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Martino was born '''Pat Azzara''' in [[South Philadelphia]]. He began playing professionally at the age of 15 after moving to New York City. Martino played and recorded early in his career with musicians such as [[Willis Jackson (saxophonist)|Willis Jackson]] and [[Eric Kloss]]. He also worked with [[List of jazz organists|jazz organists]], including [[Charles Earland]], [[Jack McDuff]], [[Tony Monaco]], [[Trudy Pitts]], [[Jimmy Smith (musician)|Jimmy Smith]], [[Gene Ludwig]], [[Don Patterson (organist)|Don Patterson]], [[Richard Holmes (organist)|Richard "Groove" Holmes]]. Throughout the 1960s and 1970s, Martino made many recordings as a sideman and also under his own name.
Martino was born '''Pat Azzara''' in [[South Philadelphia]]. He began playing professionally at the age of 15 after moving to New York City. Martino played and recorded early in his career with musicians such as [[Willis Jackson (saxophonist)|Willis Jackson]] and [[Eric Kloss]]. He also worked with [[List of jazz organists|jazz organists]], including [[Charles Earland]], [[Jack McDuff]], [[Tony Monaco]], [[Trudy Pitts]], [[Jimmy Smith (musician)|Jimmy Smith]], [[Gene Ludwig]], [[Don Patterson (organist)|Don Patterson]], [[Richard Holmes (organist)|Richard "Groove" Holmes]]. Throughout the 1960s and 1970s, Martino made many recordings as a sideman and also under his own name.


In 1980, Martino underwent surgery as the result of a nearly fatal brain [[aneurysm]]. The surgery left him with [[amnesia]], leaving him, among other things, without some memory of the guitar and his musical career. With the help of friends, computers, and his old recordings, he made a recovery,<ref>[http://www.allaboutjazz.com/php/article_print.php?id=764#health ]{{dead link|date=February 2013}}</ref> and learned to play the guitar again.
In 1980, Martino underwent surgery as the result of a nearly fatal brain [[aneurysm]]. The surgery left him with [[amnesia]], leaving him, among other things, without some memory of the guitar and his musical career. With the help of friends, computers, and his old recordings, he made a recovery,<ref>[http://www.allaboutjazz.com/php/article_print.php?id=764#health ] {{wayback|url=http://www.allaboutjazz.com/php/article_print.php?id=764#health |date=20041204123105 }}</ref> and learned to play the guitar again.


His improvisation method, "Conversion to Minor", is often mistakenly thought to be based upon using exclusively minor systems for soloing. In fact, the system involves conceptualising chord progressions in terms of the relative minor chord/scale, but in practice this seems to be more a way for organising the fretboard, rather than justifying playing certain tones in terms of whether they are "correct" or not. Martino's lines contain chromatic notes outside any particular IIm7 chord that might be conceptualised over a chord progression; even in the examples he provides in his books and instructional videos. On his bulletin board he has stated that he formulated the system more as a way to explain his playing, rather than as something to use to create music. In his own words, "although the analysis of some of my recorded solos have been referred to as modal, personally I've never operated in that way. I've always depended upon my own melodic instinct, instead of scale like formulas".<ref>{{cite web|url=http://forums.allaboutjazz.com/showpost.php?p=504507&postcount=1233 |title=Jazz Bulletin Board – View Single Post – Pat Martino |publisher=Forums.allaboutjazz.com |date=January 29, 2010 |accessdate=2013-02-19}}</ref>
His improvisation method, "Conversion to Minor", is often mistakenly thought to be based upon using exclusively minor systems for soloing. In fact, the system involves conceptualising chord progressions in terms of the relative minor chord/scale, but in practice this seems to be more a way for organising the fretboard, rather than justifying playing certain tones in terms of whether they are "correct" or not. Martino's lines contain chromatic notes outside any particular IIm7 chord that might be conceptualised over a chord progression; even in the examples he provides in his books and instructional videos. On his bulletin board he has stated that he formulated the system more as a way to explain his playing, rather than as something to use to create music. In his own words, "although the analysis of some of my recorded solos have been referred to as modal, personally I've never operated in that way. I've always depended upon my own melodic instinct, instead of scale like formulas".<ref>{{cite web|url=http://forums.allaboutjazz.com/showpost.php?p=504507&postcount=1233 |title=Jazz Bulletin Board – View Single Post – Pat Martino |publisher=Forums.allaboutjazz.com |date=January 29, 2010 |accessdate=2013-02-19}}</ref>

Revision as of 21:22, 9 January 2016

Pat Martino
Photo by Tom Beetz
Photo by Tom Beetz
Background information
Birth namePat Azzara
Born (1944-08-25) August 25, 1944 (age 80)
Philadelphia, Pennsylvania, United States
GenresPost bop, jazz fusion, mainstream jazz, soul jazz, hard bop
Occupation(s)Musician, songwriter
InstrumentGuitar
Years active1959–present
LabelsPrestige, Muse, Cobblestone, Warner Bros., 32 Jazz, Evidence, Mythos, Camden, Blue Note,HighNote Records
Websitepatmartino.com
Pat Martino in Denmark (2015)
Photo Hreinn Gudlaugsson

Pat Martino (born August 25, 1944) is an Italian-American jazz guitarist and composer within the post-bop, fusion, mainstream jazz and soul jazz idioms.

Biography

Martino was born Pat Azzara in South Philadelphia. He began playing professionally at the age of 15 after moving to New York City. Martino played and recorded early in his career with musicians such as Willis Jackson and Eric Kloss. He also worked with jazz organists, including Charles Earland, Jack McDuff, Tony Monaco, Trudy Pitts, Jimmy Smith, Gene Ludwig, Don Patterson, Richard "Groove" Holmes. Throughout the 1960s and 1970s, Martino made many recordings as a sideman and also under his own name.

In 1980, Martino underwent surgery as the result of a nearly fatal brain aneurysm. The surgery left him with amnesia, leaving him, among other things, without some memory of the guitar and his musical career. With the help of friends, computers, and his old recordings, he made a recovery,[1] and learned to play the guitar again.

His improvisation method, "Conversion to Minor", is often mistakenly thought to be based upon using exclusively minor systems for soloing. In fact, the system involves conceptualising chord progressions in terms of the relative minor chord/scale, but in practice this seems to be more a way for organising the fretboard, rather than justifying playing certain tones in terms of whether they are "correct" or not. Martino's lines contain chromatic notes outside any particular IIm7 chord that might be conceptualised over a chord progression; even in the examples he provides in his books and instructional videos. On his bulletin board he has stated that he formulated the system more as a way to explain his playing, rather than as something to use to create music. In his own words, "although the analysis of some of my recorded solos have been referred to as modal, personally I've never operated in that way. I've always depended upon my own melodic instinct, instead of scale like formulas".[2]

The 1987 recording The Return marked Martino's return to music. In 2006, Mobile Fidelity Sound Lab reissued his album East! on Ultradisc UHR SACD. Martino tours worldwide. He was awarded 2004 Guitar Player of the Year, Down Beat magazine's 2004 Reader's Poll.

Martino's album Undeniable: Live at Blues Alley (Highnote Records) was released on October 11, 2011, and hit No. 1 on the jazz charts in mid-November. The next Highnote Pat Martino release, Alone Together with Bobby Rose was released on August 14, 2012.

Pat's newest CD We Are Together Again with Gil Goldstein on Warner Japan released April 2013–[his first Studio recording since 2006].

Discography

Albums

  • Pat Martino (Vanguard, 1966) – unreleased LP
  • El Hombre (Prestige, 1967)
  • Strings! (Prestige, 1967)
  • East! (Prestige, 1968)
  • Baiyina (Prestige, 1968)
  • Desperado (Prestige, 1970)
  • The Visit! (Cobblestone, 1972) – also released as Footprints (Muse)
  • Pat Martino/Live! (Muse, 1972)
  • Consciousness (Muse, 1974)
  • Exit (Muse, 1976)
  • We'll Be Together Again (Muse,
  • Joyous Lake (Warner Bros., 1976)
  • Starbright (Warner Bros., 1976)
  • The Return (Muse, 1987)
  • Interchange (Muse, 1994)
  • Nightwings (Muse, 1994 [1996])
  • The Maker (Paddlewheel, 1994)
  • Cream (1997), 32 Jazz
  • All Sides Now (Blue Note, 1997)
  • Stone Blue (Blue Note, 1998) – with Joyous Lake
  • Fire Dance (1998), Mythos
  • Comin' and Goin': Exit & the Return (1999)
  • First Light (1999), 32 Jazz – compilation album of Joyous Lake and Starbright
  • Impressions (1999), Camden
  • Givin' Away the Store, Vol. 3 (2000), 32 Jazz
  • The Philadelphia Experiment The Philadelphia Experiment (2001), Ropeadope
  • Live at Yoshi's (2001), Blue Note
  • Think Tank (2003), Blue Note
  • Timeless Pat Martino (2003), Savoy Jazz
  • Starbright/Joyous Lake (2006), Collectables
  • Remember: A Tribute to Wes Montgomery (2006), Blue Note
  • Undeniable: Live at Blues Alley (2011), HighNote
  • Alone Together with Bobby Rose (2012), HighNote
  • We Are Together Again with Gil Goldstein [2013] Warner Japan
  • Young Guns: Gene Ludwig – Pat Martino Trio w/Randy Gelispie [2014] HighNote

As sideman

With John Handy

With Jimmy Heath

With Richard "Groove" Holmes

With Willis Jackson

With Eric Kloss

With Jack McDuff

With Charles McPherson

With Don Patterson

With Trudy Pitts

With Sonny Stitt

References

  1. ^ [1] Archived 2004-12-04 at the Wayback Machine
  2. ^ "Jazz Bulletin Board – View Single Post – Pat Martino". Forums.allaboutjazz.com. January 29, 2010. Retrieved February 19, 2013.

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