Lamont Patterson began his musical journey in the small town of Bonham, Texas. His aunt, the family matriarch and church pianist, was highly influential in the beginning stages of his musical development. By the age of five, Lamont was singing in the church choir and, by eight he was trying to Preach, after a few false starts, Lamont settled on the tenor saxophone as his instrument of choice.
With role models such as Jazz Greats, John Coltrane, Sonny Rollins and Roland Kirk, Lamont excelled as a musician. During high school, with sensitivity to how he was perceived by the opposite sex, he began performing in talent shows. Overhearing female classmates talk about his vocal talents, his heart swelled with pride, sealing his fate in the world of music.
After high school, Lamont’s cousin Bobby Sanders, Manager of Little Anthony, The Imperials and The Young Hearts, included him in their rehearsals. Lamont had the unique opportunity to sing, dance and practice chorography with these groups, inspiring him onward in music. In college, Lamont met the niece of a Capital Records Executive Harvey Fuqua, who offered him a gig singing second tenor and writing lyrics for New Birth. The group toured with such notables as the O’Jays, Blue Magic, The Dramatics, Four Tops, The Moments, Chi-lites and George Clinton all sounds from the Motown era.
As Lamont’s talents increased, so did his desire to play a bigger role in the musical industry. He wanted to be the “chef” of music, bringing together all of the parts to create a new flavor. The first “dish” Lamont served up was The Elements of Peace, an R & B group, in which he sang lead and played tenor saxophone. This group would also open doors for him to work with the likes of Grammy Winners Aaron Neville, Quincy Jones, Marvin Gaye, Ike Turner and Tina Turner in collaborative projects.
It was in these collaborations that Lamont got his first taste of the production side of things. He now knew music and was beginning to learn the business of music. These natural progressions lead him into management, where he leveraged his existing relationships to create opportunities for other artists. During this time, Lamont had the good fortune of assisting the projects of Bill Summers, Sting, Patrice Rushen, Bobby Lyle and Big Boy (Power 106) Side Effect, And the recognition followed with Gold Records for Herbie Hancock’s “Future Shock” and Seduction’s album by the same name.
Sensitive to how the industry required artists to change their music based on someone else’s taste, Lamont ultimately started his own studio and launched the label World Movement Records. Here, he had the ability to allow artists to express their authentic voice in the music without over-producing their creations. Because he came up through music, he also understood what it took for artists to create. World Movement Records became the place where artists could be who they truly were. Artists thrived under Lamont’s direction, leading to Platinum Records for Ghetto Hippie and Bobby Caldwell and a Gold Album for Jeffrey Osborne, among others.
As the industry changed, so did Lamont, moving into the digital age and following technical trends. World Movement Records began supporting artists as an entire entity from music distribution to merchandizing and publishing, to TV and film roles, with the Internet playing heavily into public relations and distribution. Pretty Tony became one of the first to release books into the marketplace, followed by a radio talk show to discuss relevant topics. Compilation CDs were created for artists such as West Coast Bangaz. Community events, like Rock the Economy, brought together artists from all genres united by a cause and supported by business, setting new industry standards.