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 directionQuincy 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
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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.
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
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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.
(Edited from Curt’s Jazz Café, 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