Pat Martino

[Jacobe]

Here's and somekind of improvisation of mine over your song 'Consciousness'.

1st I play about 1min 30secs of piano with my guitar synthesizer and then over backing track I made of your recording.

If this is impropiate, please delete this post, no hard feelings, but just love and appreciation to you dear mentor and ear-opener for me as you have been all these years.

[YOUTUBE]dRlKMkasOmU[YOUTUBE]

http://www.youtube.com/watch?v=dRlKM...tailpage#t=81s

[jwsamuel]

Hi Pat,

Just got tickets to see you at the Sellersville Theater in February. Front row, center.

Saw you there a couple of years ago and am really looking forward to seeing you again. It's a great little theater.

Jim

[Jacobe]

Hi Pat!

I found out that as you used the diminished chord as a parental form, in which lowering a one note of a chord leads to a dominant seventh chord, from which that leads us to a particular minor referring to that dominant 7th chord applied.

What I found out was that if one rises one tone from that symmetrically working diminished chord on guitar leads one to minor flatted 5 chords symmetrically also, which chords are used as melodic minors from their 6th's.

Are the 4 dimensional minors as these, also for us imploding these working minors as a tools in improvisation for all in you opinion referring to this approach in this subject, or are they the same that came from lowering one note from the diminished form?

-Yours, Jacobe

PS. don't hate me Pat. I do it myself. http://www.youtube.com/watch?v=2EJjka2u8KQ

[Pat Martino]

Hi Jacob,

I hope that all is going well, and I wish you some lovely holidays.

Your description of “ascent & descent” regarding any of the single tones in both the Augmented, or Diminished clusters is a study of polarity itself. In a sense, it’s very close to the result of either consonance, or dissonance. With the augmented cluster the lowering of any single tone produces the Perfect 5th of one of its 3 Major triads, while raising a tone produces the “root” of one of 3 Relative Minor triads.

As you’ve noticed, the same occurs with the Diminished cluster. By lowering a tone it produces the root of one of 4 V7 chords, while when raising that tone instead, it produces the V7th of one of 4 Mi7b5 chords, (each in a different key, a mi 3rd apart).

The polarity that I mentioned earlier has always had a practical use for me when it comes to improvisational substitutions. The two types of minor that come from the diminished “parental form” became my substitutions for either “consonant” or “dissonant” V7th chords.

Here are two examples:

1.

In the key of A: a certain inversion of a Dbmi7b5 chord can also be seen as a poly-chord that’s called Emi / Db, and if you include an A pedal tone below that you then have a 5 note A9 inversion on these strings: 65432. In the A7th family that can now be listed as consonant, and that E minor triad will represent all of the “e minor melodies”, (learned thru experience) that will fit A6th, A7th, A9th, A11th, A13th, etc.

2.

In the key of A: a 5 note inversion of A7b13b9, in the string group: 6-4321, with the tones (in the order from bottom to top) A, G, Db, F, Bb reveals a 3 note cluster, (Db, F, Bb) that’s actually a Bb minor triad, (at the tritone of the other E minor cluster). This minor triad will now represent substitutions as transpositions of those same “melodies”, this time heard as “dissonant” when used for A7#5, A7b5, A7#9, A7b9, A7#11, b11, #13, b13, etc. Of coarse, not only do they apply in the key of A, but also in three more, (a mi 3rd apart)

The essence of similar discoveries effect a various number of perspectives, (and they go far beyond music alone) acting as various examples of ones growing interpretation, gradually revealing consonance, and dissonance as one and the same, and from a distance to be seen working together like the polarity of reality.

Most of all remember, “beauty is in the eye of the beholder”.

Always Yours, ...... Pat

P.S. I don’t hate, ... I stopped doing that a long time ago.

[Sid]

Greetings Pat,

Here's wishing you and yours a blessed holiday and new year. And as always, thanks for being a great teacher and opening my ears and eyes to so very much beauty!

Here's hoping you can get to Minneapolis sometime in near future!

Many regards!

Sid

[Pat Martino]

Sid,

Thanks for the lovely thoughts. I send you, and yours my warmest regards for some wonderful holidays, and I too hope that God brings me your way sometime in the near future for a precious embrace!

Cheers,

PM

[max]

Originally Posted by Pat Martino

P.S. I don’t hate, ... I stopped doing that a long time ago.

You are a wise man, God bless you..

Best regards,

Max

[Alberto Rodrigues]

Hi Mr. Martino,

Is a great joy to be able asking you some questions

You are my main influence, I'm really learning with your music...

I want to ask about your Gibson Johnny Smith years.

I'd like to know what albums (as sideman and as leader) and tracks you've played this guitar.
And, also, how long you've played actively this guitar (since the year 19... till the year 19...).

I like so much your early years.

I wait your answer,

Best regards,

Alberto

[max]

I just heard one of your finest records, "We'll Be Togheter Again". The sound of the two instruments is very beautiful.
I think you were using a plectrum made of stone, the best thing for the clean sound, and a musical thought as deep as yours.
Did you never thought to resume the use of the pick of stone?

I also think that the sound of electric piano, fender rhodes type, is the beautiful fit with the sound of the guitar...
I don't know how many times I listened to that record..
Thank You,
My regards, happy holidays, and happy new year!
Max

[Pat Martino]

Originally Posted by Alberto Rodrigues

Hi Mr. Martino,

Is a great joy to be able asking you some questions

You are my main influence, I'm really learning with your music...

I want to ask about your Gibson Johnny Smith years.

I'd like to know what albums (as sideman and as leader) and tracks you've played this guitar.
And, also, how long you've played actively this guitar (since the year 19... till the year 19...).

I like so much your early years.

I wait your answer,

Best regards,

Alberto

Dear Alberto,

Thank you for caring so much, as well as enjoying the music.

As far as I can remember, I used a Gibson Johnny Smith Model throughout 1966, and '67. The recordings were definitely on Prestige Records with Don Patterson, as well as some of the other recordings that took place in that period.

Best Wishes,

Pat

By the way,

I used The Johnny Smith Model Gibson on my first album as a leader for Prestige Records, "El Hombre", (as seen on its cover). Also, it was used on an album by John Handy, who I was playing with at the time. That album is titled "New View!". In fact, the photograph that was used for the cover of El Hombre was taken at the 1967 Newport Jazz festival, in performance with John.

[Alberto Rodrigues]

Thank you Mr. Martino for to be so solicitous,

Is always great to talk about guitar with a great person, a great musician and a great human being. You're truly a hero for me...

Someday I hope - and I pray for that - to meet you personally, talk and play together too, sharing the same gig...

I hope see you soon,

A big hug,

Alberto

By the way, sorry my english, I'm working hard for improve it...

[mattluke101]

Hey Pat,

You've played many standards and original compositions throughout the course of your career, often times reinventing how the song sounds vice a vi improvisation/phrasing/harmony (excuse me I'm not a musician!). However, what is your philosophy about writing new music or incorporating ones you haven’t played before into your formidable repertoire? As much as I love your playing, I find that you lean towards mastering a few songs instead of covering new ground.

M

[Jacobe]

Pat. Do you use compressor when playing? I'm hooked to it.

[marcwv]

Hi Again Pat,
I wanted to ask you a more spiritual question about guitar…..It really doesn't have to be about guitar ,could be basket ball , cycling , etc.
As you grew in your musical skills, where you ever intimidated by other players, and at times you felt like giving up because their playing blew you away ?
I don’t want to be in competition with others to be the best player but do find my self doing just that anyway. I have tried to take the point of view that as a person( musician) I have something to say or express on guitar ,and that in itself, is much more redeeming than maybe how fast you play!
That has become my montra! Of course being that, is easier said than done!
Wondering what you think?
Marc Silverman

[Alberto Rodrigues]

Hi members from All About Jazz,

Can anyone to say what's this guitar?

I believe that's a Gibson Johnny Smith, but I'm not sure...



Thank you, guys,

Alberto Rodrigues.