It's been nearly twenty years since Pat Martino's comeback from a near-fatal brain aneurysm. In that time he's re-established himself as one of the jazz world's premier guitarists, a technically advanced post bop player who combines forward-thinking musical ideas with native Philly grit; think Pat Metheny with more soul. Think Tank, as the name suggests, finds Martino at his most cerebral, which has its pros and cons. The title track, for example, is a blues of sorts built on an equation based on the letters of John Coltrane's name, which may sound like an exercise for a composition class, but manages to hold together pretty well organically. Coltrane, a Philadelphia mentor of Martino's, is a recurring reference on the album, both indirectly in Martino's intensely spiritual and intellectual approach to the music, and directly on the funk-based original "Phineas Trane as well as on an extended romp through Coltrane's "Africa.
Anyone who likes the B-3 Hammond organ soul-jazz style and doesn't mind a bit of pop-lounge spice occasionally stirred into the sauce should check out this compilation. It combines Pitts' first two LPs, Introducing the Fabulous Trudy Pitts and These Blues of Mine (both from 1967) on one CD. Introducing is a strong debut, divided between covers of pretty mainstream standards ("The Spanish Flea," "It Was a Very Good Year," "Matchmaker, Matchmaker") and gutsier straight soul-jazz, including four originals by Bill Carney, whose "Organology" is a highlight for its nervous, bopping edge. The languorous swells of the opening number "Steppin' in Minor" make you think you're in for a set of swank lounge-jazz, but the pace quickly picks up, and Pitts really catches fire on "Take Five," jamming a lot of notes into her improvisation without sounding self-indulgent…
Pat Martino on the way up. Mostly quartet recordings for the brilliant guitarist. "Willow," a dark, understated gem. Contains seven tracks, three by Martino, three standards, and Joni Mitchell's "Both Sides Now." Guitar students should study this one.
Although early in the year Martino had fiddled around with many styles, and that nothing truly relevant come out of those experiments, he eventually found a path that suited him fine late that summer of 1976;Fusion was hardly a novelty but all over the world many were the enthusiastic musicians and audiences passionately driven by the possibilities it opened up and by how an excellent mirror for outstanding playing, a renewal of songwriting instincts and rules and chops display it was; this latter issue led to many abuses and unashamed revelations of mere self-indulgent overplaying but the exceptions that justified its existence were enough to keep the genre alive; this album is one of those.
Our shy Italo-American enlisted the help of a trio of Funk oriented and astoundingly reliable in spite of their youth Afro-Americans (Delmar Brown keyboards, Mark Leonard electric bass and Kenwood Dennard drums and percussion)…
Only a select few had a copy of this recording. Now you can have what without a doubt is some of the most awe inspiring guitar playing ever recorded. The facility demonstrated by MARTINO is simply un-matched by anyone. The first time you hear the descending octave displacement riff at tempo and authority your heart will explode. At least mine did as it has for last 25 years listening to the greatest guitarist who has ever lived PAT MARTINO!
Pat Martino excited the jazz community with his exciting reentry into the scene in 1987 with his live recording, The Return. He surprised more than a few by demonstrating such impressive taste and technique, almost as if he had never lost the ability to play the guitar due to a severe brain aneurysm. Perhaps almost as surprising was his disappearance once again from the public eye (due to his parents' illnesses), until he reemerged with this recording in 1994. Here, Martino is teamed with pianist James Ridl, whom he happened upon in a Philadelphia club. Martino was so impressed and inspired that he invited the pianist to form a musical partnership.