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Yeah, it's crazy how some folks have so many problems with feedback...
I played an old country gig with my 575, through a Princeton--DIMED (bandleader liked all stage volume and very little in the monitors, old school cat)
Just stood in the right place and never had a single issue.
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02-20-2019 12:49 PM
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Do you mean he was reluctant to show you stuff he was working on for his own playing at the time? Like ideas that he hadn't used in gigs/recordings yet? Or do you mean even more generally, his approach to line building, harmony etc. He's had a lot of educational material out there so I assume the former. May be he kept some gems only to himself? But then most things can be reverse engineered once recorded. I'm curios.
Originally Posted by jzucker
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Not sure what you mean by ideas he hadn't used but i'm talking about riffs I had copied off his records and asked for explanation. Many times, (like my story about octave displacement), he wouldn't tell me what he was thinking. Other times, he would show me really cool stuff out of the blue. I think - like many old time jazzers - he considered his work intellectual property and was reluctant to give it away. Howard Roberts told a story of going to clubs to hear Barney Kessel and Barney would turn sideways away from Howard because he thought howard was stealing his riffs. Another time, barney put a cloth napkin over his left hand to hide fingerings from HR... Originally Posted by Tal_175
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I've heard this about the older generation of jazzers too..... Info was a precious resource, a concept figured out or a fragment of knowledge from a master player ....
It's a world completely alien to today's internet generation, where you get as much information as you could possibly want, probably more than you actually need...
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and the younger generation is proving them right because young players today are 10x better than they were when I was coming up!
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Just listened to El Hombre tonight. Very distinctive tone. Originally Posted by jzucker
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Love those early Martino records... Originally Posted by Cunamara
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I got the Young Guns organ trio recording (which came from Pat's own tape archive I believe), and the guitar sound on there really captures the sheer 'weight' of tone on each note. He must have been well-stuffed that night.
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I like his recent stuff, too, although sometimes his tone is just too dark to even clearly hear. I'm thinking of his CD "Remembering" in particular. At times he was just indistinguishable from the background. His more recent CD "Formidable" suffers from this a bit less; I believe he's playing the Benedetto on this one instead of the Gibson artist guitar. I also liked "The Maker" quite a bit. Originally Posted by christianm77
But those early records have a rhythmic drive to his soloing that's really quite remarkable. He was more aggressive and less reflective in those days, it seems. In the documentary by Paul Broks he talked about having a very competitive feeling in his playing in the early days- wanting to be the "best" jazz guitarist- that has been gone since his brain surgery.
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Yeah it's all about the fiery yet laid back swing for me....
Later stuff is cool, just vibe more off the early days... I used not to be able to hear the recent stuff at all, but now I like it.
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Interesting to read Joey Defrancesco's take on early Pat, he mentions "Bar Wars" here, too, quoted from:
For Joey DeFrancesco’s 44th Birthday, a Blindfold Test From 2007 and a Jazziz Article | Today Is The Question: Ted Panken on Music, Politics and the Arts10. Trudy Pitts, “Just Friends” (from Pat Martino, EL HOMBRE, Prestige, 1967) (Pitts, organ, Martino, electric guitar; Mitch Fine, drums)
[IMMEDIATELY] Trudy Pitts, Pat Martino, “Just Friends.” I love Trudy. I grew up… Trudy was like a musical mother, man. I know Trudy and Bill Carney, her husband, Mister C, since I was 8 years old. In fact, we just did a concert together… I didn’t have to hear too much of the playing. I just knew what it was right away. [You probably know every note on the solo.]
Oh, yeah. Pat plays his ass off on here. His choice of drummer on here… I asked him years later. I said, “That drummer on there wasn’t really up to par, Pat.” He said, “Yeah, but the guy was a sweetheart, and I really liked him, and he was my friend, and he was excited to do the date.” But Trudy sounds great on here, so does Pat. I could do without the bongos. But this is 5 stars easy. I haven’t heard it in years, but this is one of those things you just know. This solo Pat takes here influenced generations of guitar players. For me, this is Pat’s best playing. The feeling he played with, and he was bluesy, and he swung hard, and he listened more. I love this period of Pat. And Trudy is playing so great here. Trudy is underrated. She never got the due she should have. That’s Orrin Evans’ godmother. I’d love to have heard this with a great drummer, though. Pat basically played like Wes Montgomery, but with a pick, and a little more percussive and aggressive attack. But this is definitely out of Wes—totally. Grant Green. He’s probably 19 or 20 there. Swinging like crazy. They did a record, Bar Wars, a Willis Jackson record. That’s some shit there. That’s Charlie Earland and Idris. Charlie Earland was very limited, man, but he could swing like crazy. And you know what? Sometimes that’s what you’d rather hear.
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