Thread: Pat Martino

  1. #1231
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    Looking forward to the answer

    I have one more question. All these figures make more sense to me in the context of the Dorian mode as opposed to the Aeolian mode. Am I missing something (probably!)? Thank you again very much for taking the time.-Lonny

  2. #1232
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    Dear Mr Martino,
    I am a blues guitarist drop into a jazz quartet. I love jazz and by the way, you really touch me with your music, your feeling, and perhaps more important with your human being. I just want to say here thank you to you, and all my respect. You change the way i see the music, i hope also that you change the way i see the life. Everytime i listen to your jazz, i feel better, even and above all when troubles surround me. I believe there is some thing magical in your music that i don't understand and that i don't need to understand: just listen and feel good. Thanks one more to the way you open the door of music.
    With all my respect
    Yves

    I may apologized for my bad english writing.

  3. #1233
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    "Linear Expressions"

    Quote Originally Posted by Lonny Jarrett View Post

    Hello Pat,

    This is my first post and it's nice to be here. I've listened to your music since the 70's and am very happy to have the chance to say thank you for the inspiration. I have a question regarding your book Linear Expressions. On P.18 the second half of the activity for the Abm7 chord does not match the activity for that form taught on p15. There is no explanation of this. My expectation was that all activities would have remained the same. Is there something I'm not seeing or understanding? Easy enough to learn the new form but I want to work through the book as close to your intention as possible with understanding. I also wonder if anyone has ever written tab for last 1/3 of the text as I do not read.

    Thank you very much,

    Lonny Jarrett
    Lonny,

    Here’s my answer to your initial question, (I hope it’s not confusing).

    PHASE I: Horizontal Movement is the description of 4 separate (chordal) inversions of Gmi7, as invisible frameworks along with the horizontal positioning of linear patterns ascending vertically within each of those separate inversions, (positioned from left to right across the fingerboard). Once described within the text, ( pages 1 to 10) it unfolds from page 11 to 16 as 5 separate (melodic) patterns, from lower to higher positions.

    PHASE II: Vertical Movement begins at page 17, and from this point on it displays patterns in a vertical array. Those line forms, (covering all 12 keys) remain in one place, (fingered within 4 to 5 frets), 12 keys in one vertical stack.

    PHASE III: Vertical, and Horizontal Movement, from page 29 to page 50 provides two types of series. The first: Line Study 1A takes place within the first inversion of Gmi7 (on 6-432 strings) and ascends chromatically in mi 2nds, (G, Ab, A,Bb, etc). Line Study 1B then takes place in the order of mi 3rds to mi 2nds, (G, Bb, A, C, etc). That moves structurally into the next series: Line Study 2A, which begins from the second horizontal inversion of Gmi7 (on 6-432 strings) and continues to move intervalic-ally in the same way it did previously, (starting with mi2nd series, then again followed by the mi3rd / mi2nd series).

    The two separate series of patterns found on pg. 15 and 18 are slightly different for those reasons.

    As to your next question:

    I have one more question. All these figures make more sense to me in the context of the Dorian mode as opposed to the Aeolian mode. Am I missing something (probably!)? Thank you again very much for taking the time. - Lonny

    I don’t think you’re missing anything, 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.

    Well that’s it for now. Best wishes.

    PM

  4. #1234
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    Quote Originally Posted by yves View Post

    Dear Mr Martino,

    I am a blues guitarist drop into a jazz quartet. I love jazz and by the way, you really touch me with your music, your feeling, and perhaps more important with your human being. I just want to say here thank you to you, and all my respect. You change the way i see the music, i hope also that you change the way i see the life. Everytime i listen to your jazz, i feel better, even and above all when troubles surround me. I believe there is some thing magical in your music that i don't understand and that i don't need to understand: just listen and feel good. Thanks one more to the way you open the door of music.

    With all my respect

    Yves

    I may apologized for my bad english writing.
    Yves,

    I’m so happy that you’ve enjoyed, ..... you’re respect is valued deeply.

    Trouble surrounds all of us. It’s the challenge that causes our decisions. Those decisions result in our growth towards freedom.

    P.S,

    Your english is fine!

    My Warmest Regards!

    Pat

  5. #1235
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    Wink

    As I am a young (1972 born) man, I still think that nothing!!,... I mean Nothing! isn't impossible in this world without cocacola ine and so forth , but may I guess what you think about this thing, this approach within of and in my northern vision, and aspect of life as it is mr. Martino my dear mentor and a truely a fellow who has broaden my life, as my aqknowligment of improvisinational approach to guitar, which has led life to ability where creating music has somehow become obsolite, but!? , truely what's the music is all about! ..whatsoever that is/was which I truly salute.
    My music : www.mikseri.net/jacobe

    Music is the way to perceive linear time in 4 dimensions.

    Photobucket

    Skype : jacobe2772

  6. #1236
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    Chicago?

    Dear Pat;
    I've been frustrated due to the fact that there have been some Chicago-area dates that have been posted and then subsequently cancelled. While I'm sure these things are part of the music business, I've been a fan for many years, and have not (yet) had the pleasure of seeing you play live. Do you think you'll be scheduling something in the Chicago area soon? Is there anything I can do to help make this event happen? (I'm serious about that one...) And is there a chance you would also teach one of your "Master Classes"? I know there are many Pat Martino fans in the Chicago area waiting for you to return.
    Thanks for the many years of inspiring music. My first guitar teacher played me your "Live" album many years ago- and I've never been the same!!
    My sincere thanks for continuing to be such an amazing creative force on the guitar especially, and in jazz music in general.
    Best regards,
    Don

  7. #1237
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    Thank you

    Hello Pat,


    Thank you so much for taking the time to answer regarding linear expressions. It's interesting, as the material becomes more integrated how much it's changing my phrasing and helping me see differently.

    I know you're interested in Chinese philosophy and I'd like to send you my book: Nourishing Destiny, The Inner Tradition of Chinese Medicine as a gift for all the great music over the years. Among other things it covers the Yi Jing and medicine. (Spiritpathpress.com). If you would enjoy a copy just send a shipping address to Lonny@nourishingdestiny.com.

    Regards, Lonny Jarrett

  8. #1238
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    Appreciation

    Lonny,

    Thanks. I've sent the necessary information over to you via your email address. I'll be looking forward!

    Warmest Regards,

    Pat

  9. #1239
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    Hi Pat!

    I have been listening to your records all since I began my jazz adventure. One thing that strikes me is your preference of harmonic substitution on Rhythm Changes. To my ears, it seems you prefer the accompaniment to play C minor through the whole A-section as opposed to the original changes. Then you do the B-section like it is usually done.

    I have your videos "Creative Force" and "Quantum Guitar" and you explain how you prefer to think in minor all the way. Now of course, this is how you think when soloing.
    So my question is: What makes you prefer the static harmony in the accompaniment on the A-section as opposed to the regular changes? Please don't misunderstand this question. I am not questioning your musicality or knowledge. I'm just very curious as to how you think harmonically and melodically because you are my main inspiration.

  10. #1240
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    From Oleo to BirdBop ...

    BirdBop,

    Please correct me if needed, but I take it for granted that the song you’re referring to is the Sonny Rollins composition “Oleo”.

    The version that was recorded for Blue Note Records was arranged by Jim Ridl, (pianist) with whom it was performed with as a quartet prior to its eventual recording with Joey DeFrancesco, and Billy Hart, (Live at Yoshi’s). It was also then captured on tour in live performance at the Umbria Jazz Festival, and presented as a video on YouTube.

    Ridl’s structure of the arrangement itself was designed as C minor for the A-section, (including the 4th measure in 8/4) leading into the B-section, which by the way wasn’t normal at all. The normal arrangement for the bridge is D7 to G7, to C7, to F7, then of course back to the so called “rhythm changes”, or the lack of them, (a repeat of letter A). In Ridl’s arrangement even letter B was odd, where all of the V7th chords altered into V7#9 changes. In fact here’s the original lead sheet of that arrangement, (which Ridl brought to a rehearsal).


    As to my interpretation of the A-section completely played in C minor, that’s how it was written in this particular arrangement.

    I hope this provides some clarity for you regarding the variations of that structure.

    Cheers!

  11. #1241
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    More on "Oleo"

    Quote Originally Posted by BirdBop View Post

    Hi Pat!

    I have been listening to your records all since I began my jazz adventure. One thing that strikes me is your preference of harmonic substitution on Rhythm Changes. To my ears, it seems you prefer the accompaniment to play C minor through the whole A-section as opposed to the original changes. Then you do the B-section like it is usually done.

    I have your videos "Creative Force" and "Quantum Guitar" and you explain how you prefer to think in minor all the way. Now of course, this is how you think when soloing.

    So my question is: What makes you prefer the static harmony in the accompaniment on the A-section as opposed to the regular changes? Please don't misunderstand this question. I am not questioning your musicality or knowledge. I'm just very curious as to how you think harmonically and melodically because you are my main inspiration.
    BirdBop,

    Aside from my response, (as well as my description on a particular version of Oleo) here's another interpretation of the same song. This one recently emerged on YouTube, and was sent to me by guitarist Jimmy Bruno, more or less as a reminder of some great times at a 70's jazz place in Philadelphia, (that no longer exists).

    The club was called Grendel's Lair, located on the corner of 5th & South.

    Some of this groups personnel were recorded on three of my early albums, (Desperado, East, & Live!).

    Eddie Green*, piano - Tyrone Brown, bass - & Sherman Ferguson*, drums

    Two of those members are gone*, (but will always remain in my heart). At any rate, I think you'll enjoy this one:


    http://www.youtube.com/user/SRVMOE#p/u/6/Hdss0aNkMF0

    Best Wishes,

    PM

  12. #1242
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    Bootleg rethink

    Dear Pat

    I wrote in a while back about how I'd become uncomfortable about secretly taping gigs and the whole bootlegging ethical debate. It's interesting how many classic performances are now surfacing, on YouTube and other places, such as your Grendall's Lair cuts. While "the great veil of kindly oblivion" may have come down on a lot of the stuff obtained without the artists permission or knowledge, there are many examples, such as your own, which now have the status of historical documents, and are of great interest.

    There are quite a few tapes of old radio broadcasts appearing. I'm sure you were as excited as I was when that "One Down, One Up" Half Note recording of the Coltrane Quartet appeared a few years ago. I came across this link which has lots of concert recordings from the 1970's + 80's:
    http://jazzfusion.tv/bootlegaudio.html
    One could almost spend one's whole life listening to this stuff!

    There's still the debate as to the legal and financial aspect of bootlegs. Some artists, such as Frank Zappa, undercut this issue by issuing their own. Others, such as John McLaughlin, when he stopped the release of a jam with Jimmy Hendrix, went to court to stop their release. It's a tricky question, but in the Jazz fraternity, where we generally share and delight in hearing past performances for pleasure and study, it probably only goes to further interest in the legit recordings of our favourite musicians.

    Best wishes, and I hope it's not too long before you grace us with more live concerts in the UK.

    Jamie

  13. #1243
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    Just Stopped By To Say Hello

    Hi Pat,

    Hope things are well. Is there any way to send you private messages?
    Here's my email. dom@domminasi.com

    Thanks

    Dom

  14. #1244
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    Grendalls Lair

    Hey Pat

    Just to say if you trawl down the page on that link I sent, the Grendalls Lair gig from 23rd July 1973 is in there, just a shade after half way. It's got the whole 75 minutes, starting with "On the stairs". The sound quality seems a lot better than the later ones on YouTube. Great stuff!

    Jamie

  15. #1245
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    Contact

    Quote Originally Posted by domminasi View Post
    Hi Pat,

    Hope things are well. Is there any way to send you private messages?
    Here's my email. dom@domminasi.com

    Thanks

    Dom
    Hi Dom,

    Things are great, (as always, in one way or another).

    With regard to private messages, take note that if you bring the cursor over to the upper left side, (under the date) you'll see Pat Martino Registered User, open that window from the name itself. You'll then see "Send a private message to Pat Martino". That's how it's normally done.

    Aside from that function, I'll be sending you, (through email) my private address. You can feel free to stay in touch that way as well.

    Stay well my friend, I send you and the family all my best!

    Pat

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