How to Play Killer Hard Bop like Pat Martino
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- เผยแพร่เมื่อ 15 ต.ค. 2024
- One of the first jazz solos that really blew me away was the Pat Martino solo on Just Friends from his album El Hombre. In this video I am going to show you 3 Pat Martino Licks from the song and talk about how they are good examples of some of the things he uses a lot in his playing that you can add to your vocabulary.
This Lesson is exploring three different licks from the recording and talking about how they are typical for hard bop and also highlights some of Pat Martinos influences like Wes Montgomery.
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What's next? Artist/Song? 🙂
Talk about gilad hekselman , his style or some contemporary jazz guitarist.. :)
Analysis of Mark Turner's playing. Or, harmonic analyis of some more difficult hard bop tunes. Like Shade of Jade.
Why not do some scale arpeggiated sequences to break from the bebop flow
of artist like Benson, Oberg etc..
Tim Miller perhaps? Re Martino: when you listen to his music long enough, certain patterns start to emerge. I don't mean the notes, but the dynamics and intonation of his phrases, which follow pretty much the same up and down movement most of the time. The net effect is like listening to a speaker who uses the same intonations all the time. I guess most people won't hear it because they're blinded by the extremely fast playing.
Jens Larsen nice one man loved it !!
El Hombre easily one of the best jazz guitar records ever made. The whole record kicks ass.
It certainly is in my top 5! 🙂👍
Totally. Also, his version of Sunny from the "Live" record is one of the greatest single displays of how to build a guitar solo in jazz history. IMO. Then, on the opposite side of the spectrum, the album "The Visit" (aka Footprints) --Pat's tribute to Wes after he died--is one of the most sublimely beautiful jazz guitar records ever made. Also, easily one of the best fusion records ever is "Joyous Lake" where Pat basically does his thing with a bit of gain with a much more aggressive but still swinging hard band. It works so well because his lines were so modern anyhow. Great record. Not cheesy "fusion" at all. I have every record pat made including all the obscure stuff that came and went after his comeback if you want any of it? But, for my money, Pat--pre-brain tumor--is the stuff to mine. He got a tad cerebral (pun intended) for me after he came back...amazing that he did and still love him but the pre-operation stuff has all the fire.
I've always thought it was my favorite Martino. And the mix is great, too.
Pat was 22 when he recorded this . Ridiculous, lol. You could build your entire vocabulary off of this solo, so much good stuff! Thanks for the lesson, Jens.
Yes, also seems like a LOT of people checked out this one if you listen to interviews 🙂
Great video idea. Pat Martino is one of the very best and one of my favorites. Wes was my first favorite, the one who got me into jazz guitar and if I had to choose one person, as hard as that is, it certainly would be him. Pat Martino also has the amazing situation of having to completely relearn the guitar, from his own recordings no less, after his stroke which is mind boggling to me and a testament to his tremendous ability and talent.
Thanks Paul! Wes is probably Pat's favorite as well? 🙂
Great to see a nod to Martino..
I've always found Grant Green's If I Should Lose You to be a magical example of bouncing, lyrical swinging bebop, Learned lots about B flat minor and D flat too
Thanks! I will have to take a listen to that 🙂
KIller video! the way he 'murders' the notes- he should be locked up! , the intensity. thanks for this post!
in spanish they say "criminal!"
Thanks Nick! 🙂
thank you ! of course I am a big Pat Martino fan, in fact I just saw him life at Kuumbwa jazz center here in Santa Cruz CA a few months ago, looking a bit old but sounding unbelievably even better than ever. He is a force of nature!!! I just sent $22 bucks thru Patreon for this month - you always make it worth it. Keep it up
Thank you Ted! I am really grateful for your support! And it is great that you like the videos!
Jens, you are the best!! Thanks for all your hard work!
Thanks Jume! Glad you like it!🙂
Please more Martino related lessons!
Thanks Andre! I will keep that in mind!
+1)))
Hi Jens, thanks for doing this video on Pat Martino. I plan to learn all three phrase along with the George Benson video. These two, now veteran jazz guitar heros continue to be two of the baddest dudes around.
Thanks Richard! I am glad you like it! 🙂
If you like their style are you familiar with Steve Kahn? Fabulous player and at times very much employs many of the ways as those two, especially Martino's.
Pat Martino has a lot of cool stuff with minor substitutions. He explains it in his linear expressions book which has some great stuff. I've been working out of it for the past few weeks and it's made a huge difference for me so I definitely recommend it.
He also talks a lot about using the diminished and augmented as parental forms in other videos. I haven't gotten to deep into yet so I can't explain it well but it's interesting.
Thanks Patrick! I have heard of it, for me personally it is not that useful to not think of the chords that are there since they already make sense. But that is of course my taste 🙂
Some trumpet players used minor subs too. I knew one who didn't follow Pat and He played trumpet like Freddie Hubbard. Ray Codrington must be about 81 now.
my fav of martino along came betty incredible
Glad you like it!
Great tone
I really like the sound of the blues phrase, over the C7, in the 2nd example.
Thanks Joe! Me too, that use of a little blues phrasing here and there really is such a great sound in the middle of all the bop
Thanks, the first 2 Pat Martino songs that I loved where his tune The Visit and Road Song. The Road Song's comping is a bit hard rhythmically speaking
Ok. That's not an album I have so I don't know them 🙂
Timeless by P. Martino on Spotify has both tunes
This solo and Lazy Bird from his East album have floored me every time since first discovering them in 1983. The earliest example I know of an augmented triad being used like that is Charlie Parker. Moose The Mooch is one example. Hey I just discover an awesome Pat Martino solo that I’m transcribing now on the blues jam Loose Walk from the Sonny Stitt album Night Letter. Check it out!
Now this maybe simple for your taste but i am greatly influenced by ,a man whom i consider on of the great jazz/blues/american innovators, the wonderful Mr. Kenny Burrell.
The entire "Midnight Blue" album is fantastic.
I would love for you to breakdown some of his lines and the scales and chords he uses in that era.
I love the song "midnight blue" .
It has what i feel is a all time classic tone ,coming from his tweed deluxe.
The song "chitlins con carne" is also superb.
And I this maybe a novice song to learn but he does "gee baby aint i" really nicely on that album.
For me , a thirty two year old, New Orleans native, this album and few songs got me further into the jazz guitar universe.
Jazz is scary for those who havnt been exposed to it from young age, and beings that the song 'chitlins' was a very very familiar melody to me from another of my favorite guitarist, Stevie Ray Vaughn ,on his version from "the Sky is crying " album . When i found the origins of the song and Kenny Burrell i was immediately turned on to all he does.
So i guess im saying here , maybe by doing some of these you , Mr . Larson , could reach a whole new group of players that have yet to be exposed to the wonders and freedoms of this thing we call Jazz.
The song "soul lament "also.
Thanks Justin! Well Midnight blue is a great place to start, and so are those solos 🙂 I have given both to students as assignments.
I will keep it in mind!
Also check out Pat's book "Linear Expressions" it is incredible.
Ok! I did indeed never check that out 🙂
Pat Martino is AWESOME!!!!!!!!!!!!!!!!!!!
Thanks Jeff!
I was 16 when I bought that album (1986) it absolutely killed me. I couldn't believe it.
I still can not play it ( never tried) but can sing along fluently. : )
Actually the Just Friends solo is not that hard to play if you give it a go 🙂
Thanks, Jens!
You're very welcome Terry!
Great lesson!
Thank you! 🙂
Great stuff here.......thank you.....ron......more of these please
Thanks Ron! I will make more when ever I can find some and an angle to talk about them 🙂
Jens...do you ever just think Pat, or Wes then George during a solo? Since you know their riffs , it would make for some fun.....
How about Pats "Just Friends" off this album ?
These licks are from Just Friends right? 🙂
So many cool ones?
excelente gracias por tus videos
You're very welcome Julian!
Hi Jens thanks for the great lesson as usual..as i like the Maj7#5 sound...there was any lesson on this topic (ex. use of Maj7#5 over the dominant altered chords..) ...I 'm looking among the numerous lessons but i could not find so far..
Thank you Andrea! The augmented/melodic minor sound is indeed great! I have several lessons with that sound here: th-cam.com/video/_P0M_M1wmpE/w-d-xo.html They are not only on the Maj7#5 because there are also interesting options with other arpeggios like triad pairs and dom7th(#5) dom7th(b5) etc.
Maybe browse through it and see if you find something useful 🙂
Thank you soooo much man - love the information you provide ... Perhaps you can explain on last thing about Pat Martino --. Ive been dying to know one thing --- did he ever use TRADITIONAL METHODS , what i mean is did he DEVELOP his ALL his MINOR SCALES CONNECTED IN INTERVALS OF MINOR 3rds from the beginning of his career .... was it somethung he came up with after he had the anyuerism in his brain --- maybe around , what ? 1980ish ??? i believe ...?
Itsv a crazy way to consider harmony ... Very confusing really ... E minor provides G minor , Bb minor and C# minor but depending upon the sound your trying to achieve THE OUT NOTES dont always work and you have to usually find a nearby note to compensate for ANY UNWANTED DISSONANCE ...
Its like RELEARNING THE WHOLE INSTRUMENT ---- WHICH IS A BALL BUSTER BUT ILL SAY THIS , when they worked --- the melodies i occasionally stumbled upon in those combinations yeild are really cool amd interesting ...
But i basically gave up doin the LINEAR EXPRESSIONS because it was changing my whole APPROACH and SOUND of which i am still very attatched to ... Ha ha ... Man , youre the. Baddest real jazz guitar teacher and jazz connesuir online man ... Youre a total monster player too .
Im grateful for the information ive procured from your thorough lessons ...
Oh and 1 last thing --- the way the notes overlap - so to speak , on the frets -- it often means your often jumping out of position to utilize another string ... My hand was cramping up and really getting sore from literally ReLearning a new way to play ... JAZZ IS INTIMIDATING to me so when i heard this dude say JUST USE THE SAME SUBS OVER N OVER - the logic appealed to me even though i knew music theory as far as relative modes ...
Long message i sent sorry ...
Thanks Franky! I don't know how Pat Martino developed his concept, I would guess he never really learned a functional approach, but I can't know. You have to ask him :) So I can't really make a video on that.
Have nice christmas!
Thanks
Thank you so much for the support!
Please, pretty please do a video on the Pat martino solo approach on Sunny. You are great, love your vids.
Thank you, I will keep that in mind 🙂
Hey! You liked my comment! Greetings from a peruvian jazz guitarist : )
Excellent choice: I learned so much from his improvisation on that tune, particularly what to play on B-7b5 to E7alt
Thanks a lot!:)
You're very welcome 🙂
Jens while transcribing by ear, what do you think is most conducive to a more "whole" learning outcome? I'm doing one now for a Bird version of All of Me, and I'm a bit rubbish at writing music (I can only just about read lead melodies), so I'm writing the notes instead in fragments above the changes. and making notes on arps and scales.
I imagine you've developed some kind of system for this that's a bit more refined, so would love to hear how you do it.
Well, the solos I learned the most from, I probably didn't even write down, I just played them and learned them by heart. That was extremely useful.
Once you can play them it gets a little easier to write them down, but I don't think I really have a system for it. I usually sing the line and count at the same time to Figure out the rhythm
Ah, so a more instinctive approach first, that helps a lot. Big help as always, thanks again!
Have you done or could you do a lesson on how to count rhythm Im finding it very hard to figure out how to count rhythms when learning a song by ear and how its subdivided this becomes even more difficult when i try to play and count out the rhythm at the same time.
I haven't done a video on that, it's a bit more theory and ear-training than what I normally do, but I will think about it 🙂
The Trippasnipping Sasquatch If you put it in Audacity you can slow it down while maintaining pitch (more accurate than YT's built-in feature). For faster tempos I find this handy as you can tell where beat lies better. What song is it out of curiosity?
I know he's more 'rock' for our taste but I'd love to hear you break down Greg Howe.
Ok, I would not really consider him jazz to be honest and I am really not familiar with his playing so it isn't that likely 🙂
Greg Howe isn't a jazz player per se, but you can hear him tackle two Coltrane tunes on the all-guitar Coltrane tribute album 'A Guitar Supreme' (2004), which is on Spotify. The same disk also has Eric Johnson on 'Resolution'.
Cool! I will have a listen 🙂
Bonjour est-ce possible d'avoir les traductions sur cette vidéo également ? Et sur tous les autres ?
Hi Chris,
The best you can do is to share the video and ask people to translate it: You can use this link: th-cam.com/users/timedtext_video?v=nnuCY8nb-uw&ref=share
You have a fair chance that somebody will if you share it amongst French Speaking Guitarists.
I can't afford to have all my videos translated that is quite expensive, but often people will contribute translations if you ask them.
Try sharing it on French speaking guitar forums or Facebook groups?
Sorry, that's the best I have 🙂
Please excuse my naivete/ ignorance....Trying to see melodic minor in first phrase over Db dominant. After thinking, is it Bb melodic minor (Db relative minor) played over the Db7 ?
On the Db7 it is Ab melodic minor. The Lydian dominant is on the 4th note in a melodic minor scale 🙂
What's the purpose of the blue thing on the nut?
It's hairband that I use as a mute for open strings, but it does not really do anything when it is behind the nut- I sometimes use it while recording or practicing legato.
@@JensLarsen try a product called BUZNUT its a great string muter. It goes under the strings. Looks it up.
@@davidseriff711 I kinda like my Blue Hairband :) It is becoming my thing :)
@@JensLarsen that's cool. Remember when pat Metheny used to have the toothbrush in his guitar?
On using ma7#5 -- more at th-cam.com/video/hRQ3xIAF74c/w-d-xo.html
I might have a video or two on that topic as well
HI Jens, I have been following your lessons for some time now and appreciate them very much. My suggestion is that if you could do a demonstration at the beginning of the video, (to know what we are going to be able to do after we study the lesson thourughly), then explain and then at the end do a final demonstration. That would be awsome. Thanks your advice is helping me a lot.
Thanks! I am not sure I really think that makes too much sense most of the time.
If you take this video, what is the purpose of watching this:
1. Learning to play the licks
2. Learning to make similar licks
3. Phrasing like Pat Martino
4. Knowing what Pat Martino uses and how he makes melodies
They could all be the goal and there isn't going to be one demonstration that will illustrate that. In fact demonstrating no 2 might work against the video.
HI Jens, thanks for taking the time to reply. In my case It would be very valuable to hear the line in question although I am seeing it written I have not heard it. If you played it once complete at around 1:03, slowly, that would make a huge difference because it is now in my head and then I can focus on the detailed break up that follows. If at the end you play it again that would round up the lesson. Its a few seconds more added to the video. Its a way I found its very useful to learn efficiently. I isten to small fragments of solos many times until they are in my head. again thats only my opinion. thanks for all your work and exceptional playing.
I inserted the original line before I analyze it though? In this case it is a bit strange to the also play it. And of course this is assuming that the goal is to learn to play the line, which I am not really sure it is 🙂
George and Pat comes from the same school of thought that's why they sound similar sometimes
Actually I think Pat had a huge impact on George, I have heard or read an interview where George Benson talked about that 🙂
Yes Pat made a lasting impression on George. Funny story. I saw a video where George talked about his first arrival in N.Y. at that time he has already established notoriety among his peers. He was so confident but when he went in to a bar and saw Pat playing for the first time, he wanted to leave town. He got chillz 😆
I bet they both influence each other but the school of thought I was talking about was Wes Montgomery and Charlie Christian.
Yes, but I think George Benson got a lot of the even phrasing from Pat Martino, at least Wes is different when it comes to that 🙂
You can say that but really they both did. They're great players. They have nothing but positive things to say to each other. They're admiration to one another defines why they're the best. In fact very humble players which is rare now a days.
Pat Martino lines sound better played slower. He plays so fast you can't really hear what's in there. He is amazing obviously, lines that go on page after page. He is physically the most difficult Jazz Guitarist to copy.
Fact. George Benson was very impressed and jealous of Pat Martinos playing when he first heard him. George Benson was still playing blues based licks at the time.
That is also pretty much the story as I know it 🙂
But we have to give credit to George for picking up so much so fast!
Thats Because unlike the late starter in Jazz GB(started around age19 with Jack McDuff) who said GB knew no complete tunes, Pat went on the road with an all Black band at age 15, Charles Earland's. GB has perfect pitch and Pat doesn't which certainly helps any creative person to know faster what is heard . GB didn't read music while Pat certainly learned to do so. Bottom Line they both are top masters who remained among the top cloned guitar giants. Of course Schofield,Allan Holdsworth are now cloned everywhere. TH-cams will show you many or most things they do and how. GB and Pat had no such videos and books..Clones were not respected in their era like they are now. In fact after being exposed to true original sounding folks I usually listen but not support with my money clones of today.I have walked out midway of top clones sets due to being bored,
I wouldn't worry about clones too much, every now and again a clone comes along and brings something new to the table, like these two also cloned Wes 🙂
Jens Larsen there are more clones in Blues and rock guitar then any other style bro. What are you talking about. Lol
I watched this 5 minute video and at the end of it I was unable to play killer hard bop like Pat Martino. UNSUBSCRIBE
(Just joking :-))
Don't you feel like a loser then? 😄 I love your profile picture btw!