Big John Patton's second album, Blue John, was one of several '60s sessions the organist led for Blue Note that remained unissued until much later (in this case, 1986). Although the six selections are all straightforward soul-jazz, the results end up far more offbeat than one might expect. That's due largely to the presence of soprano sax/stritch player George Braith, one of the very few Rahsaan Roland Kirk disciples to master the art of playing multiple horns simultaneously. Braith is far and away the most distinctive element of Patton's quintet, which also includes trumpeter Tommy Turrentine and frequent Patton collaborators Grant Green on guitar and Ben Dixon on drums. While the grooving interplay between Patton, Green, and Dixon is as instinctive as ever, Braith's piercing, honking stabs are what really liven up the proceedings, giving Blue John a crazed sense of fun that makes it one of Patton's most infectious and enjoyable records. There may be something of a novelty element to Braith's playing, but bluesy, groove-centered soul-jazz rarely sounds this bright and exuberant, which is reason enough not to dismiss his contributions. Highlights include the opener, Hot Sauce, one of Braith's signature compositions, and drummer Dixon's Nicety. ~ Steve Huey, Rovi

1		Hot Sauce
2		Bermuda Clay House
3		Dem Dirty Dues
4		Country Girl
5		Nicety
6		Blue John