Pat Martino is an American jazz guitarist and composer.
Biography
Martino was born Pat Azzara in South Philadelphia. He began playing professionally at the age of 15 after moving to New York City. He lived for a period with Les Paul and began playing at jazz clubs such as Smalls Paradise. He later moved into a suite in the President Hotel on 48th Street. He would play at Smalls for six months of the year, and then in the summer play at the Club Harlem in Atlantic City. Martino played and recorded early in his career with Lloyd Price, Willis Jackson, and Eric Kloss. He also worked with jazz organists Charles Earland, Richard "Groove" Holmes, Jack McDuff, Don Patterson, Trudy Pitts, Jimmy Smith, Gene Ludwig, and Joey DeFrancesco. Martino had been performing until an aneurysm in 1980 left him with amnesia and no recollection or knowledge of his career or how to play the very instrument that made him successful. Martino says he came out of surgery with complete forgetfulness, learning to focus on the present instead of the past or what may lie ahead. He was forced to learn how to play the guitar from zero. This circumstance is crucial to understand his career and his particular way of thinking. Martino is married to Ayako Asahi Martino, whom he met in Tokyo, Japan, in 1995. He was chosen as Guitar Player of the Year in the Down Beat magazine Readers' Poll of 2004. In 2006, Mobile Fidelity Sound Lab reissued his album East! on Ultradisc UHR SACD. In 2017, he shot a series of educational videos entitled A Study of the Opposites and How They Manifest on the Guitar.
Musical approach
Martino states, "There are elements within an instrument’s architecture that initiate a continuous source of valuable information. For the guitar, there are two. The first is the major third interval, and the second is the minor third interval. Once we view their repetitive information, they begin to appear as a series of automatic functions." Martino's lines contain chromatic links outside any particular IIm7 chord that might be conceptualized over a chord progression, even in the examples he provides in his books and instructional videos. On his bulletin board he has stated that he formulated the system more as a way to explain his playing rather than as something to use to create music. In his own words, "although the analysis of some of my recorded solos have been referred to as modal, personally I've never operated in that way. I've always depended upon my own melodic instinct, instead of scale like formulas."
