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Don Patterson

Inspired to switch from piano to organ by Jimmy Smith, Don Patterson was one of the Hammond B-3's most bop-rooted players, able to play bluesy soul-jazz grooves or break out of the pocket for some nimble, sharply defined solo lines.

Though he led numerous recording dates for Prestige and later Muse, he was best-known as Sonny Stitt's favorite organist, proving eminently compatible with the Parker- influenced saxophonist. Patterson was born in Columbus, OH, on July 22, 1936, and began studying piano as a child.

His first major influence was Erroll Garner, and some of that flavor remained in his playing even after he heard Jimmy Smith in 1956 and changed instruments. Patterson made his professional debut on the organ in 1959, and played with a number of groups before Stitt discovered him. The association helped make Patterson's name, and he began recording for Prestige in 1964, often with a trio featuring guitarist Pat Martino and drummer Billy James. Patterson also played with numerous other soul-jazz sax greats over the course of the '60s, before settling in Gary, IN, toward the end of the decade.

Only a few sporadic sessions for Muse appeared during the '70s. He did revive his career somewhat after moving to Philadelphia, but his health worsened, forcing him to take dialysis frequently; he died on February 10, 1988.

Tribute to Jesse Jackson, Also Classic Jazz from Woody Shaw and Others

by David W. Daniels
February 24, 2026

Musical tribute to Jesse Jackson featuring Don Patterson, Billy Eckstine, and Milt Jackson. Classic jazz from Woody Shaw, Don Ellis, and others. New music from Brian Molley Quartet, Stephane Wrembel, Roy Hargrove, and others. Birthday recognition for Henry Threadgill, Randy Crawford, the band Incognito, and more. Playlist Bill Evans Trio “Beautiful Love" from Explorations (Riverside) 00:00 Don Patterson “Jesse Jackson" from The Return Of Don Patterson (Muse) 8:49 Rev. Jesse Jackson “I Am Somebody (Excerpt)" from Wattstax '72 ...

Radio & Podcasts

July Jazz Birthdays

by Marc Cohn
August 2, 2019

Celebrate and give thanks for these jazz voices—honored in this month of their births. Playlist Junior Cook “Illusion of Grandeur" from Somethin's Cookin' (Muse) 00:00 Cal Tjader “Mood For Milt" from Latin Concert (Fantasy) 09:25 Cal Tjader “Cubano Chant" from Latin Concert (Fantasy) 13:49 Don Patterson “S'Bout Time" from The Exciting New Organ of Don Patterson (Prestige) 17:52 Hank Jones “Confirmation" from Bebop Redux (Muse) 28:30 Charles McPherson “Si Si" from Bebop Revisited (Prestige) 35:12 Al Haig ...

179

Album Review

Sonny Stitt: It's Magic

Read "It's Magic" reviewed by Samuel Chell

by Samuel Chell
March 14, 2006

This 2005 release of a shelved 1969 recording should hold the greatest interest for Sonny Stitt completists. The saxophonist is estimated to have led 150 recording sessions, of which I've now managed to collect 70--but given the current scarcity of some of his best recordings, including the out-of-print date with Oscar Peterson on Verve and the supreme Endgame Brilliance on the defunct 32 Jazz label, a collector can't afford to be too choosy.As an instrumentalist, Stitt bears somewhat ...

306

Album Review

Sonny Stitt: It's Magic

Read "It's Magic" reviewed by Paul Olson

by Paul Olson
May 4, 2005

It isn't, though. Magic, that is. While jazz fans may perennially debate saxophonist Sonny Stitt's status as a bebop innovator (ie, how much of its vocabulary did he learn from Charlie Parker, and how much did he develop independently), no one is in disagreement about his being one of the most over-recorded of jazz players. Stitt recorded for everyone, everywhere, and his discography--and reputation--have suffered accordingly. It's Magic is a hitherto unreleased 1969 Chicago Stitt session with organist Don Patterson ...

143

Album Review

Sonny Stitt: Just the Way It Was: Live at the Left Bank

Read "Just the Way It Was: Live at the Left Bank" reviewed by AAJ Staff

by AAJ Staff
January 22, 2003

To inaugurate his latest musical milestone--the starting of Label M--one of jazz’s most underrated production legends, Joel Dorn, has taken a set by his musical counterpart, the electrifying saxophonist Sonny Stitt, from the vaults of the Left Bank Jazz Society and put it back on vinyl (er- plastic). In doing so, he helps sustain the Society’s mission of keeping a jazzy light in the window for new and future generations.

From a sobbing rendition of "Cry Me ...

274

Album Review

Sonny Stitt: Just the Way It Was: "Live" at the Left Bank

Read "Just the Way It Was: "Live" at the Left Bank" reviewed by Matthew S. Robinson

by Matthew S. Robinson
August 1, 2001

To inaugurate his latest musical milestone, the starting of Label M, one of Jazz’s most underrated production legends, Joel Dorn, has taken a set of his musical counterpart, the electrifying saxophonist Sonny Stitt, from the vaults of the Left Bank Jazz Society and puts it back on vinyl (er... plastic) to sustain the Society’s mission of keeping a jazzy light in the window for new and future generations. From a sobbing rendition of “Cry Me a River" which is recognizable ...

258

Album Review

Sonny Stitt: Just The Way It Was - "Live" At The Left Bank

by AAJ Staff
October 1, 2000

Sonny Stitt is the other diamond in the deuce that Label M is releasing to introduce its brave new label. Another tenor sax powerhouse, Stan Getz, also is on the front line of releases. Each with his own distinctive sound, Stitt and Getz both knew how to command the attention of an audience in his own way. Getz did it through pleas and songs and unexpected accents and a comforting tone. Stitt did it through a groove and straightforward aggressive ...

Video / DVD

3 Don Patterson Ballads

Source: JazzWax by Marc Myers
January 29, 2021

When I started collecting Don Patterson albums in the early 1970s, I'd buy them without hearing the music first on the radio. Always a daring move back then, since you couldn't return what you didn't like. If you sliced open the plastic, you owned it. The reason I made these purchases with such confidence is that Patterson nearly always included at least one ballad on his albums. That, for me, was where the action was. Patterson's intros on ballads raised ...
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