Pat Martino Albums (23)
'Remember: A Tribute to Wes Montgomery'
Release Date 1/1/2006
Tracks 10
Label Blue Note
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What The Critics Say
Pat Martino and Wes Montgomery were two of the most famous guitarists to emerge out of the '60s jazz scene, an era that saw the guitar raised to the status of saxophones and trumpets. Martino and Montgomery's styles, however, were quite different, one rapid-fire post-bop, the other blues-based hard bop. This doesn't mean, however, that Martino wasn't -- like everyone else -- influenced by Montgomery. Martino's Remember: A Tribute to Wes Montgomery, then, isn't so much an album that seeks to mimic the style of another guitarist, but a loving tribute that reflects without copying Montgomery's style. Yes, Martino does pull gems from the Montgomery catalog like "Four on Six" and "West Coast Blues," and he even references his use of octaves more than once, but this is more reflective than stylistic. Martino is joined on this outing by pianist David Kikoski, bassist John Patitucci, and percussionists Scott Allan Robinson and Daniel Sadownick for solid takes on Montgomery's "Road Song," Carl Perkins' "Groove Yard," and Sam Jones' "Unit Seven." While it might be revealing to compare these and other sides to Montgomery's recordings, it's probably more fun for listeners to just allow these reinterpreted recordings to wash over them. For Martino and Montgomery fans, and for anyone who loves good guitar music, Remember is a well-conceived and executed album. ~ Ronnie D. Lankford, Jr., All Music Guide
What The Critics Say
Guitarist Pat Martino has tempered his serpentine, machine-gun improvisational style over the years into a soft-focus graph-paper approach that lies somewhere between Pat Metheny and Bill Frisell. His playing, at once mathematically dense and puritanical in its economy, can impress with long bursts of harmonic complexity and stylistic flourishes that cross rockabilly-esque chicken scratch with ECM-style repetition. Unfortunately, for all his harmonic panache, Martino never really commands the swing on the cerebral, blues-tinged, and ultimately disappointing Think Tank. Similar to his bandmate here, tenor saxophonist Joe Lovano, Martino floats over the rhythm section, dancing around the groove but never coupling with it. The result leaves drummer Lewis Nash flailing ineffectually as if to fill up space. Worse, bassist Christian McBride, largely renowned for his muscular and swinging approach, simply coasts along, his acoustic double bass over-miked into a slack drone. That said, the title track is an intriguing scientific theorem of a tune that Martino built out of the letters in John Coltrane's name. Even more engaging is the ballad "Sun on My Hands," in which pianist Gonzalo Rubalcaba and Martino delicately play off each other in a kind of plaintive call and response that brings to mind Martino's dusky, reflective 1976 album We'll Be Together Again. Think Tank isn't a bad album; it just contains a few too many ideas that probably sounded better in theory than they do in practice. ~ Matt Collar, All Music Guide
What The Critics Say
With Live at Yoshi's, his 20th recording as a leader and third release for the Blue Note label, the legendary Pat Martino has come full circle. Accompanied by Joey DeFrancesco on Hammond B-3 and Billy Hart on drums, the hard bop and funky soul-jazz of this trio are sure to please enthusiasts of the guitar, organ, and drum trio. Martino, heir to Wes Montgomery's warm, bluesy guitar style, plays eight great compositions, including two great extended versions of the classic Miles Davis compositions "All Blues" and "Blue in Green." On "All Blues," creative guitar voice plays the melody with soulful interpretations and subtle musical resonance. Martino's version of "Blue in Green" creates a world of melancholy and the guitarist plays his guitar with the same sweet sadness as Miles did with the support of DeFrancesco's organ solo adding additional shades of emotion. The songs selected for this "live" performance recording also appear on previously recorded Martino projects, including his 1970 Desperado album and his 1998 Stone Blue CD. However, listeners now receive the benefit of having the set performance available in real time. From the sound of the audience on Live at Yoshi's, the guitar sage's head-spinning dexterity and cool tones on "Catch" are more spirited than ever, and after listening to this CD, you'll be inclined to agree. ~ Paula Edelstein, All Music Guide
What The Critics Say
Fire Dance is an East-meets-West fusion recording that was the brainchild of Peter Block (flute) and Habib Khan (sitar). Block recruited Pat Martino for this session after hearing his work on The Maker and Baiyina, making him a logical choice. Martino is mostly relegated to a sideman/group member role, but he is given plenty of space. While Block, Khan, tabla player Zakir Hussain, and violinist Ilya Rayzman sound perfectly at home here, Martino doesn't always sound comfortable. That is not to suggest this isn't a worthy effort, as the session as a whole is very rewarding. In fact, coupled with Martino's adventures on All Sides Now, this recording proved that he was not content to stay within any sort of comfort zone. While the results do not match the inspired work John McLaughlin did with Shakti, they are comparable to his much-beloved and influential Baiyina. ~ Robert Taylor, All Music Guide
What The Critics Say
The guitar master is at it again on this collection of original tunes. Mixing up bop and funk with heavy doses of pop, he offers up a very listenable album with lots of character. Standout tracks include the fat beat of "Mac Tough" and the evocative "With All The People." ~ Tim Sheridan, All Music Guide
'We'll Be Together Again'
Release Date 5/19/1998
Tracks 7
Label 32 Jazz
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What The Critics Say
When We'll Be Together Again was recorded in 1976, a 31-year-old Pat Martino was four years away from being operated on for the brain aneurysm that would wipe out his memory. The Philadelphia guitarist was also very much at the height of his creative powers -- a fact that's hard to miss on this excellent session, which 32 Jazz reissued on CD in 1998. Forming an intimate duo with electric pianist Gil Goldstein, Martino is at his most introspective on sparse interpretations of the standards "You Don't Know What Love Is" and "Willow Weep for Me" as well as Henry Mancini's "Dreamsville," J.J. Johnson's "Lament," and Stephen Sondheim's "Send in the Clowns." Martino's lyricism was never more personal than it is on this album, which was first released by Muse and was out of print for many years. Thankfully, We'll Be Together Again finally came out on CD when 32 Jazz reissued it in 1998. ~ Alex Henderson, All Music Guide
What The Critics Say
Veteran Pat Martino is teamed up with a variety of different fellow guitarists on this interesting if not quite essential release. Martino matches wits with guitarist Charlie Hunter (who on Stevie Wonder's "Too High" often sounds like an organist), Tuck Andress, Kevin Eubanks, Les Paul ("I'm Confessin'"), Mike Stern and Michael Hedges. In addition, Cassandra Wilson sings Joni Mitchell's "Both Sides Now" accompanied by Martino, and rock guitarist Joe Satriani tries to sit in on two numbers (with indifferent results). A decent effort, but not up to Pat Martino's most significant releases. ~ Scott Yanow, All Music Guide
What The Critics Say
Originally released by Cobblestone and later by Muse, this 1997 CD reissue from 32 Jazz features the distinctive and exploratory guitarist Pat Martino in a tribute to Wes Montgomery. Martino does not attempt to sound like Wes (although he uses octaves here and there), and only one of the six selections ("Road Song") was actually recorded by Montgomery; the tribute is more heartfelt than imitative. With the intuitive assistance of rhythm guitarist Bobby Rose, bassist Richard Davis, and drummer Billy Higgins, Martino stretches out on six selections, including a bluesy original ("The Visit"), "Footprints," and "Alone Together," always sounding like himself and pushing the boundaries of straight-ahead jazz. ~ Scott Yanow, All Music Guide
What The Critics Say
Recorded for Muse only a couple of months after Interchange and a few months before The Maker, the similarities in the recordings are evident. His connection with James Ridl is obvious and continued Martino's penchant for creative relationships with pianists, namely Eddie Green and Gil Goldstein. For this session, Bob Kenmotsu was added on tenor saxophone, and his unison lines with Martino are one of the many highlights here. Once again, Ridl is allowed ample space to explore his thoughtful ideas, especially on the excellent "Villa Hermosa." Martino favors a more-is-more approach here, a welcome change for fans of his earlier recordings. His chops are on full display on "Draw Me Down" and "Night Wings," but his experience prevents his impressive technique from being gratuitous or overbearing. Martino and Ridl couldn't be in better hands than with bassist Marc Johnson and drummer Bill Stewart, who are also supplied with enough space to showcase their remarkable talents. This fine session has been reissued, along with Interchange, as part of the double CD Mission Accomplished, which is the better value and the recommended choice. ~ Robert Taylor, All Music Guide
What The Critics Say
A sigh of relief was breathed by many a fan upon the release of The Maker, because it marked the first time Pat Martino had released recordings in successive years since the late '70s. Here he is once again joined by kindred spirits James Ridl on piano and Marc Johnson on bass, along with the relatively unknown but very capable Joe Bonadio on drums. All members get a chance to shine on "Noshufuru," but it is Ridl who makes the biggest impression on his unaccompanied opening to "You're Welcome to a Prayer." Martino is in a reflective mood on this standout track -- as he also is on "The Changing Tides" and "Yoshiko" -- with strong similarities to his classic We'll Be Together Again recording with Gil Goldstein. The closing track, "This Autumn's Ours," is the session's only weak spot, as neither Martino or Ridl can quite match the excitement being generated by the rhythm section. Still, this is a highly recommended session featuring all original Martino compositions and more proof that the master was indeed back. ~ Robert Taylor, All Music Guide
