Conference napalm::guitar

	Finally someone else in this conference who knows about Pat
	Martino!!!  It seems that all that's written is about the
	metal monsters.	 I have heard about his comeback and "new" album
	for many years and have long since given up checking the bins.
	
	For anyone interested, if you ever see a copy of his album Joyous
	Lake, do not hesitate to buy it.  Far and away my favorite guitar
	album!!!!!  Fred Yabbadabbatelli has heard it...  Fred ??

	Some background...

	Sometime around '77 or so, Pat was struck with an aneurism (sp?)
	on his brain.  Close to death for awhile, his recovery has been
	very slow to say the least.  Back in '83 or so, his drummer on the
	incredible Joyous Lake album ('76), Kenwood Dennard gave a clinic
	in Connecticut.  I sat right in front of his guest guitarist, Pat
	Martino, in one of his first public "performances" since '77.  To
	say he was "bad" is an understatement.  He sounded like a virtual
	beginner.  Regardless, the audience was wildly supportive.

	Most of his albums are in the "jazz standards" vein, but he takes
	them to places they've never been.  Of any guitarist I've ever heard,
	from Joe Pass to Allan Holdsworth, none play over changes like Martino.
	Not only are the tunes technically difficult but there never seems to
	be a hesitation from chord to chord.

	He also looks at music a bit differently.  I think he calls it his
	12 point star theory.  I never could apply it but he basically looks
	at music via diminished 7th chords.

	Diminished 7th chords not only repeat in minor thirds (ie: a 
	Gdim7  Bbdim7  C#dim7   Edim7  contain the same notes)  but if you
	drop any one note of a dim7 chord, you get that flatted notes' 
	dominant 7th chord.

	For example, a Gdim7 is made up of the notes  G  Bb  C#  E  (see above).
	Flat the G and you get an F#7, flat the Bb and you get A7, flat the
	C# and you get a C7, flat the E and you get Eb7.

	Now I know that, by doing this, the 12 frets are divided into 3 equal
	and repeating parts but other than that... Mongo dunno!!
		
	Tom	

    I only discovered recently what happened to Pat Martino.  I have his
    Joyous Lake album  (*very* highly recommended), and just about wore it
    out.  And I always wondered what became of him.  I'm not a guitarist, but 
    even I could hear that he was an unusual talent.  Technically intense (lots 
    o' notes, per the fusion genre), but equally intense emotionally.  If you 
    ever see it, grab it.  It's very aptly named.
    
    Rodney

    
    Yeahhhh!!!! There are Martino fans out there!! I was going to enter
    a note in the JAZZ conference asking the same question as the base
    note, but Mr. D Weber answered it first. I bought "Joyous Lake" years
    ago. 
    Recently (the last month) I've been buying his albums from
    the late sixties. The album "Strings", with Joe Farrel and Cedar
    Walton, is outstanding, and has been an inspiration to me as a guitar
    player. I've been getting back into studying Jazz guitar recently and the
    guitar playing on this record has been my main influence. I also
    purchased "Exit" on CD. More standards (my favorites), originals, and 
    exciting solo work. 
    
    I didn't even realize that he was stricken with a serious illness,
    and hope that he can come back and start recording.
   
    Phil 
    

    
    I had heard that he was investigating MIDI and computers in an attempt
    to get his music going again while he continues to work on his guitar
    playing.

	Pat was my major influences on guitar from 73-?? and I have heard 
him live at least 3 times,the last being with his ensemble of the "Joyous 
Lake era". In "79" I remember hearing that Pat and his wife were taking the 
band off the road due to lack of money/profit from one of the band member's
who I lost contact with years ago. 
	I've heard more recently that he has a new album,but has not allowed 
it to be released as he felt he wasn't happy with it. This was from a not so
reliable source who also seemed to think he was in the NYC area for awhile.
	I still think he is located in the Philadelphia area???

	I'm glad to hear that some of his stuff is on CD(I did read this?)As
my album collection of his recordings will probably be pretty worn and the
tapes I made have disappeared. I particularly liked his "Conscienceness" and
"Live" albums as my favorites.
	I'm also glad too hear that other people in notes have an interest
in someone who kinda has been on sebatical who plays a different style than
typically get's discussed in notes. I guess I'll just keep looking/waiting
for his new release's and update my record's with CD's.
		
							Rick	

    Pat's early work was heavily influenced by Wes Montgomery, as were most
    guitarists in the '60's. He recorded a number of albums as a sideman
    with Don Patterson ("Boppin' And Burnin' "is especially good) and Eric
    Kloss, where Wes's style is quite apparent.
    
    On "East", Pat demonstrates his increasing interest in Indian music,
    which becomes full blown on "Baiyina (The Clear Evidence)" a stunning
    creation that is one of my favorite records, and is now available on CD
    (which I have not yet heard).
    
    Other Martino records I like are "Exit" and "The Visit", the latter a
    homage to Wes. Personally, I prefer Pat prior to "Joyous Lake", which I
    find too synthed.
    
    Pat played a  mid-'60's florentine cutaway Gibson L-5 CES on most of
    his early records. For a while he was playing Koontz guitars--he had
    both florentine and venetian cutaway 17" models, and was probably the
    best know player of these unusual instruments. In the mid-70's, he
    switched to a Gibson L-5S .Pat had been working with Polytone to
    develop a Pat Martino semi-solid. The deal fell through, but Pat
     continued to play the Polytone prototype.
    
    Danny W.
    

    
    Yeah, I just bought Baiyina and there is some beautiful music on
    it. I have to admit though, I don't really like the Tamboura (sp). 
    sound. The constant drone seems to get in the way for me. 
    

    Phil    

    re .6
    
    	Wasn't "The Visit" reissued at some point as "Footprints". And 
    where is a good place to pick up jazz Cd's. 
    	I don't believe I've heard his stuff with Don Patterson,but have
    heard his Eric Kloss recordings and East,Baiyina. "The Visit" was the
    first recording of his I heard.Is it out on CD?...

    
    I shop at the Jazz Record Mart (Chicago), which is one great store.
    They only sell Jazz and some Blues, nothing else!!! There, I've
    seen:
    
    East     Prestige   CD, Album  (11.00,6.00)
    Baiyana  Prestige   CD, Album
    Strings  Prestige   Album (probably avail. on CD)
    Exit     Muse	CD   (15.00)
    
    I don't know if they ship merchandise, but I could find out. 
    
    Phil
    

Pat Martino
----------------------------------------------------------------------------
Strings--Prestige
East-----Prestige
Baiyina--Prestige------------8/68
The Visit-Cobblestone--------3/72(this was reissued on Muse-FootPrints(1975?))
Live------Muse---------------9/72
Consciousness-Muse-----------74/75
Exit----------Muse-----------2/76
We'll Be together Again-Muse-2/76
Starbright---Warner Bros.---- 76
Joyous Lake--Warner Bros.----9/76
-----------------------------------------------------------------------------
Eric Kloss w Pat Martino

Life Force----Prestige--1/68
One Two Free--Prestige--8/72
------------------------------------------------------------------------------
Willis Jackson w Pat Martino

Headed and Gutted--Muse---5/74


	I'm sure more can be added to this list....And I'd be interested in
more also.... He was also had interviews in Guitar Player Magazine 9/73 and
6/77.

    Nice list. A few other titles I remember are "Hombre"( his first as
    leader, I think) and "Desperado".
    
    re: Baiyina--gee, Phil, I always thought the drones were what made it
    Indian ;-).
    
    Seriously, the interplay between Martino's improvisation and the
    foundation provided by the Tabla and Tamboura are what makes this music
    interesting to me. With the drones, it would have turned into just
    another free-form string -banging exercise, the kind of thing John
    Scofield is so fond of playing.
    
    The  other guitar player on Baiyina is Bobby Rose, a fine studio and
    pit guitarist whom I knew in High School. Bobby played in the school
    band; when his real gigs conflicted with band dates, I sometimes subbed
    for him. He was the better player by far, and much more disciplined
    than I was, so the bandleader always hoped Bobby would be free. Usually
    we both had gigs and the band got an even worse player. 
    
    Danny W         
    

    >>With the drones, it would have turned into just
    >>another free-form string -banging exercise.

    Hmm??? So are you saying that this is just another string banging
    exercise?? Or was that a typo?
              
    Well, Danny, I listened to "Baiyina" last night and I guess there isn't as
    much drone as I thought.  There are some wild time signatures on
    these tunes, 9/4 and 10/8 that are really interesting to me. And
    those clear crisp guitar lines....

    I do like this record, really!
    
    I listened to "Exit" (What a great album) this morning before work. 
    It's really interesting that this bop music was recorded at the same 
    time he was doing stuff like "Joyous Lake" (which I didn't care for 
    that much either). Pretty diverse styles of Jazz. 
        
    Now, I'm wondering if some Scofield fans are going to get on your
    case ;-) 

    Phil         

    re: -.1
    
    It's a typo. Of course, I meant "Without the drones..."
    
    I trashed Sco in the Jazz notesfile months ago. No one beat me up about
    it. I have a long list of jazz players I think are overrated, and an
    equally long list of those I think are underrated. In any case, Kenny
    Burrell became the world's best guitarist when Wes died, so I'll have
    to start a note about him someday.
    
    Danny W

    
    Yeah, I just saw Kenny at the Jazz showcase in Chicago about two
    months ago. He was really something else, played some very modern
    guitar. That's the best word I had for his playing that night..
    "modern". Just really, fresh, hip playing.  I beg to differ, of
    course, about Kenny being the world's best guitarist. I think you
    meant Danny's favorite, right ;-) ;-)
    
    Phil
    
    p.s. 

re:-.2
	An observation about Pat was if you listen to most of
his recordings and remove the background it is alway's Pat's Music.
His Joyous Lake album without the back up of Delmar Brown,K Denard
and Mark,sound's like Consciousness. The background's are what
seemed to be changing not the Pat's music. It's amazing that he
fit so well in these transitions as I'm sure Warner Bros. had an
impact on the last change.  
	The other daydream I've had lately is where would he be today 
musically? I was told by a friend who talked to him in the 70's that he 
was interested in writing for a symphony orchestra. 
         
    re.-1
    
    	So Danny why don't we start a "Jazz guitarist note"?????????
    it would be a good place to find out what these players are doing these
    day's.  I personally would value some opinions,on new release's,
    players etc.. maybe even some transcriptions.....good teachers in the
    area..? 
    
							Rick

    re:-.2
    
    Danny's (current) favorite guitarist is Emily Remler.
    
    Kenny Burrell is still the best. I'll explain why when I do a KB
    basenote ;-).
    
    Danny W.

        
    I just bought the Coryell-Remler duet album ("Together") on Concord. 
    It is a really nice album. For Chicago area noters...
    See Kenny Burrel at the Chicago Jazz fesitval Sept. 3 along with Jimmy 
    Smith, Stanley Turentine. 

    But back to the base note.  I listened to Baiyina 3 times over the
    weekend, it IS captivating. I like "Strings" better, but the sound
    quality on that record is not very good. I think "Baiyina" was remastered
    while "Strings" was not. That's the way it sounds anyway.  

    Phil
    
    Re.
    >>Kenny Burrell is still the best. I'll explain why when I do a KB
    >>basenote ;-).

    p.s. (explain it all you want, I still disagree!! =-) ;-)  )

    

    
    
    O.K. The Jazz record store I frequent has one more Pat Martino album
    that I haven't purchased yet (I like 'em all a lot), "East". 
    
    If I'm not mistaken, this is just Pat on guitar??? Who has it? What
    is it like?
    
    Phil

        Never mind, I bought "East" Saturday. It's an excellent record,
    with mostly hard bebop tunes except for the title track which 
    is, of course, eastern flavored. But I also bought something else
    you Martino fans might be interested in. His brand new album is
    out!!!! Muse has just released "The Return", recorded live in 1987
    at Fat Tuesdays in NYC. He was playing there under his real name
    Pat Azzares (sp?). 
    
    I couldn't believe it when I saw it. It's Pat with a bass player
    and drummer, pretty fair sound quality. Pat can play again!! The
    album is not really interesting musically, it's essentially 4 -
    10 minute guitar solos, but it's great to know that he has his 
    technical ability back. After his surgery, he was left with virtually
    no rememberance of his own musical ability and, over a two and a half
    year period, brought his skills back by listening to recordings
    of himself (old albums)!!!! Isn't that amazing???
    
    The liner notes are very informative, although there are no quotes
    by Martino himself. The two pictures of him are really sad, he looks
    barely alive. 

    Phil 

    
    	Any idea where to get "the Return"??  In the Framingham area,
    	I just called Newbury Comics, Rockin' Mania, and Good Vibrations
    	and none have it.  Don't tell me I have to go to Boston!! 
    
    	Anywhere in the infamous Greater Maynard Area?
    
    	Tom
    

    re .21
    
    	Hey Tom you have any luck finding this one? 

    
    Just got my album this afternoon.  Phil Davia gave me the # of the
    place he got his (in Chicago).
    
    	Jazz Record Mart
    	(312) 222-1474
    
    Total was $10.99 ($8.49 + 2.50 shipping)
    
    It's "the Return" on Muse Records.
    
    Thanks again, Phil !!  Looking forward to hearing it!!
    
    Tom
    

    re. -1
    No problem Tom. I'm interested in what you think about the album,
    as I don't know anyone else who has it. 
    
    Phil
    
    

	Got home around 11:30 last night and put on the new album, not
	really expecting much at all.  From the liner notes and also
	remembering him back several years ago, I was almost afraid to
	put it on.  The notes even say that he had no memory of his talents
	and had to relearn by listening to his old recordings.

	Anyway, the album SMOKES !!!!!!!  Nothing like Joyous Lake's fusion.
	This is all bebop and it really swings.  The liner notes call him
	the guitars' Coltrane.  It's true.  He just rips through everything
	like the Pat of old.  Unbelievably, he had rehearsed with the drummer
	but NEVER with the bassist.  Obviously, the guy either knew the tunes
	or had sheet music because, although the changes aren't way, way out
	there, they are far beyond 1-4-5.

	Got up this morning and taped it and listened again on the way to
	work.  I cannot remember the last time I couldn't help but "air guitar"
	(ever so slightly ;^).  

	I truthfully expected to be disappointed, I hoped to be pleasantly
	surprised.  I was crushed!!!!!

	Tom
	

    
    Just heard a cut from "The Return" on the radio and, boy, Martino is
    something else on this one.  Recorded live, so no overdubbing, and it
    sounds like the record is going at 78 instead of 33.  Pretty
    unbelievable chops, particularly considering he head to *relearn*
    everything from scratch.
    
    							Brian  

    
    Not only is it live but UNREHEARSED with the bassist!!!  After
    listening to it for a week now, I feel that he's not quite where
    he was in execution.  I'm not sure I ever heard a misplayed note
    in any of his previous records and on this one, once in awhile he's
    not "perfect".  Yes, I'm being picky but at his level...
    
    I've also recognized a few old riffs but happily, he seems to have
    gone far beyond "relearning" and is breaking new ground.  
    
    Nobody plays like him!!!  
    
    Tom
    

    
    One thing I noticed on the album, was his guitar sound. It sounded
    a little thin to me. The album cover has a picture of him playing,
    but I don't know if the guitar is a Polytone (are these actually
    available??!!) or not.  
    
    Hope he stays well enough to compose several more albums of music.
    How about his chart "Three Base Hit" on "Exit". I shudder when I those
    breaks. 

    Phil

    	There's an article on Pat Martino in the current issue of 
    Guitar Extra! Vol 1 No 4. Along with a transcription of Impressions
    off of his "Consciousness" release. 
    
    							Rick
     

    
    Man, I just picked that up today after my friend told me about
    this issue!! I wonder what Pat is doing these days, his name is
    never mentioned in any of the jazz rags and "The Return" is STILL
    that only album he's released in the last 15 years!
    
    Anyone else hear any recent (within the last year!!) news?
    
    	Phil

	Phil,the last time I heard something on Pat was this year,I
remember reading he was suppose to be doing a workshop in Chicago
and cancelled at the last minute.(Mick Goodrick replaced him) I get
the feeling from the article that this was kind of an interview with
him by the way the guy writes. I suspect we may see Pat playing out
in the near future,however I was shocked at the picture of him for
this article,he really looked unhealthy. 
	I'd be interested in even finding out how he can be reached as
I suspect he is living in NYC or Philadelphia.
	Plus do you have any idea what the guitar is,he is playing in the 
article?  I gather from the description he must make his own string set's
as his first string,etc is a .016,.018,.026,.036,.046,.058. 
	I'd have to say it's one of the best articles I've read on him...
lets hope he'll be out playing soon....
 
							Rick

    Thanks for the reply Rick. Well, if he had planned on a workshop
    in Chicago, then I'm REALLY glad that he cancelled it because 
    I had heard nothing of it, would have missed, and would have been
    very sad!!! 
    
    The picture in the article is from the "Return" album, and I agree
    that he looks like hell. Could the guitar that he is playing be
    the Polytone prototype that he was using for awhile. Also, he's
    back to using Les Pauls (as stated in the article)??? This suprised 
    me. Also, I wonder what kind of music he is getting into these days.
    
    Phil

        
	I just picked up "The Return" last weekend deciding to complete my 
Pat M discography and realized it still isn't complete :^(  When I saw Pat 
in the mid 70's he used his Sam Koontz custom Archtop. However I've seen him
with his Sam Koontz Synthe guitar,L5s. There are pictures of him with a 
L5s,L5ces,and what I thought was a Epi Riviera? 12 string electric even
though the article claims he used a Univox.
	He used an L5S I believe because of the volume his fusion band was
playing at in the late 70's.(less feedback). The L5s is kind of a Les Paul,
except nicer....
	The guitar he is using in the picture is a real mystery even though
it is somewhat Les Paul shaped,it doesn't seem to be a semi-solid which is 
what I understood the Polytone proto was. When I first saw it I thought it
was an Alembic. Back to using "Les Pauls" is probably a financial situation 
considering the inflated market prices on decent archtops. He does indicate
someone or company in the notes on the disk leaflet.
	It also mentions a video of his comeback titled "Open Road",have 
you seen it? 
							Rick

    
    .1....
    
    The video is as much of a mystery as Pat himself. The liner notes
    on the album are the only reference to this video I've heard. What I find
    more strange is that no periodical has done an article on his return.
    He didn't even get a mention in last years Jazztimes guitar issue. 
    
    It's really as if he is in hiding. Man, I wish I would have bought 
    an L-5S back when they were being made. It's one of the only solid body
    guitars I like. 
    
    
    Phil

	Well Santa came to my house this year with a copy of Pat Martino,
"The early years" by Steve Kahn. 
	This book contains a large collection of transcribed jazz solo's and 
    his own tunes from early in Pat's career. Including his work with Don
    Patterson,Willis Jackson and Eric Kloss. 
	The author Steve Khan,was playing with the Brecker Bros. when I 
first heard of him. He describes from his own perspective,the theory be-
hind what Pat plays. His approach to analysing Pat's style and solo really
requires some theory background. He cites examples of Pat's "language"
and "martinoisms". Gets into other things such as rythmns,and modal
chromaticism,dominant 7 vamps with the transcriptions. It includes 
transcriptions for:

Airegin
The Breeze and I
Cisco
Close Your Eyes
Donna Lee
Epistrophy
Just Friends
Lazybird                                    
Little Shannon
Minority
Mom
Nocturno
Nows The Time
Park Avenue Petite
Stairway to the Stars
Strings

	I definately recommend this book to any Pat Martino Fan,but most
people who do not read music(not tab)may find it to be a real challenge
to extract value out of it.

Pat Martino-The early years
Jazz Guitar solos
Transcribed by Steve Khan
CPP/Belwin
P0911GTX


Thanks Santa!

		Rick

	Awhile ago I looked through my Prestige catalog to see what Pat
Martino was available on CD. "Strings" which was Pat's second release
was only available on Cassette or LP. In a trip to Tower Records on Newbury
St,I discovered a copy of "Strings" which was re-mastered for CD in 91.
    	Has anyone seen the Patterson recordings he was on?

    Hey- I'm new to notes, so bear with me if I don't "hang" proper.... Pat
    is one of my all-time favorites.  I have a great article about Pat and
    his surgery, etc... from a
    Philadelphia magaazine I'll send to those that are interested.  As
    another note..... there was a transcription in Guitar player about 12
    years ago of his tune "Impressions" off the Consciousness album.  Does
    anybody have this?  I would trade the transcription of "Along Came
    Betty" from the same album.... thanks and let me know if I', doing this
    right! PS- Iv'e also seen CD re-issues of several of his other albums      (NWD002::Hannam_jo)
    

    
    JO_ - you be hangin' propa for this conference.
    
    Maybe a little too stiff; this ain't no elitist hang out...
    
    The Martino fans will get back to you tomorrow
    

re.-2

>Hey- I'm new to notes, so bear with me if I don't "hang" proper.... Pat
>is one of my all-time favorites.  I have a great article about Pat and
>his surgery, etc... from a
>Philadelphia magaazine I'll send to those that are interested.  As
>another note..... there was a transcription in Guitar player about 12
>years ago of his tune "Impressions" off the Consciousness album.  Does
>anybody have this?  I would trade the transcription of "Along Came
>Betty" from the same album.... thanks and let me know if I', doing this
>right! PS- Iv'e also seen CD re-issues of several of his other albums      

(NWD002::Hannam_jo)
 

*I have the copy of GP your talking about I believe,Pat showed up in two
GP issues one was in 78 when he was doing a fusion thing with Kenwood
Denard(Woody) and is pictured on the front cover with a sunburst L5s
Gibson and one was an earlier issue in a GP which features a pedal steel
player(Pete Drake?) on the front cover. I'll check around to see if I
have these articles. I believe the Impressions solo was in "Guitar Extra"
a few months ago. Also there is a transcription of his solo of Sunny on
his "Live" cd which appeared in an issue of 70's issue of Downbeat that I've 
lost or misplaced this one and would love to have a copy of. There was also 
a live video called "Open Road" which was done around the the time of 
"The Return". Which has been his the last release so far. I'd be real 
interested in the article from the Phillie magazine. Other than the book
which Steve Kahn authored which I've mentioned in earlier replys,I have other
transcriptions.....Send me mail at Ringo::Busenbark.

							Rick

	A friend of mine from the west coast and a Pat Martino fan called me 
recently asking if I could help him find where Pat was living. I suggested he 
try Philadelphia,he mentioned that there are way too many Martino's in the 
phone book. He is a former student and friend of Howard Roberts and is
taking part of a tribute concert to Howard in Seattle on Nov 2nd. They
are are trying to find Pat to try to get him out there for the events. Has 
anyone heard of the whereabouts of Pat? Or does anybody know or heard where or
who Kenwood Denard(Woody)is playing with these days? Any information can be 
sent to me on Kali::Busenbark or Royalt::Busenbark


						thanks....
							Rick

    
    	Any non-personal info... please reply here.  Pat is, by far,
    	my all time favorite guitarist and any info would be very
    	appreciated.
    
    	Thanks,
    	Tom
    

    Has your friend tried contacting Pat's record or publishing companys? 
    Seems like that would be a way they could get in touch.
    
    Greg

    	Pat doesn't really have a record or publishing company due to
    his previous problems/suits etc.... But I may give that a try....
    He also may be locatable by the Philly Musicians Union.
    
    re Tom....
    
    	I'll post any info I get on him....
    
    
							Rick
    

    
    	The new GP has an ad for videos and there are 2 new releases
    	by Pat.  Both are $50 each.  Out comes Mastercard...
    
    	Any news on a new CD?
    
    	Tom
    

    re.  Any news on a new CD?
    
    	Pat's newest release is called Interchange and is on his old label
    Muse. It was recorded March 1st 1994,and has Sherman Ferguson on drums,
    Marc Johnson on Bass and James Ridl on piano. It sounds better than
    his previous release and has 6 tunes all originals except Blue in
    Green.
    	I picked up my copy at Tower Records in NYC,I'm sure it can be
    located at any Tower store.
    
    
    							Rick
    

    
    	Thanks!!!!!!!!!!!!!!!!!
    
    	Rick, has his playing come all the way back yet?  How does
    	it compare to his 60's and 70's releases.  I take it that
    	it's like those as opposed to Joyous Lake.
    
    	Thanks again - Tom
    
    

    Was just at Burlington Tower Sunday afternoon and they have Interchange
    in stock!  Noticed it's on WFNX's Top 10 Jazz for the last couple
    weeks.
    
    /Paul
    

    
    	I picked it up 2 weekends ago at Tower in Boston.  It's
    	displayed prominently out front.
    
    	Believe it or not, the songs are first takes and Pat only
    	played with the pianist before.  They went over the changes
    	with the drummer and bassist, hit play and made the CD.
    
    	At times, you can hear that.  The pianist is often great but
    	also seems to be just missing it at times.  
    
    	Pat's sound is too bassy for my ears.  His earlist albums had a
    	nice tone that was bassy yet you could hear the string in an
    	acoustic way.  Also, he's mixed a tad too soft for me.
    
    	His playing is much improved from The Return but not quite up
    	to where he was prior to his illness.  In particular, one slow
    	tune doesn't seem to make any statement at all.  He just lets
    	it rip.
    
    	All in all, very good but a disappointment.  Maybe it's like with
    	Edd Cote and Steely Dan.  My expectations are so high that it can't
    	be anything but a letdown.
    
    	So, if you like Pat - definitely buy it.  
    
    	Tom
    
    

	This month's Musician mag (November - with REM on the cover) has
	a very big article about Pat.  Actually, the cover says "Guitar
	God Pat Martino"...

	It goes thru growing up, learning, touring in his teens, being
	a child prodigy, his 12 point theory of diminished and augmented
	chords, album comments, of course his brain tumor, and quotes 
	from folks including Bela Fleck and George Benson.

	Benson thought he was hot stuff "feeling pretty good about myself,
	thinking I had conquered New York.  Saw this young kid on stage
	and thought I should get up there and show him how to play.  They
	came to a break and this guitar LEAPED out of nowhere playing some
	of the most incredible lines I had ever heard!  It had everything
	in it, great tone, great articulation, and the whole crowd - and
	it was a black audience - they went crazy.  I said to myself,
	"if this is a sample of what New York is like, I'm getting out
	of here".

	The most incredible part was that Pat was known as singer Rickie
	Tino and Bobby Rittoreli was his drummer - later known as Bobby
	Rydell.  Franki Avalon played trumpet.  They sat in as the band
	behind Ernie Evans, better known later as Chubby Checker.

	Anyway, it's several pages long...

	Also, 2 videos are advertised.  Both are 60 minutes and $24.95
	plus $5 shipping.  "Live at Ethel's Place" - live concert and
	"Open Road" - a documentary.

	Check or money order to Phil Fallo, 305 E 24th St, #5G, NY, NY
	10010, (212) 532-2082

    
    	As part of the Regattabar's 10th anniversary jazz festival
    	that runs now thru June, Pat Martino will be there on
    	March 2-4.  
    
    	Please post any info on tickets!!  Also, how is the Regattabar
    	for shows?  
    
    	Tom
    

    
    The Regatabar is better, but still has a ways to go. 
    
    They got rid of the center bar, but there still are
    some view obstructed seats.  And the "stage" is
    on the same level as the table seating, so good 
    seats are key in order to see.  They give out the
    best seats in the order they are reserved, therefore
    I recommend calling up and reserving as soon as you 
    can.  
    
    The Wednesday shows tend to sell out first, since you
    can stay for both sets for one cover. 
    
    Another plus for me at least is that they have
    gone non-smoking for the whole room.  
    
    There are some high tables that offer good
    views, but I don't know if they'll let you reserve those
    specifically. 
    
    Dave
    

    Also, I've heard that they're thinking of moving
    the stage to the other side of the room, near
    the windows.  This would be great if they raise
    it up a few feet so everyone could see. 
    
    Dave
    

    
    	So, besides the 10 of us... who's going this weekend?
    
    	Really looking forward to finally seeing him again.
    
    	Tom
    

    I'll be there, Thursday night.  Pat is the one guitar player I have to
    try the hardest not to imitate, but this will be the first time I've
    seen him play live...I'm psyched!
    
    Paul

    
    	Hi Paul - great!  Feel free to write about the show... we're going
    	friday nite.  Although I just may have to go tonight too!!
    
    	Enjoy,
    	Tom
    

	Well, I couldn't wait until tonight so I drove in and grabbed
	tickets at the door.  Even though the show was sold out, they 
	held 24 at the door.  The show was 8:30, I got there at 6:30
	and was 2nd in line and by 7:15, I'd say the 25th guy hoping to
	get in was there.  

	I met some Pat fans in line so we sat together.  Prior to the
	show, one of the guys was describing how Pat plays these rolling
	arrpegios that just blow him away - if you've heard Pat, you know
	what he was talking about.  He's a big fan and had seen him at
	least 30 times in the 70's in D.C. and Philadelphia.  Well, 1st 
	or 2nd tune - doesn't Pat just do one of those rolls and it was 
	killer.  But this guy's kinda playing a small air guitar at the 
	time and went back in his seat and crashed to the floor!!!  Down
	he goes!!!  Everyone's cracking up and he gets up, smiles, and
	says "Flashback!".  He was a riot!

	Anyway, for $10, Pat played from 8:45 to 9:50 and then 10:15 to
	11:45 or so.  He was better than I ever imagined.  200 guitarists
	simultaneously shaking their heads in disbelief is quite a sight
	to behold.  Btw, some people left after the 1st set so I snaked
	right up front next to Gerrison Fewell (is that his name, Rick?).
	He was obviously blown away the whole time.  

	One thing that surprised me was Pat's comping which doesn't come
	thru much on records.  He's all over the neck changing chords
	at breakneck speeds and I didn't recognize too many of 'em.

	Pianist James Riddle was terrific all night, Marc Johnson on bass
	was too fractured / unmelodic for my tastes (during his breaks),
	and Joe Bonadio was excellent although his snare was too loud.
	The sound towards the back was better since it was mixed thru
	the PA and sitting in front gets you the musicians mix.

	During the 2nd set I mentioned to one guy that I was coming back
	again tonight for the 1st show and he said "me too!  and the 2nd
	show!  and both shows Saturday night!!".  

	Paul, was it as good for you as it was for me ??  ;^)

	Tom

Whew, he's back alright!  I mostly had my eyes glued to his right hand to see
what I could learn.  I noticed two main things:

1)  Surprisingly (to me, anyway), he doesn't seem to use his elbow hinge
    to control which string his wrist's motion is over much at all; his wrist
    is in charge of which string he's plucking along with getting the pick back
    and forth.  I've always thought of this as a job the wrist didn't have time
    for.  Time for a rethink...

2)  It was really striking to me how *totally* the energy of his wrist motion
    is directed out to the pick; from my vantage point, his forearm seemed to
    be entirely unaffected by the fact that this motion was going on.  It almost
    seemed like his forearm was rigid, although I doubt he could function on
    that level if it were.

Paul

    This is all good to hear as this will be my fourth time seeing Pat,and
    you never know how many times more you will get the oppurtunity. I look
    forward to seeing him tonight....
    
    
    							Rick
    

    Well, I had a great time at the show Friday night.  I told the people
    at our table I was probably going to be up until 3:00 or so that night
    shedding in the basement and I was; seeing a performance like that just
    energizes me.
    
    From where I sat, Pat's chops seemed to be all there.  Actually, in a
    interview once he claimed he pretty much had all his chops by age
    12(!).  He seems to have gotten everything back after the operation.
    For me, listening to Pat's music is a very physical experience.  Those
    barrages of notes just keep coming at you, relentlessly.  By the end of
    the night, you feel like you've gone 10 rounds in the ring and the body
    shots have taken their toll.
    
    I will agree with a previous comment re one of his recent recordings;
    Pat's tone was a little too dark, and I thought he was undermixed.
    Also, although the chops are there, for me Pat's lines didn't quite
    reach the level of genius and incredible logical beauty of his best work,
    like on "Consciousness" or the live set.  Not to complain or anything
    of course; it was still amazing.  Pat seems to be putting more emphasis
    on composing these days, and the two new pieces I recall ("Interchange"
    and something off the new CD) were very interesting.
    
    Tom, how did the band interaction compare with what you saw Thursday?
    For me, they were perfect; everyone seemed tuned in to each other,
    nothing out of place.  The drummer had some particularly fine moments,
    and I sensed a strong connection between he and Pat.
    
    /rick
    

There's an interesting interview with Pat Martino in the current 
issue of Mix magazine that you might want to check out.

-Hal

    Saw this quote in an old GP interview, thought it was interesting.
    I'm no expert on technique, but my general impression watching Pat
    was that his fingering and picking seemed far from textbook.  Yet he
    can rip pretty much anything he wants or needs to, and it all
    looks so relaxed and effortless.  Here's Pat on technique:
    
    "The music has generated all the techniques I use.  When I sit down to
    learn to play something, and this has always been the case, it is not
    because I want to master a technique.  It is because I want to hear
    what an idea sounds like when played cleanly.  In other words, I want
    to realize the creative impulse in reality".
    

    re .-1
    
    if Yngwie Malmsteen had said that, it would have sounded pretentious
    
    :-)

>    if Yngwie Malmsteen had said that, it would have sounded pretentious
    
    Yeah, but if Yngwie had said that, it wouldn't have been true.
    
    	db

    
    	Rick - I thought Thursday's 2 sets were better than Friday's.
    	The band seemed much more in sync, esp. the pianist.  He didn't
    	play behind the beat thurs. (like he does on Interchange) - he
    	kept up with the band.  Pat was tighter Thursday night too but
    	there were a few times where he played some wild sections so
    	it seemed he took more chances Friday.  I agree 110% with what
    	you said about his the logic of his solos.
    
    	As we were walking out, my brother grabbed me and said "there's
    	Pat talking to folks in the corner!"  My brother had just spoken
    	with him for a few minutes.  So I went over and shook his hand
    	and thanked him for creating his music and told him how much
    	pleasure I've gotten from it.  I also told him that 10 of us from
    	Digital came out and about the network and this note about him.
    	He was very, very impressed and kept saying "that's really great!
    	thank you so much!".  
    
    	Btw, I was very surprised to see that he's 5'3" at the most.
    
    	I'm not sure if anyone's mentioned this but his new CD will be
    	out in April.  I believe it's called "The Maker".  
    
    	Tom
    	
    
    	

    	>I'm not sure if anyone's mentioned this but his new CD will be
    	>out in April.  I believe it's called "The Maker".

Do you know what label it will be on?

Paul

    Pat's new CD "The Maker" I've read in two places... that it will
    be on the "Evidence" label.  1st set Friday nite, after Martino & band
    played 4 tunes, he made his first announcement.  At that time he said
    they just played a series of compositions from the recording they made in
    September or November of 1994 (can't remember which) on a Japanese
    label... which I didn't hear what he said, but it didn't sound like
    "Evidence".  Is Evidence a Japanese label or does it maybe have an a
    sister label as such ?  Anyway, I thought those 1st 4 tunes were 
    awesome!  Hope that's what is coming out on the April release!  Some
    thoughtful stuff!
    
    p.s. The Boston Phoenix (3/9/95) reviewed Martino's 1st set on Friday
    night.
    
    Wunder if I could take out a mortgage to purchase some of his
    brilliance and facility ? 
    
    /Paul
    

    Yeah, the Phoenix review of Friday night's first set was quite
    favorable; perhaps more favorable than I would have given it.
    Their biggest complaint was that the drummer was too loud.
    
    I also talked with someone who went to every set every night (front
    table too).  In his view, each set got better; i.e., 2nd set Thurs was
    better than 1st, 1st set Fri was better than 2nd Thurs, etc.  Last set
    on Sat was the best of the run, according to him.
    
    /rick

    
    	What did they say about Pat?  Feel free to xerox that baby
    	over to me, Rick... ;^)  I looked for it but I was too late.
    	
    	I knew I should have gone Sat. nite too!
    
    	Tom
    

    >Their biggest complaint was that the drummer was too loud.
    
    You know, I think I've had that complaint about every drummer I've
    ever heard at Regattabar, even people who struck me as having admirable
    control and restraint in the dynamics department when I heard them play
    elsewhere.
    
    Paul

    Sorry to be so late in answering.  The Phoenix review was very
    complementary re Pat's first set on Friday night.  Here's a sample:
    
    "Martino shaped his lines with meticulous precision, accenting notes
    to vary the flow and crafting phrases that bristled with wide harmonic
    leaps without ever breaking the progress of the line".
    
    Later, re Pat's tone they say: "His biting attack, wrapped in dark warm
    tone, has the soul satisfying bite of a smoky barbecue on a soft plump
    roll".
    
    Mmmmm, is it lunchtime yet???
    

    
    	This month's GP has an excerpt from his '73 cover story where
    	Pat talks about the 12-point star, diminished chords, and how
    	key signatures mean nothing to his way of thinking about music.
    
    	Does anyone else on this planet understand what he's saying?
    
    	Tom
    

    you need to take more acid, Tom

    
    	So that's the ticket, eh?  Now I know how I could sit thru
    	3 shows and not recognize one chord...
    

    if it were five pointed, it'd probably be 
    about Satan.  Which would explain alot about how
    Pat got such amazing chops.  
    
    Dave
    

    I thought you could only sell your soul for rock'n'roll.

re:  .71

I might be able to shed some light on some of this.  I recently got the first
Volume of "Creative Force", Pat's Book/Tape/Video set (I didn't get the video
version, though).  In the book, he talks about how diminished chords can
be seen as "parent" forms that produce "offspring" of other types.  For example,
if you take any single diminished 7th chord, you can derive four different 
dominant 7th chords by lowering each note a half step like so:

  c d# f# a -> b d# f# a   (b7)
            -> c d  f# a   (d7)
            -> c d# f  a   (f7)
            -> c d# f# g#  (g#7)

So, you can play all 12 7th chords within any 3-fret span of the neck.  He
also talks about these 7th chords repeating automatically up the neck just like
the diminished 7th chords do, but I must be missing something there; they just
don't seem as automatic to me.  Then, the diminished chords can be permuted 
into other kinds of chords besides dominant 7ths, and all the same stuff 
applies.  If the chords are there, the scales are, too; I think a large part of
Pat's point with this is that you can use diminished chords to "see" whatever
you need anywhere on the neck at any time.

The book is decorated with several different geometric diagrams that show
symmetrical note relationships.  Unfortunately, the book doesn't delve into how 
Pat uses these.  Something that really comes out in Pat's narrative on the
tape is the extent to which he arrived at his style intuitively and only later
tried to find appropriate language to analyze/communicate it.  Sometimes it
seems like a bit of a struggle.

As far as the meaninglessness of key signatures, I look at music that way, too.
Jazz is such a chromatic music at this point, what purpose do key signatures
serve?  Take a tune as old as "All The Things You Are".  Maybe there's some 
philosophical case for writing it in four flats because it spends more time in 
Ab than anywhere else; but it spends so much time in Eb and G that it seems 
like a potentially misleading statement to me to say that it's "in Ab".  On
another level (and I suspect this is more what Pat was talking about), one can
look at equal temperment itself as a useable 12-note scale or "key", and at 
that point, key signatures are obviously useless.  It's pretty easy for playing 
over a 7th chord vamp to develop into this point of view.  Another way to 
verbalize it might be, "7-note scales have so little influence on what I will
or won't play that there's no point in trying to use a concept derived from
them (key signatures) to analyze what I'm doing".

John Blake (the jazz violinist) is a friend of mine, and he knows Pat from
way back (fellow Philadelphians).  I asked John once what Pat was like, and
he just said, "Man, Pat will go to the cosmos on you in a *minute*".

Paul

    The documentary on Pat, "Open Road", has a couple of places that give
    some insight into how Pat thinks about this stuff.  At one point he
    mentions about how he developed these ideas (re use of the diminished
    chords, etc.) and thought about and worked with them for years, until
    eventually they formed a "coherent view of the entire neck" in his mind.
    So the seeds are all there layed out for you, but the missing
    ingredient is the time and work to internalize them.
    
    Pat also likes to do things like relate the guitar, and his particular
    view of it, to a larger world-view; the guitar is 'ruled' by 12 and by
    'multiplication' (3x4, 4x3), and he sees connections to many other
    things; the 12 months, the 4 seasons, etc.  In fact, it seems that part
    of what got him back after his operation was that he kept noticing
    the number 12 popping up ("I go to the store, and buy a dozen eggs")
    and this led him back into the guitar.
    
    I guess this is the point to insert the obligatory wise-crack about
    too much drug use or something, but this time I think I'll let it pass.
    I have a lot of respect for Pat as a person (what I know of him) and as
    an innovator.  It's enjoyable and stimulating to try and view things
    through his lenses.
    
    /rick

    Does "Open Road" give much insight into what Pat's recovery process was
    like?  I've wondered if what he does now is totally a result of
    re-learning, or if his memory started coming back at some point.
    
    In more general terms, did his original sense of self ever come back,
    or is he basically on his second life in the same body?
    
    Paul

    "Open Road" tries to cover the man's entire history, including current
    activities, in the space of an hour; that it does so as well as it does
    is a tribute, but it doesn't give a really good answer to questions
    like that.
    
    From what I could tell, there was at least some re-connecting with his
    former abilities.  There's a particular incident related by one of his
    close friends and disciples, where the friend played a specific exercise
    for Pat in hopes of jogging his memory; there was a spark of recognition,
    and suddenly Pat was off to his computer like a man possessed, spewing
    forth writings and ideas for weeks.  It seems his recovery was a series
    of similar spurts of recognition, triggered by different things,
    combined with some very intentional studying from his own writings,
    recordings, etc.
    
    One part of the video that struck me was how Pat viewed the guitar
    in the early days after his operation.  He had no memory of ever
    playing it, yet all this information about what he had done with
    it previously.  For a long time, he wouldn't touch the guitar; he used
    to just look at it, perhaps afraid to pick it up.
    
    This is a good video btw; recommended.
    

    I guess in more general answer to the question, beyond just guitar,
    it seems there was also some reconnection with his former self; but
    it came slowly, and doesn't appear to have been complete.  For
    instance, he recognized his father almost right away after the
    operation but I don't think he ever got the memory of his mother
    back.
    

    
    	"The Maker" is out.  My brother just called to let me know that
    	he picked it up at Lechemere's in Springfield (only one copy).
    
    	According to Len, it's the same band we saw at the Regattabar, 
    	5 tunes, 3 of which are	slow ballad / bluesy.  His tone is less 
    	muddy than on "Interchange".  He says it's great.
    
    	Also, the drummer isn't as loud... ;^)
    

    
    	This is a fantastic ensemble CD.  Heard it my car for the first
    	time and was disappointed that Pat is, once again, too far
    	back in the mix.
    
    	After 3 listens thru headphones, I'm really pleased with this
    	release.  "Interchange" had very little interplay since it was
    	barely rehearsed.  In contrast, this is filled with interplay.
    	They're all listening and reacting to each other and building
    	and softening throughout.
    
    	James Ridl on piano is great on piano and Joe Bonadio really
    	plays with him.  Marc Johnson is great too (actually, Rick C.
    	needs to let me know since I'm usually listening to Pat or
    	James...)
    
    	It's definitely a headphones CD - Tom
    
    
    
    	
    	

    I picked up The Maker this weekend at Lechmere's. Very dense,
    abstract, beautiful stuff. Like Tom D. said, a great headphone
    CD. Pat plays in his usual otherworldly way. Highly recommended.
    
    - Dave

    Interview alert, latest issue of GP (Jimi on the cover).  Pat's his usual
    inscrutable self, but still fascinating reading.  A short article like
    this can't really get into any depth unfortunately; I'd like to see a
    longer interview that really gets into it someday.
    

    	A reliable source mentioned to me that Pat Martino was in the 
    Boston area for a photo shoot at Parker Guitars. It seems he is 
    endorsing one of them. He evidently has one of there instruments,
    plus his home page indicates he will be at Namm for Ken Parker
    Guitars. Does anyone know anything about this new release coming
    out in January from Muse that is listed?
    

    I also heard about this.  Pat has his Parker strung up with .016's
    (of course :-).  Although these guitars seem incredibly lightweight
    and delicate, they can apparently take heavy string tension with no
    problem.  I wanna hear Pat on a Fly!
    

    
    	I'd love to hear him on a Fly too.  His tone has been so dark
    	since he came back.  The more acoustic sounds from his old
    	guitars sounded much better to my ears.
    
    	.016's are unreal.  The guy can't be more the 5'3" and 120 lbs.
    
    	Tom
    

    
    	The new CD Nightwings has a release date of Feb 20th.
    
    	Muse #5552.
    
    	Who's going to the Regattabar?
    
    

    I'm there for the Thursday night show.  
    
    Dave
    

    Which nights is Pat at Regattabar?
    
    Paul

    As I recall, April 18-20.  I don't think he's
    doing the Wednesday.  It's two shows Fri./Sat., 
    one show Thursday.  
    
    Dave
    

    
    	I'm also going on Thursday.  Last year I went both thursday and
    	friday.  Like Dave said, it's one show on Thursday and 2 on
    	the weekend nights.  You get 2 shows for less than the price
    	of one if you go Thursday.  It's 8:30 to 11:30 with one break,
    	if it's the same as last year.
    
    	Tom
    

    I'll be there Thursday, too.
    
    Paul

    
    	According to cdnow, Nightwing is out Feb 27.
    

    A bit of info on Nightwing; it was actually recorded well before "The
    Maker" but was held up due to legal disputes.

    /rick

    
    	Shoot!  I was hoping for a different guitar sound.  That's my
    	biggest disappointment since his return.
    
    	Tom
    

    >Shoot!  I was hoping for a different guitar sound.  That's my
    >biggest disappointment since his return.
    
    Mine, too...both quality and quantity.  I don't understand why somebody
    involved in the process doesn't speak up and tell Pat that people buy
    his recordings because they want to *hear* him.
    
    Paul

    
    	Hi Paul - agree 110%!!  Let's tell him in person!  He comes
    	out for autographs and to talk so we'll get our chance.
    
    	Tom
    

    I think you'll find the guitar sound on Nightwings better than both
    Interchange and the Maker, but not dramatically so.  It's certainly
    not a return to the classic tone of the 70's.
    
    And don't ask me how I know :-)
    

    
    	How do you know?
    

    The latest issue of 20th Century Guitar (Nancy Wilson on the cover) has
    a full page ad for Parker Guitars with Pat and his Parker Fly.  Looks
    like the shot was taken at the factory.
    
    I also heard that Pat's guitar never made it to the NAMM show where he was
    supposed to be demoing it at their booth; the shipping company lost it!
    
    /rick
    

    
    Picked up a copy of Pat's "El Hombre" over the weekend.  This one
    I really like, better than "East" and "Strings", the 
    other two I've heard.  And he was 22 when he made it!  
    One of the tunes has a kind of 60s "latin" feel, which 
    makes it sound a little dated, but the guitar playing is
    really great!
    
    Dave 
    

    The tune "Cisco" as recorded on El Hombre is also
    recorded under the name "Geri's Blues" on the Larry
    Coryell/Emily Remler disc "Together".  
    
    Dave
    

    re .-1
    
    That's strange. I'll have to getthat CD. Cisco is one of my
    favorite runes

    I guess this is as good a place as any to post.
    
    Garrison Fewell is bringing a trio to Coffee Tea and Melody
    in Stow MA (rt 117, next to Country Star Market) this Saturday night
    at 8:00.  Don't miss this chance to see a world class jazz guitarist
    in one of the nicest, cosiest rooms around (and for low $$$ too).
    I'll be there for sure.
    
    /rick
    

    
    	Can't wait for Thursday night.  Let's see, since he pretty much
    	relearned guitar to close to his level in 12 years, he should be 
    	another	year better, right?
    
    	Wonder if it's the same band as last year?
    
    	Tom
    

    > Can't wait for Thursday night.
    
    Really...when I saw Pat the first time last year, I suddenly
    understood what was at the root of a technical problem that had
    plagued me since day one.  I'm hoping Thursday will be a good
    lesson, too (along with good listening, of course).
    
    > Wonder if it's the same band as last year?
    
    There isn't much hope of this, probably, but I wish he'd just
    play with bass and drums.  No matter who Pat has on piano, I
    always seem to find myself impatiently waiting for the
    piano solos to be over.
    
    Paul

    
    	Paul - say more about that technical problem.
    
    	Tom
    

Hmmm...ok, I'll have to try to keep this reasonably brief.  The problem, in
general terms, was that my picking motion would go totally haywire above a
certain speed when I tried to play particular kinds of things.  The motion
would become way too large, and I would also have the sensation of losing all
freedom of movement at the wrist - as if any picking motion at all became
a strain.

What this looked like was out-of-control jumping around at the wrist; what made
it really insidious was that I could never quite pin down what was going wrong.

The thing that jumped out at me when I saw Pat was that it looked like every
bit of motion from his wrist was radiating outward to the pick - none was being 
wasted by flowing back into his forearm (in other words, his forearm looked 
like a very stable anchor point; the wrist wasn't dragging the forearm up and 
down with it).  That's when I suddenly realized that motion going back into my 
forearm was exactly what my "out-of-control jumping around" was.  

It still has taken a while to figure out *why* this was happening and correct
it (I've got it figured out; changing my habits is still in progress).  I use a
technique based on the wrist going straight up and down, and the elbow hinging 
to put that motion over the right string.  But I wasn't being careful enough to 
really track my string crossings from the elbow all the time.  Where this 
really caused a problem was when I had to move from a downstroke on one string 
to an upstroke on a lower (in pitch) string.  The wrist can't hinge up nearly 
as far as it can down, and when I tried to make it do the elbow's job in an 
upward direction, it created that feeling of strain and the tendency to 
generally go out of control.  So it's a bit like patting your head and rubbing 
your stomach at the same time to get the elbow and the wrist to each do their 
job without interfering with the other.  But when it works, it's a fantastic 
feeling; crossing strings at high speed begins to feel no different from
drilling repeated notes on one string.  

One thing I've found really helpful is to cultivate the feeling that an upstroke
on a lower string is actually being struck by the tracking motion of the elbow.
That seems to help keep "down-recover" (which is what I want a downstroke-
upstroke pair to feel like) from turning into "down-recover-up-recover" (which
tends to go out of control at high speed because there isn't time for it), and 
to generally discourage unnecessary motion in ways that I can't really 
verbalize yet.  

Paul

    Where is the Regattabar and does anybody know availability of tickets
    of tickets?
    
    Thx,
    
    Jonathan

    
    	Jonathan - it's in Cambridge in the Charles Hotel.  Call
    	Concertix at 617.876.7777 for ticket info.
    
    	Pat is there thu-fri-sat this week.
    
    	Btw, he will be joined by James Riddle on piano, Steve
    	Beskrone on bass, and Scott Robinson on drums.
    
    	I believe that, other than Riddle, the others aren't from
    	last years' show.  True, guys?
    
    	Tom
    

    
    	Paul - good note.  It's funny, I think about technique all the
    	time for golf.  But virtually never with guitar.  Your note
    	gives me something to think about!
    
    	Tom
    

    Re: Thursday night show at Regattabar. 
    
    Not too impressed over all, and I left after 
    the first set.  On the plus side I'd have to 
    say that Pat can blaze on bebop 8th and 16th 
    note lines.  Unfortunately, these were virtually
    inaudible because of his tone and the band 
    balance.  It sounds like he's using 13's, flats, 
    on a solid body (Parker Fly, Ken Parker in audience btw), 
    with the tone control rolled way back.  Chords sounded 
    like two somewhat resonant blocks of wood being struck
    together.  I was lucky I was right in front so I could
    see his fingers, which was pretty helpful in determining
    what he was playing.  Not a very impressive showing for
    the guitar either.    
    
    The bass and drummer were in over their heads, IMHO, lacking
    the jazz vocabulary needed to bring variety to a straight
    ahead gig.  But, maybe Pat is going for a more commercial 
    thing, since there were a couple "rock" feel tunes.  My suspicion
    is that they're not getting as much money 
    as Pat and James Riddle (piano). 
    
    Dave
      

    Dave,
    
    What you said.  I think I'm about done with Regattabar; I don't think
    I've ever heard worse sound in a club.  I said something to one of the
    Regattabar people on my way out, though, and they said that Pat
    insisted on using his own sound man.  I wonder if this same guy has
    been involved in Pat's recent recordings?
    
    I didn't think Pat was playing all that well (by his own standards),
    at least while I was standing in the back or the room.  From the seat
    I paid for, I literally couldn't hear anything but the drums and some
    low-frequency rumbling which I suppose must have been the bass.
    
    From where I was sitting, I caught Pat casting quite a few less
    than comfortable looking glances over his shoulder in the direction of
    the drummer and bass player; I agree with your assesment of them, too.
    What *was* that bogus rock and roll concept about, anyway?  Does Pat
    think that's going to get him on the top-40 or something?
    
    Paul
    
    p.s. On the bright side, I went to hear John Hart at Coffee, Tea and
         Melody on Saturday night, and that made up for Thursday...John
         was just unbelievable (and the sound was clear as a bell).

    
    	I was sitting right next to the sound person.  He almost never
    	touched the board.  Ridl would take a solo and you couldn't
    	hear a friggin' thing.  The guy just sat there biting his
    	fingernails.
    
    	The drummer sucked, period.
    
    	However... the 2nd set was a thousand times better.  I moved
    	to the table in front of where Dave Dagg sat and it was far
    	better.  Went with Rockin' Ron Ross and we both agreed that
    	set 1 sucked and set 2 was great.  
    
    	Tom
    

    Did Pat change his sound for the second set?

    
    	Dave - I don't know if he touched his sound.  All I know is
    	that it was crystal clear from the seat in front of you -
    	at least compared to what I heard during the 1st set!!
    
    

    Maybe last Thursday wasn't a total waste...I did notice one more tidbit
    of technical info about Pat.  From my seat, I had a great view straight
    down his guitar neck from the headpiece end.  Now I know why no up and
    down wrist motion gets lost in his forearm:  because there isn't any,
    at least not much.  Instead of pivotting his wrist up and down, Pat
    actually swivels it around a line passing through his forearm, wrist
    and hand.
    
    I tried this out, and it *is* a wicked efficient way to get the pick
    back and forth; it's a very small motion, yet it can easily have all
    the muscle-power of the forearm driving it.  I also found that it was
    *very* difficult to get my wrist not to pivot the way it always has,
    so it ended up feeling kind of stiff.  I haven't decided yet if I'm
    going to explore this further or not.
    
    I wonder if Pat always picked this way, of if this is just a post-
    amnesia approach?
    
    Paul

    Is this what they mean by circular picking?  Do 
    you mean that he hits the string on the way down
    at a different point from his up strokes? 
    
    Dave
    

    >Is this what they mean by circular picking?  Do
    >you mean that he hits the string on the way down
    >at a different point from his up strokes?
    
    I knew this was going to be hard to describe!  No, what I've heard
    described as "circular picking" has to do with making the point of
    the pick move around in a circle by bending the knuckles closest to
    the tips of the thumb and the index finger.  I saw an interview with
    Roy Buchanan once in which he claimed very authoritatively that John
    McLaughlin does this.  In a later interview, John said something like,
    "I've even seen it in print that I use circular picking.  Well, I
    don't; I move the pick straight up and down".
    
    I'll take another stab at describing what I saw Pat doing.  Hold your
    arm out as if you were about to pick a note.  Now, instead of pivoting
    your wrist up and down, swivel it so that the ball of your thumb comes
    slightly closer to the strings (that's a downstroke) then returns to
    the orignal position (that's an upstroke).  The origin of the motion is
    somewhere between your elbow and your wrist.  The arc being described
    by the tip of the pick is always perpendicular to the string, so if
    anything, where the string is being hit is probably closer to exactly the
    same for upstrokes and downstrokes with this method than with others.
    
    Note that this approach is completely unworkable if you don't carefully
    track which string you want to play with your elbow.  Given that I've
    really been 'shedding on exactly that point lately, I think this might
    be useful if only because it forces the issue.
    
    Paul

	I talked to a friend of mine last week about Pat's Parker Fly,evidently
Ken Parker spent some time with Pat at his motel to convince him to use the 
Fly while he was playing at the Regatta bar. Evidently Pat had played it 
mostly acoustical before that and was kind of shocked when he plugged it into 
an amp. Unfortunately I couldn't make it to any of the shows that week due to
other commitments,but next time I'll make it. My biggest complaint the last
time I saw him at the RB was the room acoustics. It's to bad too,as it really
detracts from the music. I found last time it was a matter of concentration
in order to hear the whole sound,which makes it less enjoyable for me.
	

							Rick

    
    According to patmartino.com , his new CD coming this summer has guests
    including Les Paul, Mike Stern, Tuck Andress, Joe Satriani, Michael
    Hedges, Charlie Hunter, and Kevin Eubanks.
    
    Yikes!
    
    

    I think BB King is in there somewhere as well
    

    and also Bob Dylan

re-1 (Dylan too) 


		well, there goes that idea...

8^)

/u-no-who..

    >According to patmartino.com , his new CD coming this summer has guests
    >including Les Paul, Mike Stern, Tuck Andress, Joe Satriani, Michael
    >Hedges, Charlie Hunter, and Kevin Eubanks.
    
    It seems enigmatic to me when a player I like likes players I don't like.
    
    Paul

    I least he didn't invite Steve Vai.

    Yeah, and thank goodness he didn't invite...(no! no! no! no! no!).
    
    ;^}
    
    Paul