WILLIS JACKSON WITH PAT MRTINO — Single Action (1978-1995) FLAC (tracks+.cue), lossless

Willis Jackson was a tough-toned tenor who came to fame as a honker and screamer with Cootie Williams's big band in the late '40s. Although he calmed down his style a bit through the years, he always has a passionate sound and an accessible style best heard on blues, ballads and standards. This is a CD reissue of a 1978 session that features Jackson with guitarist Pat Martino, organist Carl Wilson and a supportive rhythm section. Although the Barbara Streisand-associated "Evergreen" (heard in two versions) and "You Are the Sunshine of My Life" may not seem like the best material for the tenor, he uplifts the songs. But best are a pair of hard-driving blues and a warm rendition of "Makin' Whoopee." Joe Fields accurately states in the liner notes that Willis Jackson's best recording was his prior Muse release Bar Wars but Single Action does give one a good example of Jackson playing in a tenor style that (other than Houston Person and now Joshua Redman) is quickly disappearing. Scott Yanow
Tracklist :
1    Evergreen    4:44
 Barbra Streisand / Paul Williams
2    Bolita    8:12
 Willis "Gator" Jackson
3    Makin' Whoopee    6:59
 Walter Donaldson / Gus Kahn
4    You Are The Sunshine Of My Life    7:43
 Stevie Wonder
5    Hittin' The Numbers    5:01
 Willis "Gator" Jackson
6    Single Action    6:17
 Willis "Gator" Jackson
7    Evergreen (Alternate Take)    4:41
 Barbra Streisand / Paul Williams
Credits :
Bass – Jimmy Lewis
Drums – Yusef Ali
Engineer – Rudy van Gelder
Guitar – Pat Martino
Organ – Carl Wilson
Percussion – Ralph Dorsey
Tenor Saxophone – Willis Jackson

JIMMY HEATH - Time and the Place (1974-1994) FLAC (tracks), lossless

Although this 1994 CD looks like a reissue, the music was actually released for the first time 20 years after it was recorded. Jimmy Heath, who is heard here on tenor, alto, soprano and flute, played at his prime throughout the 1970's although he tended to be somewhat overlooked in popularity polls. Heath was stretching himself during the era as can be heard on these obscure pieces; five of his originals plus Kenny Dorham's "No End." Although essentially bop-based, Heath was open to the influences of the avant-garde and fusion and, with a flexible group also including trombonist Curtis Fuller, guitarist Pat Martino, pianist Stanley Cowell, bassist Sam Jones, drummer Billy Higgins and percussionist Mtume, Jimmy Heath consistently takes adventurous yet logical solos. Worth checking out. Scott Yanow
Tracklist :
1     The Time and the Place 9'34
Jimmy Heath
2     The Voice of the Saxophone 6'11
Jimmy Heath
3     No End 7'06
Kenny Dorham
4     The 13th House 9'04
Jimmy Heath    
5     Fau-Lu 8'07
Jimmy Heath    
6     Studio Style 4'49
Jimmy Heath
Credits :
Congas, Percussion – Mtume (pistas: 1, 3 to 5)
Drums – Billy Higgins
Flute, Soprano Saxophone, Alto Saxophone, Tenor Saxophone – Jimmy Heath
Guitar – Pat Martino
Piano, Mbira – Stanley Cowell
Trombone – Curtis Fuller (pistas: 1, 3 to 5)
Vocals – Curtis Fuller (pistas: 3), Jimmy Heath (pistas: 3)

STANLEY CLARKE - Children Of Forever (1973-2007) RM / FLAC (tracks+.cue), lossless

Stanley Clarke's debut solo effort was issued when he was already a seasoned jazz veteran, and a member of Chick Corea's Return to Forever, which at the time of this recording also included Joe Farrell on soprano sax and flute, and the Brazilian team of vocalist Flora Purim and drummer/percussionist Airto Moreira. Produced by Corea, who plays Rhodes, clavinet, and acoustic piano on Children of Forever, the band included flutist Art Webb, then-new RtF drummer Lenny White, guitarist Pat Martino, and a vocal pairing between the inimitable Andy Bey and Dee Dee Bridgewater on three of the five cuts -- Bey appears on four. Clarke plays both electric and acoustic bass on the set; and while it would be easy to simply look at this recording as an early fusion date, that would be a tragic mistake. If anything, Children of Forever is a true cousin to Norman Connors' classic Dance of Magic and Dark of Light albums, which were also released in 1973; Clarke played bass on both. This is basically funky, spiritual jazz in the best sense. Yes, jazz. That wonderfully mercurial, indefinable force that brings into itself the whole of music, from popular to classical and folk forms, and makes something new out of them. The long title track with its killer vocal interplay between Bridgewater and Bey is seductive from the jump. Add Clarke's big fat bassline, which is mellow and meaty at the beginning, but after the long piano and guitar breaks in the middle becomes dirty, fuzzy, and spacy by the end as the cut leans into souled-out funk.
The "message" tunes that make up this music balance the dawning of the future as the logical place of Black consciousness -- where a new day was indeed emerging from the struggles of the '50s and '60s. Add to this the cosmic looking cover, and its weighed electric and acoustic underpinnings, and you have the makings of a timeless classic. Indeed, no matter how one feels about Clarke's later work, which aimed for the harder and funkier realms of disco and urban soul as well as keeping his jazz chops intact, this disc in every sense is forward-looking and memorable. Bridgewater's lead vocal interaction with Webb's flute on "Unexpected Days," with Bey helping on the bridge and refrain, is awe-inspiring. The ensemble is focused on "song." Corea's has rarely sounded so naturally funky as he does here and his production is free of the hard, sometimes brittle sound he would employ with the Al DiMeola-Lenny White version of RtF. The centerpiece of the disc is a vehicle for Clarke, called "Bass Folk Song." At nearly eight minutes, Clarke plays both upright and electric bass, sometimes employing a wah wah pedal on the former. It shows his virtuosity; he could literally make either instrument sing. Corea is fantastic in his supporting role, playing fills and vamps behind the bassist and Martino -- who also has never sounded so nasty as he does here on electric guitar and 12-string acoustic -- they're full of innovative rhythms and eclectic harmonics. And White is simply a powerhouse, breaking beats and taking Clarke for a real ride in almost unconscious rhythmic interplay.
The last half of the set is equally wonderful with the ballad "Butterfly Dreams" that launches into something wholly other by its midpoint, and never loses sight of its melody, lush harmonics, and very real sense of abstract swing. Clarke propels the ensemble from the bass chair, and allows everyone the room to blend into that big wood sound he gets on his upright. Bey's vocal performance on the cut is one of his best on record. The set closes with Corea's "Sea Journey," the longest track here, coming in at over 16 minutes. There is quite a bit of improvisation here as one might expect, with Corea playing intense Latin contrapuntal melodies on his Rhodes and clavinet -- even moving into descarga at one point -- and Bridgewater and Bey stretching their vocals to drape the music; their pairing is utterly elegant, soulful, and lovely. Clarke and White are a force maejure as a rhythm section, they push and entwine with one another in a dance of double, triple, and half-time beats and pulses, bringing a sense of not only movement but travel to the proceedings without ever leaving the groove. The beautiful front line of Corea and Webb in the head and during the middle section is subtle and haunting; it literally drifts, anchored only by the rhythm section that keeps them from lifting off into more modal explorations. Martino is free to fill, solo, vamp, and project. Clarke's bowed bass fiddle solo, which interplays with Bey's vocal, is brave and deeply moving; there isn't a trace of gimmickry in it (or anywhere else on this set, for that matter). Like the aforementioned Connors' recordings, Children of Forever has aged exceedingly well, and sounds as warm, inviting, and full of possibility in the early 21st century as it did in the early '70s. It's full of heart, soul, passion, and truly inspired musicianship. by Thom Jurek  
Tracklist:
1 Children Of Forever 10:41
2 Unexpected Days 5:51
3 Bass Folk Song 7:58
4 Butterfly Dreams 6:51
5 Sea Journey 16:28
Credits:
Double Bass [Bass Fiddle], Electric Bass – Stanley Clarke
Drums – Lenny White
Electric Guitar, Twelve-String Guitar – Pat Martino
Electric Piano, Clavinet [Clavinette], Piano [Acoustic], Producer – Chick Corea
Flute – Arthur Webb
Vocals – Andy Bey (tracks: 1, 2, 4, 5), Dee Dee Bridgewater (tracks: 1, 2, 5)

PAT MARTINO – Desperado (1970-1989) RM | APE (image+.cue), lossless

Guitarist Pat Martino's first five recordings as a leader were made for the Prestige label, and this one (the fifth) has been reissued on CD by Original Jazz Classics. Martino performs Sonny Rollins' "Oleo" and five of his originals, using the 12-string guitar. The rhythm section (keyboardist Eddie Green, electric bassist Tyrone Brown, and drummer Sherman Ferguson) is funky in spots, electric, and swinging when called for. Eric Kloss makes a guest appearance on soprano for the opening "Blackjack," but otherwise, most of the focus is on Martino's consistently inventive playing. Scott Yanow

Tracklist :

1. Blackjack (Martino) – 7:45

2. Dearborn Walk (Martino)– 3:50

3. Oleo (Sonny Rollins) – 4:53

4. Desperado (Martino/Green) – 7:55

5. A Portrait of Diana (Martino) – 4:30

6. Express (Martino) – 6:43 

Credits :

Pat Martino - Guitar

Eric Kloss – Soprano Sax

Eddie Green – Electric Piano

Tyrone Brown – Electric Bass

Sherman Ferguson - Drums, Bells

Jimmy Cobb – Drums

RICHARD 'GROOVE' HOLMES - Blue Groove (1994) APE (image+.cue), lossless

PAT MARTINO - East! (1968-2006) RM / SACD / FLAC (tracks+.cue), lossless

Despite the title and the cover of this CD reissue (which makes it appear that the performances are greatly influenced by music of the Far East), the style played by guitarist Pat Martino's quartet is very much in the hard bop tradition. Martino was already developing his own sound and is in excellent form with pianist Eddie Green, drummer Lenny McBrowne, and either Ben Tucker or Tyrone Brown on bass during two group originals, Benny Golson's "Park Avenue Petite," John Coltrane's "Lazy Bird," and the standard "Close Your Eyes." It's a good example of Pat Martino's playing in his early period.  by Scott Yanow
Tracklist :
1 East 12:50
T.W. Brown / Tyrone Brown
2 Trick 7:00
Pat Martino
3 Close Your Eyes 6:14
Bernice Petkere
4 Park Avenue Petite 5:54
Benny Golson
5 Lazybird 6:29
John Coltrane

Credits :

Bass – Ben Tucker, Tyrone Brown (tracks: 1) 

Drums – Lenny McBrowne 

Guitar – Pat Martino 

Piano – Eddie Green 

  

PAT MARTINO - Formidable (2017) FLAC (tracks+.cue), lossless

The rhythm section on this recording is beyond compare. Although this is the group's first offcial recording they have been together on the road and touring the world for quite some time.
Formidable includes some new original tunes that exhibit the artist's virtuosity as a composer along with the jazz standards “Duke Ellington’s Sound of Love” by Charles Mingus and Duke’s own classic “In A Senti­mental Mood.”
Tracklist :
1    El Nino 7:07
Arranged By – Pat Bianchi
Written By – J. Calderazzo
2    Hipsippy Blues 6:58
Written By – H. Mobley
3    Homage 9:12
Written By – G. Niewood
4    Duke Ellington's Sound Of Love 7:54
Written By – C. Mingus
5    El Hombre 7:02
Arranged By – Pat Bianchi
Written By – P. Azzara
6    In Your Own Sweet Way 8?16
Written By – D. Brubeck
7    Nightwings 8:31
Written By – P. Azzara
8    In A Sentimental Mood 9:34
Written By – E. Ellington
9    On The Stairs 6:25
Arranged By – Pat Bianchi
Written By – P. Azzara
Credits :
Drums – Carmen Intorre
Flugelhorn – Alex Norris (pistas: 2)
Guitar – Pat Martino
Organ [Viscount Legend Series] – Pat Bianchi
Tenor Saxophone – Adam Niewood (pistas: 1 to 3, 5, 7, 9)
Trumpet – Alex Norris (pistas: 1, 3, 5, 7, 9)

PAT MARTINO – Exit (1976-1998) RM | Series : Master Sound | FLAC (tracks+.cue), lossless

This LP gave listeners a good sampling of mid-1970s Pat Martino. The distinctive yet flexible guitarist teams up with Gil Goldstein (who sticks here to acoustic piano), the great bassist Richard Davis, and drummer Billy Hart. Martino plays more standards than usual (four out of six songs, including "Days of Wine and Roses" and "Blue Bossa"), and, of his two originals, "Three Base Hit" has the spirit and fire of bop. An excellent outing. Scott Yanow 

Tracklist :

1 Exit 9:23 

Pat Martino 
2 Come Sunday 7:30 Duke Ellington 
3 Three Base Hit 4:30
Pat Martino 

4 Days of Wine and Roses 4:47 

Henry Mancini / Johnny Mercer 
5 Blue Bossa 4:57
Kenny Dorham 
6 I Remember Clifford 7:48
Benny Golson 
Credits 
Bass – Richard Davis
Drums – Jabali Billy Hart
Guitar – Pat Martino
Piano – Gil Goldstein

TRUDY PITTS – Trudy Pitts with Pat Martino | SERIE : Legends Of Acid Jazz (1998) FLAC (tracks+.cue), lossless

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's guitar is graceful and sensitive throughout, and the trio of Pitts, Martino, and Carney is embellished by Abdu Johnson on conga. These Blues of Mine employed the same kind of approach as her debut. Better than expected soul-jazz interpretations of contemporary rock and pop songs ("House of the Rising Sun," "Eleanor Rigby," "A Whiter Shade of Pale," the theme from Man and a Woman) stand alongside jazz originals from drummer Bill Carney, with Pitts herself contributing "Count Nine." Pat Martino is again along to provide fine guitar accompaniment, with Pitts occasionally adding soul-pop vocals (as on "Eleanor Rigby"). It works best when they cut to straight, burning soul-jazz groovers, though, as on Pitts' moody "Count Nine," executed in a challenging 9/12 rhythm. This CD is billed to " Trudy Pitts with Pat Martino," although Pitts had sole billing on the original LPs. Richie Unterberger

Tracklist :

1. Steppin' in Minor (Carney)

2. The Spanish Flea (Wechter)

3. Something Wonderful (Hammerstein / Rodgers)

4. Take Five (Desmond)

5. It Was a Very Good Year (Drake)

6. Siete (Carney)

7. Night Song (Adams / Strouse)

8. Fiddlin' (Carney)

9. Matchmaker, Matchmaker (Bock / Harnick)

10. House of the Rising Sun (Holmes / Ray / White)

11. Eleanor Rigby (Lennon / McCartney)

12. Count Nine (Pitts)

13. Man and a Woman (Calhoun)

14. A Whiter Shade of Pale (Brooker / Reid)

15. These Blues of Mine (Carney)

16. Organology (Carney)

17. Just Us Two (Carney)

18. Teddy Makes Three (Carney)

19. What the World Needs Now (Bacharach / David) 

Tracks 1 to 9;

Trudy Pitts - organ

Pat Martino - guitar

Billy Carney - drums

Carmell Johnson - conga 

Tracks 10 to 19;

Trudy Pitts - organ

Pat Martino - guitar

Billy Carney - drums 

PAT MARTINO - Footprints (1972-1997) APE (image+.cue), lossless

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. by Scott Yanow
Tracklist :
1. The Visit - 4:34
(Pat Martino)
2. What Are You Doing the Rest of Your Life?- 7:18
(Alan Bergman, Marilyn Bergman, Michel Legrand)
3. Road Song - 5:43
(Wes Montgomery)
4. Footprints - 8:22
(Wayne Shorter)
5. How Insensitive  - 6:13
(Norman Gimbel, Antônio Carlos Jobim, Vinícius de Moraes)
6. Alone Together - 5:52
(Howard Dietz, Arthur Schwartz)
Credits :
Pat Martino - Guitar
Bobby Rose - Guitar
Richard Davis - Bass
Billy Higgins - Drums

PAT MARTINO - El Hombre (1967-1990) RM / FLAC (tracks+.cue), lossless

Guitarist Pat Martino's debut as a leader finds the 22-year-old showing off his roots in soul-jazz organ groups while looking ahead at the same time. Joined by organist Trudy Pitts, flutist Danny Turner, drummer Mitch Fine, and both Abdu Johnson and Vance Anderson on percussion, Martino primarily plays a straight-ahead set (five of his originals, "Just Friends," and "Once I Loved"), but already displays a fairly distinctive sound. This CD reissue brings back Martino's impressive start to what would be a productive solo career. by Scott Yanow

Tracklist :
1. Waltz for Geri - 6:21
Pat Martino
2. Once I Loved - 5:42
Ray Gilbert, Antonio Carlos Jobim, Vinícius de Moraes
3. El Hombre - 5:57
Pat Martino
4. Cisco - 4:29
Pat Martino
5. One for Rose - 4:54
Pat Martino
6. A Blues for Mickey-O - 8:02
Pat Martino
7. Just Friends - 5:47
John Klenner, Sam M. Lewis
Credits :
Pat Martino - Guitar
Danny Turner - Flute
Trudy Pitts - Organ
Mitch Fine - Drums
Vance Anderson - Bongos
Abdu Johnson - Cngas