Live At Yoshi's
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Live At Yoshi's by Pat Martino
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That Pat Martino's new Live at Yoshi's is a stunning display of jazz-guitar prowess should come as no surprise to anyone familiar with the six-string legend. That the disc is one of those lucky live albums that captures a night when everything seemed to be falling into place for Martino and his trio of organist Joey DeFrancesco and drummer Billy Hart is perhaps more than even the guitarist's most ardent admirers could have hoped for. DeFrancesco and Hart are both predictably awe-inspiring, but it's the telepathic chemistry between the three band members and the understandably thrilled audience that really blasts Live at Yoshi's into a higher realm of live jazz albums. The trio's interplay on the laid-back version of "All Blues" seems to reach a new peak with each chorus, culminating in Martino's beautiful closing unaccompanied cadenza, and the guitarist and DeFrancesco seem to inspire each other to ever greater heights on the ballad "Welcome to a Prayer." Those enamored of Martino's fleet-fingered heroics will have plenty to feast on here--from the breakneck tempo of the opening "Oleo" to the hard-swinging "El Hombre," Martino and DeFrancesco trade lines with an assurance that few musicians can muster. Martino has one of the more inspirational personal stories in music. A guitar legend in the '70s, he had to completely relearn the instrument after a near-fatal brain aneurysm in 1980--and he can now lay claim to one of the more inspirational live albums released in years. --Ezra Gale
Top customer reviews
B3 accompaniment. For all the superlatives others found in this B3 performer, I found that part of the album to be most wanting.
If PM is reading this, I recommend you try to see if you can enlist another B3 man, In that department, give a listen to a French
B3 player: Eddy Louiss.
He has a collaboration on a French label paired with a most worthy partner, playing Accordion or Bandoneon, The album is a real sleeper, both men are listening to each other, each coaxing the best from the other. The album is titled: "Face to Face".
It caused quite a 'stir' in a group of audiophile friends of mine. Worth a listen by anyone reading this. A real swinger. Good listening.
Pat was doing fast horn speed lines on guitar back in the 60's , and has a wealth of theory applications he is sharing with the world on his website .
Pat's sound is unmistakable , clear as a bell , kind of round in the bass register attributed to heavy gauge strings. I don't think pat has ever used a distortion pre amp , though he does use a solid body guitar .
Some exault pat for playing with dexterity ,admire his ability to play through changes . Some wonder what he would sound like if he played slower :>)Pat has been a driving force who has shown every one how it can be done .
If you listen to the more contemperary GTR players like Gambale and Henderson you start to knotice PAt's stripped down linear approach has a certain strenghth and appeal , and his music and technique are really a happy medium between Mainstream and warp speed fusion