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Recorded late last year at a highly regarded Oakland, California nightclub, Pat Martino's trio session smokes from start to finish. Yoshi's features an impressive lineup all year round. The audience reaction on this, Martino's twentieth album, is merely an outward expression of what we feel as we listen. Guitarist, organist and drummer romp through straight-ahead classics deliberately, setting aside plenty of time for stretching out. Over ten minutes in several cases, the pieces offered provide fine examples of solo mastery on their respective instruments. A transcription of Martino's solo on "Oleo" is available from his web site . The guitarist, who will turn 57 later this month, was forced to relearn his instrument after suffering a brain aneurysm in 1980. He returned to the stage in 1984. Martino's guitar wizardry has returned full bore, even though itwasa difficult hill to climb.
"El Hombre" was the title track from his first public recording on Prestige Records in 1967. Martino's tune selection reveals a fondness for "old friends." These songs are tried and true. While the trio's instrumentation invites a comparison to the years Martino worked with Groove Holmes, Jimmy Smith, Jack McDuff and Don Patterson, this session proves fresh and contemporary. As with most live recordings, the artists are inspired. Martino's "Recollection" and "Catch" drive forcefully with a hot hand, while "Welcome to a Prayer" slows down with powerful emotion. Life has its ups and downs. It sure is great to hear that survivor Pat Martino has it all together.
Track Listing: Oleo; All Blues; Mac Tough; Welcome to a Prayer; El Hombre; Recollection; Blue In Green; Catch.
Personnel: Pat Martino- guitar; Joey DeFrancesco- Hammond B-3 organ; Billy Hart- drums.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...