Rusell Martino

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…

Spacey electric work from guitarist Pat Martino - a record that seems to be as concerned with sound overall as it is with the jazz stylings of Martino's guitar - and we mean that in a good way! The older modes of Martino's 60s soul jazz work are very far gone by now - but in their place is a new sense of space and tone, one that makes him a completely different player altogether! A few cuts get hard and funky - pairing Martino with the fierce keyboard work of Gil Goldstein - while others are mellower and atmospheric, with lots of moody sounds floating along.

For this intriguing club date, guitarist Pat Martino (who by the early 1970s had his own distinctive sound) really stretches out on two of his originals (including "Special Door," which clocks in at 17:43) and the pop song "Sunny." With keyboardist Ron Thomas, electric bassist Tyrone Brown and drummer Sherman Ferguson offering alert and forceful support, Martino performs music that falls between advanced hard bop, fusion and the avant-garde without really fitting into any of the genres.

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.

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.