Pat Martino - Jazz Bulletin Boardhttp://forums.allaboutjazz.com/showthread.php?t=14335

Avatar (Return of the Rishi) 48 Back To Back / Buddy Montgomery 10 Boundaries 12 Catch 14 Constellation IV: "Samadhi" 16 Constellation 'Pleiades' M45 18 Do You Have A Name? 20 Dozen Down 22 Giant Steps / John Coltrane 24 The Great Stream 26 Heart Strings / Milt Jacson 28 Lean Years 30 Line Games 32 Lord Zero 34 Mac Tough 35 Oleo 36 Oleo / Jim Ridl 38 On The Stairs 39 Outrider 40 The Phineas Trane / Harold Mabern 42 Remembrance 46 Satin Doll 49 Songbird 50 Starbright 53 Sun On My Hands / Jim Ridl 56 Think Tank 57 Three Base Hit 58 Welcome to a Prayer 60/62 With All The People 64

#871 Avatar (Return of the Rishi)

Your request demands a brief description of Avatar, (as well as a number of the other tracks in that project).

The chordal inversions, (as well as the rhythms) that were used in Fire Dance were improvised. Although, (as you'll see) the original score contained names, as well as suggestive inversions, what eventually took place was completely stylistic on my behalf.

The source, as well as the chosen material was presented by Paul Block, (flute) and Habib Khan, (sitar). The Indian themes were then presented idiomatically in a "jazz" context, that's where I was brought in. "Avatar", (the 6th track) was originally titled: "Return of the Rishi". Here's the original pencil score, I'm sure that Paul Block wouldn't mind.

(Return of the Rishi.jpg) 48

Since I just don't have the time to transcribe what rhythmically took place, (as well as all of the eventual inversions) I hope that the original score will provide as much for you as it did for me.

#1035 Back To Back / Buddy Montgomery

To answer your question, the original title, (1961) was "Back to Back", recorded on an album titled "Grooveyard" by the Montgomery Brothers. It was changed a number of years later to "Bock to Bock" (which I was told was taken from the name of a producer at that time).

The following score is a general transcription of my own, that brought it as close to the original as possible. I hope it's of assistance for you as well as it was for me.

#959 Constellation IV: "Samadhi"

As mentioned, “Samadhi”, (1 of 6 motifs taken from various solar constellations) unfolded in the following way:

#966 Constellation 'Pleiades' M45

As to the constellation 'Pleiades' M45 that you've chosen to mention, after using Google Image Search to locate this particular configuration, the following, (which you might find interesting) unfolded:

(constellation 'Pleiades' M45.jpg) 18

Of coarse these are random adaptations, (or translations of what's experienced visually).

This type of improvisation is enjoyable for me at times, for instance if I happen to be exposed and stimulated by certain movements, from orchestral works like “Eclairs sur l'au-dela' (Illuminations Of The Beyond)” by Olivier Messiaen.

In some ways, aside from my professional adaptation to normal procedures found in “jazz guitar” idioms, these types of “hobby” produce startling results when curiously applied.

#889 Dozen Down

On the recording “Live at Yoshi's”, the use of C minor throughout the first section of Oleo, (excluding the bridge) came from an arrangement by pianist Jim Ridl, (Five Minutes to Madness and Joy). The version recorded with Joey DeFrancesco, and Billy Hart goes as follows:

(Oleo - Jim Ridl.jpg) 38

Regarding the second part of your question, I personally have no idea what the transcription you've mentioned defines, but I will say this, my improvisations through those 7#9 structures have a lot to do with minor conversions. In other words, amongst various alterations D7#9, (at times) = line forms based upon Ebmi7, or Ami7. As far as improvisational decisions, familiarity has evolved into a fluid state of “second nature”.

The following is the original lead sheet for Dozen Down, ("Think Tank"):

(Dozen Down.jpg) 22

#438 Giant Steps / John Coltrane

I've always found a great deal of freedom in the Mi7th form, as an improvisational topic. One of the first structures I found it residing in was the V7th chord, (including its alterations). The following lead sheet displays 3 elements. Ma7th, V7th, and Mi7th. Of those three the V7th form is used in a II-V-I turnaround series.

(Giant Steps.jpg) 24

I've personally found it more efficient to reduce the improvisation topics into two separate forms, (Ma7th / Mi7th, as opposed to three) furthermore, the framework in which they unfold is also structured like an “intervalic skeleton” that's based on an invisible descending Wholetone scale. Of coarse the 3 different tonalities you sighted in your variations remain as Ma7th forms, (a ma3rd apart). This brought me to the following blueprint:

(gsanalysis.jpg) 25

(giantstepsresolution.jpg) 25

On the basis of that analysis, the invisible structure that I find comfortable to improvise thru contains two intervalic motifs, (wholetone / tritone). These two departure points consistently descend as Ma7th and Mi7th forms. Some interesting linear studies based upon those structures can be found on my website, http://www.patmartino.com, in the window called: Nature of the Guitar, ("Giant Steps" Studies by Pat Martino):

http://www.patmartino.net/GiantStepsBookForWeb_041204/GiantStepsMenu_041215.html

#1161 Heart Strings / Milt Jacson

The following is the basic arrangement that I prepared, and used for the recording session. Eventually there were some minute changes by each of us within our personal, as well as group interpretations, but we did try to capture the original essence of the arrangement recorded by the Montgomery Brothers, (that was taken from "Groove Yard").

Most of all I hope that this helps to amplify your enjoyment of a beautiful song.

#746 Lord Zero

You have no idea what your question brings about. There were a couple of other questions that were asked of me prior to your entry, (which I will respond to) but I've got to make time for this one, it magnetically draws me to an issue that I thought had ended.

I take it that you've seen and heard this piece in the ongoing collection found on YouTube. It was taken from a live video filmed and recorded at Ruth's in Baltimore, MD in approximately 1987.

Lord Zero was originally written when I was trying to relearn how to perform, as well as writing what was to be played. Although the theme was attempted as written, it went in directions totally out of context. All three of us, (myself, Joey Baron, and Harvey Shwartz) went along with it, improvising all the way.

The original manuscript was thrown away some years back, maybe because I was frustrated, as well as unhappy with certain difficulties in that period, (which I'm sure sure will be described at some point in my history). Your sharing Baba Hari Dass's story is perfect. It describes the reason why that manuscript was thrown away as a bad memory. None the less, the following is included to answer the technical sides of your question.

#1107 Oleo

The structure, (with the 2nd ending in 8/4, (which wasn't included) the constant Cmi structure, as well as the bridge using 7#9 changes are from an arrangement by Jim Ridl, while the introduction, (using the changes you've requested) as well as letter C, (those same introduction changes against the melody itself) are a more recent arrangement of my own.

Here's the score, ........................... enjoy.

#520 Oleo / Jim Ridl

Your question about the original “rhythm changes” in Sonny Rollins / Oleo is very interesting because change itself is a never ending process.

To me, the original structure of that song is very similar to my own original address, (where I use to live). Through the years that address has often changed, but to some degree I've personally remained the same. In this particular process let's consider myself as “the melody”, and where I currently reside as the changes that I currently function within.

Those changes, (in my life) are compatible with my own personal interests, in other words they remain exciting, as well as fulfilling. Of coarse it goes unsaid, “Beauty's in the eye of the beholder”.

The original Sonny Rollins lead sheet reads as follows:

(Oleo / Real Book 1) --

A while back, (when we were performing together) pianist Jim Ridl came up with the following version of Oleo, (which I found very interesting) where the melody itself still remained close to the original, but was (none the less) slightly altered. What was most interesting is how the melody (A & C) felt when played against C minor. Even letter B was altered as V7 (#9) chords, instead of only V7ths.

(Oleo - Jim Ridl.jpg) 38

Recently, I found it exciting to change it once again, (if only to depart from constant repetition, which gets boring after a while).

(oleo_martino1.jpg) 36

(oleo_martino2.jpg) 37

In this current arrangement the first 7 measures, (of the introduction itself) is a series of chord forms around the note C, resolving with the 8th measure, (Gb13) as the entrance to Cmi9 (over F). As you can see, change took place once again.

The solo's take place as: the first two measures of letter A are on Cmi9/F, the following 6 measures against Cmi7. Letter B remains the same as Ridl's. Letter C has radically changed. It's now improvised across the changes taken from the new introduction.

Hopefully your question has been clearly answered. Bbmaj7, (rhythm changes) & Cmi really have nothing to do with each other harmonically, although the theme, (the song) itself is extremely interesting when it's laid across either of them. What they do have in common is that they reside within an ongoing evolution of a historical composition, “Oleo”.

#559 Outrider

Thanks for enjoying! As to your questions, I never think of scales, but I do the best I can to interpret chord forms as the topics of my improvisations, and yes, there is a lead sheet, (which I'm happy to share with you). Keep in mind, there may have been slight changes once rehearsed, but this is the original lead sheet.

#218 The Phineas Trane / Harold Mabern

Here's the lead sheet for “The Phineas Trane” provided to the players on “Think Tank”. It still remains active in performance.

#1076 Remembrance

To be honest with you, in the beginning I actually didn't try to learn anything from the past. My initial interest was based directly on the sound of the acoustic instrument, and the feeling of its vibrations on my chest. The more I explored those initial tonalities, (as simple as they were) the more complex further additions began to unfold. Until finally came the memory of an original solo composition, (“Remembrance”) as follows:

(Remembrance.jpg) 46

When I finally began to relearn standard material, as well as new original material, (to be performed with others) it was based more on social interaction than any specific idiom. What unfolded had a great deal to do with a mutual enjoyment, based upon what others were good at. Whether it was in the form of fusion, hard-bop, ballads, duets, solo pieces etc., made no difference, it always came back to everyone's enjoyment, and it still does.

With regard to your second question, which questioned how our vegetarian diet was compatible in an environment that wasn't in tune with it. Indulgence has a purpose of its own, and in the case of me and my soul mate comfortably visiting “Nicks Roast Beef”, our reason was not only the food, but more than anything “the people”, (our neighbors). As far as what we personally ordered, we enjoyed a Broccoli Rabe sandwich, (which is delicious by the way!) since we don't indulge in meat, or fish.

As to your final question, (regarding instruction) I'd be happy to. Feel free to contact me accordingly.

#442 Satin Doll

Q1: How would you break down a standard tune like "Satin Doll?"

(Satin Doll / New Real Book 1) --

A1: I do so by reducing the number of improvisational topics to a minimum.

(satindollsubs.jpg) 49

In the above example we have 4 typical forms:

1. Mi7th2. V7th, (the V9 chord is equivalent to the V7) = Mi7th.3. Ma7th,4. Mi7 (b5) = Mi7th.

Q2. How would you reduce all of the chordal forms on Satin Doll to mi7ths, thereby simplifying its topics to one single familiarity?

A2: Of the four that are shown, two of them remain minimal, (the V7th, and the Mi7 (b5) while the only forms left are two in number, the Mi7th, and the Ma7th.

To share improvisational principles, I can only offer my own simple logic, although it becomes complex for me to describe what brings it about.

It's always seemed rational to notice the illusive presence of an opposition to the focal point. In this case our focus is on the use of the Mi7th as a substitution for as many chords as possible, and here, (revealed as the opposite) rests the Ma7th.

In the beginning of my professional career, improvising thru all forms was based on chance, and findings that were successful were retained, while those that were non-successful were disregarded.

Les Paul once told me,

“Of all the things you play, keep only what effects the audience, (what causes them to react positively) throw the rest away. If you have seven, (or more) you'll be successful”.

During that improvisational period I learned quite a number of “tricks”, not even aware of what they were called, I referred to them as “melodies”, and to this day these forms of expression remain illusive in the same way, (as opposed to the use of scales or modes).

For me, the two forms that are present in this first “question / answer” segment are the opposites of each other. One, (the Mi7th) I can perform with extreme precision, as well as theoretically describe, while the other, (the Ma7th) is as evasive as it always has been. Seeing this from an outwardly objective position allows me to accept the nature of things. For me, soloing is like flipping a coin,(in this case) heads = Mi7th, and tails, = Ma7th. For the Mi7th linear forms I might use all kinds of intricate transpositions, as well as intellectual tricks, while for the Ma7th forms I take melodic advantage of emotionality. In this way they reside together as one.

Q3: What other forms (using Dm7 G7, Em7 A7, as the example) would you base a line or phrase from?

A3: As a standard “Satin Doll”, (more than most) emphasizes the II-V series, almost as a part of its compositional intention, and because of this it's valuable to remain authentic to what's appropriate. For me, the use of transpositions on these particular sequences would feel out of context.

Q4: Would it be a form either a Perfect 5th, (consonant) higher or a Minor 2nd, (dissonant) higher than the Dm7 and Em7 forms?

A4: Of coarse as answered to your third question, transposition seems out of context, but it is to be noticed that in the first measure, G13 does use Dmi7 as its Perfect 5th substitution, while in the 5th measure D7 (b9) uses Ebmi7 as its Mi 2nd substitution. Also, (in that same 5th measure) Ami7 (b5) uses Cmi7, because that chord can also be titled Cmi / A.

El Hombre, I hope it's as stimulating for you as it's been for me.

#752 Songbird

It was so nice of you to take the time to bring your feelings to my attention, it makes me happy that Joyous Lake still produces light.

Here's the original lead sheet for “Songbird”, (written in 1976).

I send you all of my best wishes.

#739 Starbright

Thanks for caring so much. As you will see, the time signatures for Starbright are quite complex to describe, so hopefully the following original lead sheet will supply for you what's needed. It was transcribed in 1976 by Victor Milukoff, (a.k.a. Wolf Marshall).

#253 Sun On My Hands / Jim Ridl

How sweet! ........ I'll try to help.

First things first, here's the score, ............

(Sun On My Hands.jpg) 56

Second in value, the most important thing to experience with major artists, (as a collaborator) is to remain open minded, and respond to their suggestions, ....... that's rapore. A great deal of its interpretation was based upon Gonzalo's improvisational suggestions, ....... it was my improvisational responsibility, (as well as his) to adapt, and respond. That in itself changes the basic structure every time. We listen to each other for direction, and by doing so, ............ create a mutual work of art at random.

#26 Think Tank

Compositional approach alters for me in numerous ways depending on the moment of its construction. I'm not sure whether or not it was obvious to you when you mentioned "Olee" and "Catch," that the very same chordal arpeggio, (the V7 11) resides at some point in both compositions. Of course the rhythmic phrasing is altered differently in each of them.

Another example of mutual qualities takes place in two other compositions. This time the V7 #9 form structures the motif in both "The Great Stream" and "Exit."

An interesting factor in all of this is how much time hovers between the events. It sometimes feels cyclic, when these procedures reappear in different years.

Another example takes place in the title track of "Think Tank." In this one the English alphabet is used to translate letters into tones, graphically displayed on my website, (Nature of the Guitar) in the following way:

(thinktank.jpg) 57

At certain times I find the translation of words into melodies extremely realistic as compositional motifs. The procedure took place in "Think Tank" as seen above, while in 1968 it took place in a project titled "Baiyina." That time it sprung from certain paragraphs in the Koran, as well as the poetry of Edgar Allan Poe.

There are never any specific rules of engagement. I'm committed when they come to me as ideas .

#440 Welcome to a Prayer

When I stated the following:

“I've always found a great deal of freedom in the Mi7th form, as an improvisational topic”

I wanted to bring to everyones attention that throughout my own private studies, and analysis I've attempted to re-translate all forms into one, (that form being the Mi7th topic.) Concordant, and Dissonant forms of it, (as substitutions) causes improvisations to depart from one of two intervallic points, either a Perfect 5th, (consonant) or a Minor 2nd, (dissonant). The Perfect 5th substitution for all V7th structures, (e.g.: C7, C9, C13, etc. = Gmi7, (a perf 5th higher), while the Minor 2nd substitution is for various alterations of the same V7th forms, (e.g.: C7#5, C7b5, C7#9, C7b9, etc. = C#mi7, (a minor 2nd higher.)

The following example reduces all chordal forms on the original lead sheet to mi7ths, thereby simplifying its topics to one single familiarity. This applies to how I've approached standards for a long time.

The following example is taken from an original composition titled “Welcome to a Prayer”.

(Welcome to a Prayer.jpg) 62

(Welcome to a Prayer - Chords & Substitutions.jpg) 63

#663 With All The People

It makes me happy that you've enjoyed "Stone Blue", it's one of my favorites, maybe because of the artists that are involved. The following is the original lead sheet you've asked for, "With All The People".

(With All The People.jpg) 64

As far as Chicago, I'm sure I'll be returning at some point. I hope I have the pleasure to meet you when I do. For now I send you my best wishes.