Patti Bown (July 26, 1931 - March 21, 2008) was an
American jazz pianist, composer, and singer. She was a childhood friend and
musical partner of the great Quincy Jones, a long-time member of Gene Ammons’
band and the composer of a minor jazz classic. Her name is usually misspelled as “Paddy
Bowen”, something which she constantly had to deal with. People often
mispronounced her name to rhyme with “down”, it’s actually pronounced “bone”.
And even now, Google auto-corrects “Patti Bown” to “Patti Brown”
Patricia Ann Bown was born in Seattle in 1931, one of
seven children – two boys and five girls, raised in a household where musical
talent and culture abounded. Her mother Edith was a fine pianist and took her
children to hear concerts by Marian Anderson, Katherine Dunham, and Arthur
Rubinstein. Most of the piano talent in the family was split between Patti and
her sister Edith Mary, who became a concert pianist in an era where it was
well-nigh impossible for Afro-Americans to enter the classical field. Another
sister, Millie, was the only one of the girls without perfect pitch and recalls
Patti at three years old astounding her parents by copying on the piano things
she heard Duke Ellington play on the radio.
Although their
mother liked to play some blues and jazz piano at home, she insisted the girls
study the classics and religious music, such as spirituals and gospel. She
would never play blues in public and forbid her daughters to do so, especially
Patti, who really showed an inclination in that direction
Quincy Jones was a neighbourhood friend, indeed he
recalls playing “house” with Bown when they were kids. When Mrs. Bown finally
relented as her daughter grew into a teenager and started to develop
professional-level skill, Patti and Jones came up playing together on Seattle’s
vibrant Jackson Street jazz scene in the late ’40s. The two would remain
friends for life and during this time, Jones introduced Patti to his friend Ray
Charles, who took an interest in the younger pianist and gave her some pointers
on accompanying
jazz soloists. This was a significant moment for the young woman: she would become prized for her infectious and soulful composing, and for a style which embraced and combined gospel, the blues and bebop, much as Charles did.
jazz soloists. This was a significant moment for the young woman: she would become prized for her infectious and soulful composing, and for a style which embraced and combined gospel, the blues and bebop, much as Charles did.
Her musical skills won Patti a scholarship to Seattle
University, then to University of Washington and finally to the Big Apple,
which became her home for the rest of her life.
Patti quickly earned a reputation as a good sight-reader and improviser,
which made in great demand in the studio. From 1956 she worked as a soloist in
New York City, playing early on in sessions with Billy Eckstine and Jimmy
Rushing.
Here's "G-won Train" from above album.
In 1959, she recorded her only album, a trio date for
Columbia: Patti Bown plays Big Piano; with Ellingtonian Joe Benjamin on bass
and Ed Shaughnessy (who would soon achieve fame on Johnny Carson’s Tonight
Show) as the drummer. To these ears, Ms. Bown was an excellent technical
pianist, rooted in bop but with a strong dose of gospel-soul in her left
hand. For comparison, think Bobby
Timmons or the pre-fusion Ramsey Lewis. Perhaps her similarity in style to
those gentlemen, who were her contemporaries, contributed to her dearth of
recordings as a leader.
However, Ms.Bown was still very busy. The next year, old
playmate Quincy called her for his 1959-60 European tour and for his classic
album The Quintessence. She also did
some writing, as Q added her soulful shuffle “G’won Train” to his book. It
became a Jones staple and it can be heard on several of his recordings of that
era.
In the 1960s she worked extensively in the studios,
recording with Gene Ammons, Oliver Nelson, Cal Massey, Duke Ellington, Roland
Kirk, George Russell, and Harry Sweets Edison. Big bands were a good setting
for Bown, her full sound stood out in them and she had the sensitivity to weave
in and out of backgrounds and the power to drive the rhythm sections in larger
groups. Her musical compositions were recorded by jazz legends Benny Golson,
and
Duke Ellington. She also recorded with Aretha Franklin and James Brown. During 1962-1964 she served as the musical director for the bands accompanying Dinah Washington and Sarah Vaughan.
Duke Ellington. She also recorded with Aretha Franklin and James Brown. During 1962-1964 she served as the musical director for the bands accompanying Dinah Washington and Sarah Vaughan.
She continued to be busy for the rest of the ’60s, also
recording with Sonny Stitt, Curtis Fuller, Gary McFarland, Art Farmer, Cal
Massey, James Moody, and others. But after 1968 or so, her jazz recording
activity began to taper off. She kept working though, playing Broadway shows
and doing some composing for TV and film. In the ’70s she branched out into the
pop field, working with Leon Redbone.
Bown was housebound for the last eight years of her life,
suffering from weight issues, poor circulation, and diabetes. She moved into a
New York nursing home and then to one in Media, Pennsylvania, where she died
from kidney failure on May 21, 2008, at 76. The memorial tribute for Patti at
New York’s St. Peter’s church drew many jazz luminaries, past and present that
were anxious to share their fond memories of her.
(Edited from Curt’s Jazz CafĂ©, Steve Wallace, Wikipedia & AllMusic)
Here’s a clip
of the Phil Woods Band:- Clark Terry,
fluegel horn; Jimmy Cleveland, trombone; Phil Woods, alto sax; Budd Johnson,
tenor sax; Patti Bown, piano; Buddy Catlett, acoustic double bass; Joe Harris,
drums. 6th February 1960
4 comments:
For “PATTI BOWN PLAYS BIG PIANO” (1959) go here:
https://www.upload.ee/files/12059169/Patti_Bone_-_Plays_Big_Piano.rar.html
01. Nothin But the Truth (Bown) 3:14
02. It Might as Well Be Spring (Rodgers-Hammerstein II) 4:18
03. Waltz de Funk (Bown) 3:51
04. Im Gonna Wash That Man Right Outa My Hair (Rodgers-Hammerstein II) 3:18
05. Head Shakin (Bown) 5:53
06. Gwon Train (Bown) 3:50
07. Sunshine Cake (Van Heusen-Burke) 3:36
08. Give Me the Simple Life (Ruby-Bloom) 2:03
09. I Didnt Know What Time It Was (Rodgers-Hart) 3:43
10. Always True to You in My Fashion (Porter) 3:35
Personnel:
Patti Bown (piano), Joe Benjamin (bass), Ed Shaughnessy (drums).
Recorded in New York City, September 27 and October 8 & 27, 1959
In the late Fifties, musicians returning to New York from Seattle, Washington, brought back stories about a young pianist with a sound all her own, a swinging performer who impressed every travelling band to hit town; undoubtedly someone to watch out for.
One of the most vocal and enthusiastic heralds of this new talent was the celebrated arranger Quincy Jones, also from Seattle. It was he who, given the opportunity of assembling his own band for the show, Free and Easy, finally brought her to New York late in 1959 to work as pianist with his band during their European tour.
But it was a discerning record industry man, George Painkin, who brought an acetate test record of her playing to Columbia. The impact was powerful, convincing and immediate. She was signed there and then and Plays Big Piano, is the magnificent resulting album. It confirmed what musicians said about her. She had what jazz players call time. The beat is always there, not vaguely implied; it’s explicitly heard and felt on every track of this album, including the ballads, and especially in the four Bown original blues and gospel-based compositions. Quincy Joness judgement is thoroughly vindicated on every track.
Thanks again for the great tunes, boppinbob!
Thank you as always
Thank you, new to me, and appreciated.
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