Jeb Patton

Described as both a “young phenom... on piano” and an “absolute great,” Jeb Patton has earned a well-regarded reputation in the international jazz community. The multi-talented Patton is known as a “player of great expression” and “not one to tread the predictable,” as well as a “simpatico accompanist” for The Heath Brothers, an “innovative” arranger, and one who “cuts…[an] impressive swath on his composition, 'Hanna's Mood,'” a tribute to his late teacher, Sir Roland Hanna.

Jeb Patton graduated magna cum laude with a Bachelor of Arts and Sciences degree with a major in music from Duke University, where he studied piano with Tibor Szasz, Douglas Buys, and Jane Hawkins. As a member of the Duke Jazz Ensemble under Paul Jeffrey, he performed with and/or arranged for more than 60 professional jazz artists, including 48 musicians from New York and more than 12 international jazz musicians from Italy, Monaco, and Portugal.

Studying under Sir Roland Hanna and Jimmy Heath, Jeb earned his Master of Arts degree, summa cum laude, in 1997 from the Aaron Copland School of Music, Queens College, City University of New York, where he also received the Louis Armstrong Award for composition from the ASCAP Foundation. Since graduating, Jeb has toured throughout the United States and abroad with the Heath Brothers and with Jimmy Heath's Generations Quintet, performing in theaters, festivals, concert halls, colleges, and clubs. Since moving to New York in 1996, Jeb has also played with Etta Jones, the Faddis/Hampton/Heath Sextet, Winard Harper's group, and Antonio Hart's Quintet, Paul West, Rufus Reid, Peter Washington, Lewis Nash, Steve Nelson, Ralph Peterson, John Ore, Jimmy Cobb, Lonnie Plaxico, Carl Allen, Kyoshi Kitigawa, Jackie Mclean, Frank Wess, James Moody, Terell Stafford, Sean Jones, Diego Urcola, Jeremy Pelt, Gerald Cannon, Willie Jones III, Steve Davis, Keter Betts, Eddie Locke, Marlene Verplank, among others.

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”...pianist Jeb Patton is not one to tread the predictable and his time signatures cavort delightfully as he shifts pace and thrust seamlessly. Add clusters of notes and probing lines and this one becomes one for indulgement. Patton cuts another impressive swath on his composition 'Hanna's Mood.' He is a player of great expression, bringing to the surface every little vignette that gives a song its depth and character.” --Jerry D'Souza, All About Jazz, March 2004

”It was Jeb Patton who went in for youthful displays: he played a walloping 'Élégie,' a transcription of Art Tatum's version of Massenet

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Discography

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