Though Patton is one of the ‘Hammond heroes’ indelibly associated with the 1960s heyday of the instrument he enjoyed a renaissance in the 1980s and 90s when he was discovered by Acid Jazz DJs who could not get enough of his Blue Note sessions. This is exactly the kind of fare that was irresistible to both listeners and dancers who were looking for a sound steeped in heavy blues, gospel and soul that was nonetheless modernist in its textural palette. The organ’s dynamic range, taking it from high-register sizzle to low-end fuzz provided a great banquet of sample fodder, but the tasty backbeats were no less of a treat, as exemplified by the snap-happy groove of ‘Fat Judy’, which is really Lee Morgan’s ‘The Sidewinder’ with a weightier ensemble sound. Indeed, the combination of the Mitchell-Vick horn section and Grant Green’s guitar is an inspired one, complementing the leader’s own piping hot solos to a tee.