Kellee Patterson -

Kellee Patterson is an American singer who released the 1973 album Maiden Voyage on Black Jazz Records, followed by the 1976–79 soul-funk albums Kellee, Turn On the Lights, and All the Things You Are on Shadybrook.

Background

She was born Karen Lynette Patterson and grew up in Gary, Indiana, where she competed in child talent contests. At sixteen, she started her professional singing career. In college, she sang in Groovy & The Electra’s, a soul-rock band with a setlist that included Aretha Franklin and Gladys Knight covers.

In 1971, she became Miss Indiana and demonstrated her singing abilities in the Miss America pageant. She toured abroad and gave speeches on behalf of the organization. Her public vocal engagements impressed multiple record company talent scouts. Despite an offer from Motown, she signed to Black Jazz Records, an avant-garde jazz label run by Gene Russell.

Maiden Voyage

Kellee Patterson released her debut album, Maiden Voyage, in 1973 on Black Jazz.

The album blends accessible jazz arrangements with subtle soul inflections, presenting Patterson’s voice in a late-night, neon-lit context. It’s more mainstream than other Black Jazz releases yet retains the label’s understated sophistication, highlighting Patterson’s sultry, slight vocal style.

She performs material by John Lehman (“Look at the Child,” “Be All Your Own”), Earl DeRoun (“Magic Wand of Love”), Don Sebesky (“Soul Daddy (Lady)”), and Lani Hall (“You”). The title track is one of Herbie Hancock‘s signature pieces.

Musically, Maiden Voyage mixes compact jazz numbers and mood-driven instrumentals. “Maiden Voyage” interprets Hancock’s composition with Patterson’s lyrical phrasing, while tracks like “Magic Wand of Love” and “Look at the Child” offer topical yet timeless storytelling. “Soul Daddy (Lady)” diverges into playful motifs, and “Be All Your Own” closes the album with concise, intimate phrasing.

A1. “Magic Wand of Love” (3:32)
A2. “Look at the Child” (3:37)
A3. “Soul Daddy (Lady)” (2:37)
A4. “Maiden Voyage” (5:15) is a jazz standard introduced by Hancock on his 1966 album of the same name.

B1. “Don’t Misunderstand” (4:17) was first sung by O.C. Smith for Gordon Parks‘ 1972 soundtrack to Shaft’s Big Score! Nancy Wilson also cut a 1973 version.
B2. “See You Later” (3:58) originated on the 1969 debut by the Impulse! jazz duo Dave MacKay & Vicky Hamilton.
B3. “You” (2:58) originated on Lani Hall’s 1972 album Sun Down Lady.
B4. “Be All Your Own” (1:47)

Sessions occurred at Hollywood Spectrum Studios, Los Angeles, with producer Gene Russell.

The album features bass by Henry Davis, string bass by John W. Heard, trumpet by Everett Turner, piano by Ernest Van Trease, flute by George Harper, congas and triangle by Sajih, tambourine by John Lasalle, and triangle by Billy Osbourne. Artwork and design were handled by Bud Doty and PGM.

In 1975, Russell folded Black Jazz and linked Kellee with Shadybrook Records, an upstart LA jazz-funk label with Cheyenne, Doug Lucas, and the SSO Band.

Meanwhile, Kellee played the love interest in Demolition Man, a rags-to-riches drama starring expat American actor/singer Jimmy Helms (Dada, Londonbeat) for BBC television. English session singer Clare Torry (Pink Floyd, Culture Club) appears as a fruit machine girl.

Kellee

Kellee Patterson released her second album, Kellee, on February 10, 1976, on Shadybrook.

The album blends jazz-inflected soul with R&B reinterpretations of contemporary hits, highlighting Patterson’s voice in both lyrical and rhythmically dynamic contexts. It continues her exploration of urban-contemporary textures while emphasizing her control over vocal arrangements.

Patterson performs material by Barry White (“I’m Gonna Love You Just a Little More, Baby”), Jackson 5 (“What You Don’t Know”), Grover Washington Jr (“Mister Magic”), Billy Preston (“You Are So Beautiful”), The O’Jays (“I Love Music”), The Stylistics (“Stop, Look & Listen to Your Heart”), Dolly Parton (“Jolene”), Loggins & Messina (“Time to Space”), and her own composition with Rick Bolden (“Once Not Long Ago”).

Musically, Kellee reinterprets popular tracks with subtle jazz phrasing and soulful expression. “I’m Gonna Love You Just a Little More, Baby” opens with measured intensity, while “Mister Magic” and “Stop, Look & Listen to Your Heart” navigate rhythmic variations within familiar melodies. Ballads such as “You Are So Beautiful” and “Jolene” receive lyrical, introspective treatments, and Patterson’s original offers a concise, intimate final statement.

A1. “I’m Gonna Love You Just a Little More, Baby” (4:55) originated on White’s 1973 album I’ve Got So Much to Give, covered since by Funk Inc. and Jimmy Smith.
A2. “What You Don’t Know” (3:10) originated on the 1974 Jackson 5 album Dancing Machine, written by Gene and Gerry Marcellino with Mel Larson.
A3. “Mister Magic” (3:22) is a composition by Ralph McDonald and William Salter that first appeared on a title-sake 1975 album by Grover Washington Jr.
A4. “You Are So Beautiful” (2:17) originated on Billy Preston’s 1974 album The Kid & Me, popularized soon after by Joe Cocker.
A5. “I Love Music” (4:32) originated as an O’Jays single from their 1975 album Family Reunion; written by Kenneth Gamble and Leon Huff and also recorded in 1976 by David Newman.

B1. “Stop, Look & Listen to Your Heart” (3:55) originated on The Stylistics’ 1971 debut album; written by Thom Bell and Linda Creed and covered since by Barbara Acklin, New Birth, and as a duet by Marvin Gaye and Diana Ross.
B2. “Jolene” (3:49) is the 1974 signature song by Dolly Parton, also recorded in 1976 by Olivia Newton-John.
B3. “Time to Space” (3:35) is a 1974 Loggins & Messina song that Kenny Loggins co-wrote with Dona Lyn George.
B4. “Once Not Long Ago” (3:32)

Sessions occurred at Spectrum Studios, Venice, California, with producers Gene Russell and Kellee Patterson, and engineers Arne Frager and Gene Russell.

The first four tracks feature pianist Gene Russell, bassist Bill Upchurch, drummer Johnny Kirkwood, guitarist Marlo Henderson, and percussionist Rick Geragi on congas, bells, and shaker. The remaining tracks feature pianist Rick Bolden, bassist Larry Klein, drummer Carl Burnett, guitarist Danny Jacob, and percussionist Don Cunningham on congas. Backing vocals appear from Gene Russell, Kimberly Boyer, Ricky Zunigar, and Shelly Michelle. Mort Witz and Gene Russell handle photography and design.

Shadybrook lifted “I’m Gonna Love You Just a Little More, Baby” as a single backed with “You Are So Beautiful.”

Turn On the Lights – “Be Happy”

Kellee Patterson released her third album, Turn On the Lights – “Be Happy”, in mid-1977 on Shadybrook.

The album explores layered R&B and soul-funk textures with Patterson’s vocals guiding both ballads and rhythmically energized tracks. It emphasizes ensemble interplay and her continuing command over vocal arrangements and phrasing.

Patterson performs material composed and arranged by Larry Farrow, with lyrics by Carolyn Johns on select tracks. Gene Russell contributes conceptually to “Turn On the Lights,” and Hank Wylie serves as associate producer.

Musically, the album alternates between concise, contemplative numbers and expansive, rhythmically driven pieces. “Overture” opens with a brief instrumental statement, while “Turn On the Lights” unfolds across extended phases. “Yesterday Was Love” presents introspective phrasing, and “Movin’ in the Right Direction” and “Let’s Hold On to Love” emphasize rhythmic variation.

A1. “Overture” (2:46)
A2. “Heaven” (4:14)
A3. “If It Don’t Fit, Don’t Force It” (5:17)
A4. “Yesterday Was Love” (4:51)
A5. “Be Happy” (3:23)

B1. “Turn On the Lights” (7:45)
B2. “Movin’ in the Right Direction” (3:54)
B3. “Let’s Hold On to Love” (3:57)
B4. “I’m Coming Home” (4:52)

Sessions occurred at United Western Studios, Los Angeles, and mastering took place at Allen Zentz Mastering.

The first three tracks feature pianist and keyboardist Larry Farrow, bassist David Shields, drummer James Gadson, guitarist David T. Walker, and horn contributions from Benny Powell, Bob Carr, Bob Findley, Ernie Fields Jr., Fred Jackson Jr., and Gary Grant. The remaining tracks feature Farrow on keyboards, Shields on bass, Mike Baird and James Gadson on drums, Craig McMullen and Ralph Hammer on guitar, and Ray Pizzi on saxophone solos for select tracks.

Backing vocals appear from The Winners’ Circle. Curtis Martin Hill handled art direction, and Al Parker provided photography. Gene Russell served as executive producer and conceptual contributor, with Hank Wylie as associate producer.

Shadybrook issued “Turn On the Lights” in two phases as a 7″ single (Phase I/Phase II), and released “If It Don’t Fit, Don’t Force It” backed with “Be Happy” later in 1977.

All the Things You Are

Kellee Patterson released her fourth album, All the Things You Are, in 1979 on Shadybrook.

The album balances upbeat soul-funk tracks with introspective ballads, presenting Patterson’s vocals in both rhythmically active and contoured contexts. It marks her final Shadybrook release, emphasizing vocal phrasing amid layered arrangements and ensemble textures.

Patterson performs material by L. Russell Brown and Crew (“Let Go, Let Go,” “Fancy Dancer,” “So in Tune With You”), Jerome Kern and Oscar Hammerstein II (“All the Things You Are”), Hardy and Hice (“Feelings Old Feelings”), Gage (“Nice Girl”), and Alan Baboff and Lederman (“How I Love Your Smile”).

Musically, the album opens with rhythmically propulsive tracks, including “So in Tune With You,” which features percussive drive and sharp vocal turns. The title track slows the pace with string-accented, show-tune–inflected phrasing, while “Feelings Old Feelings” and “Nice Girl” offer balladic introspection. Patterson’s articulated, slightly sibilant delivery maintains presence across both lively and subdued numbers.

A1. “Let Go, Let Go” (5:32)
A2. “Fancy Dancer” (4:30)
A3. “So in Tune With You” (6:22)

B1. “All the Things You Are” (6:34)
B2. “Feelings Old Feelings” (4:24) recorded simultaneously by Dionne Warwick for her 1979 Barry Manilow-produced comeback album Dionne.
B3. “Nice Girl” (3:50)
B4. “How I Love Your Smile” (3:24)

The first three tracks feature pianist Victor Hall and Harry Bowen, bassist and rhythm contributors from the Crew/Brown sessions, with percussion and backing arrangements by Rahn Coleman. The remaining tracks feature Gene Russell and Andre Reed on keyboards and arrangements, co-produced with Hank Wylie, with strings and layered backing arrangements throughout.

Sessions occurred at Sigma Sound, New York (side A), and at Conway Studio, Hollywood, California (side B), with mastering at A&M Studio, Hollywood. George Belle engineered the album, remixed by Buddy Brundo.

Discography: