came through town with numerous lesser known but no less talented artists and groups such as Sun Ra.Indeed, in these early years in Chicago, Patrick had the chance to work with such legendary figures as Muddy Waters, Nat “King” Cole, Cab Calloway, Lillian Armstrong, and Pearl Bailey. While he briefly moved to Florida in 1949 to attend Florida A&M on scholarship, he soon returned to Chicago and enrolled at Wilson Junior College. By the time that Patrick was recruited by Sun Ra in 1952, it was evident that the young saxophonist was already steeped in the jazz tradition. Patrick cites a wide range of influences at the time, recounting that “my other influences were Coleman Hawkins, Von Freeman, Harry Carney, Louis Armstrong, Duke Ellington, Charlie Parker, and Johnny Hodges, and they helped shape my own style.” As Carney is widely considered the player who brought the baritone saxophone into its modern acceptance, his inclusion on this list, along with bandmates Ellington and Hodges, is of special importance. Carney’s influence on Patrick provides a direct link from the earliest stages of jazz baritone playing to the free jazz aesthetic later espoused by Patrick in Sun Ra’s band. Patrick goes on to cite how the longtime Ellington sideman influenced his early playing, noting that “I first dug the work Carney was doing; the role of the baritone saxophone in the reed section and its blend with the other horns and also his solo work. At first I used to mistake his baritone solos for tenor solos, because he is very fluent and his style is hip.” This link to Carney further materialized when Patrick briefly played with the Ellington band. While the dates of this engagement are not known for certain, evidence at the time places this event around 1960. Patrick says of his time with Duke, I took Russell Procope’s place on alto saxophone in Duke Ellington’s band for a week on the road, and this gave me an opportunity to sit between Carney and Hodges. I noticed a similar approach to music in Duke and Sun Ra, in terms of their ear and the music they hear. They’ve both got keen ears. Sun Ra has been a fan of Duke’s also…he used to collect Duke’s records, and in fact, he turned me on to Carney’s baritone solos on “Lightning” and “Jazz Cocktail” back in Chicago.
With this statement, Patrick shows his respect for the historical importance of Carney’s early influence, as the recordings cited above were recorded in 1932, when Patrick was only a few years old. Notable as well is the absence of any other contemporary baritone saxophonists. By the time Patrick was making his first Chicago recordings with Sun Ra, Gerry Mulligan had already asserted a considerable influence on the jazz community, establishing himself in the “cool jazz” school by contributing arrangements for the Claude Thornhill and Stan Kenton big bands, and participating in the famous Birth of the Cool sessions with Miles Davis in 1949-1950. Also by this time, Serge Chaloff had emerged as a notable baritone player in the bebop idiom, with his inclusion in the famous Woody Herman “Four Brothers” saxophone section from 1947 to 1949 gaining him considerable prominence. Yet, it seems that the approach of these players and others had little influence on Patrick. Indeed, Mulligan’s “cool” approach would seem to run antithetical to the transformation that Patrick was making under Sun Ra, while the bebop sensibilities of Chaloff, Leo Parker, and Cecil Payne were also taking place when Sun Ra’s music was already taking a turn away from the conventional. Moreover, the deaths of Chaloff in 1957 and Parker in 1962 surely diminished any influence these players would have had on Patrick as contemporaries.
Of course, Carney and Patrick’s careers share a similar quality in that both artists spent the majority of their time with one bandleader, Carney staying exclusively with Ellington from 1927 until the composer’s death in 1974, while Patrick was associated with Sun Ra for more than three decades, anchoring a consistent saxophone section along with Marshall Allen and John Gilmore. Due to his longevity, Carney is generally viewed as a figure who provided a stabilizing, consistent voice for Ellington throughout the decades, adhering to the style that he set forth on Ellington’s famous recordings from the 1930’s and 1940’s. Moreover, while Ellington’s output, generally regarded to be over two thousand compositions, is certainly diverse in its compositional techniques, it consistently draws from the tonal, swing style for which it is known. Certainly, Carney contributed to Ellington’s success by providing a flexible player who, at the same time, was dependable in drawing back to the classic Ellington sound that spawned the bandleader’s popularity. In his 1962 Downbeat conversation with Carney, interviewer Don DeMichael eloquently sums up the aesthetic of the later Ellington bands, stating that “in addition to carrying a large library filled with yesterday, the band carries a spirit and tradition that began the day before yesterday. Spirit and tradition are strong.”
It is my assertion that while Carney was a cornerstone of the Duke Ellington band due to his ability to convey the “spirit and tradition” of Ellington’s swing style, Patrick was an influential figure in Sun Ra’s ensemble owing to his ability to interpret numerous different styles while inciting further innovation through his forward looking solo improvisations. Concisely, while Carney’s legacy was established in the consistent reproduction of the Ellington swing ideal, Patrick’s importance comes from his striving for new techniques over Sun Ra’s evolving musical landscapes. Notably, it was in the early 1960’s that Sun Ra’s material began to peak out from its tonal blanket and “move farther [sic] away from any previous style of big band music.” Straying away from standard blues and swing conventions to employ such techniques as free and collective improvisations, microtonalities, and unconventional electronic instruments, the tradition underlying Sun Ra’s career was that of evolution.
Pat Patrick - Sound Advice
Saturn ESR 770 (777)
Recorded live c. 1976
All tunes by Pat Patrick, except as noted
Pat Patrick's Baritone Retinue:
Pat Patrick - baritone sax, arr., soloist
Charles Davis - bars, arr., soloist
Mario Rivera - bars
Kenny Rogers - bars
James "Jabbo" Ware - bars
Rene McLean - bars
George Barrow - bars
Reynold Scott - bars
Hilton Ruiz - piano
John Hart - bass
Steve Solder - drums
Babafemi Humphries - conga
Some of the baritone sax players double on flute and soprano sax.
Pat Patrick's Baritone Retinue
Sound Advice
1. Stablemates (1st Part)
2. Funny Time
3. Uptightedness
4. Eastern Vibrations
5. Sabia
6. East of Uz (Sun Ra)
7. The Waltz
8. Stablemates (2nd Part)
or
Many Thanks to Marc E for helping with research.
Many thanks to Marc E and the Sun Ra trading community for a great share. Cheers all.
ReplyDeleteNice one Yotte! Didn't know about this one. Keep on keepin on.
ReplyDeleteSpeechless.
ReplyDeleteI'm glad you guys are enjoying this. I was pretty excited to come across it and think it's a fine album. I also enjoyed reading the paper by Evan Smith.
ReplyDeletei can't wait to get home to hear this! thanks, marc e. and yotte!
ReplyDeleteI-)
He is also the father of the current governor of Massachusetts
ReplyDeleteWhat dmatlb couldn’t say! I’ve read about it. Never have seen it. Never have heard it. Consider my gaster flabbered.
ReplyDeleteWhoa, this one was not even a rumor to me. I can't wait to hear it. What an amazing blog this has been. I am constantly learning something new even though I more than a hundred recordings from Sun Ra.
ReplyDeleteOn a different note, does anyone know when we will be seeing the new transparency box? It was to be done in October.
This comment has been removed by the author.
ReplyDeleteI emailed Transparency last week and Michael explained that he had some production set backs but was hoping/expecting to get a whole bunch of sets in the mail by yesterday. He said that the books were in, mailing labels were printed, CDs were being arranged into sets... Let's all cross our fingers everything went smoothly!
ReplyDeleteAnother incredible rarity. Great share, great job!
ReplyDeleteThis is too much. Thanks to all for providing an unsuspected delight.
ReplyDeleteI've heard about this for a long time, but have never seen a copy of it. I think the first time was on a WKCR broadcast a number of years ago. Anyway, thanks for the post.
ReplyDeleteTerrific, thanks to all involved
ReplyDeleteHey Yotte, what a wonderful find - Thanks! I had never heard of this before. Beyond the rarity value, it is a really good album too! - surprisingly straight-ahead, given the label, leader and timeline. "Eastern Vibrations" could well have been on a late 50s Sun Ra album.. I wonder if the LP ever had a specific cover or a generic Saturn sleeve?
ReplyDelete(If anyone needs some more baritone sax overdosing, I would recommend "Hamiett Bluiett's Baritone Group Live At The Knitting Factory" - no Sun Ra connection here, but lots of hot bari!)
Very nice indeed. I like this new thread of Ra veteran's releases. The harmony achieved on some of these pieces is astounding, especially "Eastern Vibrations." Wow.
ReplyDeleteHiya, how about re-upping this rare recording please. Megaupload is long gone! Thank you
ReplyDeleteHi Anon,
ReplyDeleteI've uploaded it to RS for now. Next week, I'll add HF or MF links and repost this. Thanks for your interest! Let us know what you think when you've had a chance to give the LP a listen.