
Alex Skolnick shares an insightful tribute to the father of modern jazz guitar.
The very first time I heard Pat Martino, I was so mesmerized that I called local Northern California radio station KJAZ (now defunct) to find out who was playing. This was long before we had Shazam and similar smartphone apps that identify music, and if you didn't get through to the station you were out of luck. Fortunately, I did and was told the cut they'd played was from an album called Desperado. I soon bought others I'd seen mentioned in guitar magazines at the time, including The Visit! and Consciousness.
Pat Martino Oleo
Pat Martino's deep impact on guitarists worldwide might come as a surprise to many non-musicians. Though widely appreciated by jazz listeners, his music never had the crossover reach of a Pat Metheny, Wes Montgomery, or George Benson. However, one needn't travel far within the guitar community to find those who hold him in the same regard as such esteemed six-string company. Look no further than the latter on this list of luminaries.
"I was out on the town, thinking I had conquered New York," George Benson says in a YouTube clip. "I saw this young kid … and this guitar leaped out of nowhere. And some of the most incredible lines I had ever heard. Everything in it. Great tone, great articulation, and the whole crowd—and it was a black audience—went crazy. And I said to myself, if this is a sample of what New York is like, I'm getting out of here."
Benson on Martino
With all due respect to the more traditional jazz guitarists of the '60s, Martino tapped into flavors that felt far beyond.
Although Benson's own output during the '60s and early '70s occupied a similar soul-jazz esthetic—high energy hollowbody guitar lines accompanied by organ and other instruments—the list of guitarists who sing similar praise for Pat extends well past jazz circles. On my own Instagram timeline, for example, the diversity of those who've replied to my Pat Martino post is telling: groove-meister Charlie Hunter, soundscape scientist David Torn, guitarist and virtual death-metal band animator/actor Brendon Small, blues guitarist/educator Andy Aledort, and Carnatic guitarist Prasanna, to name just a few.
With all due respect to the more traditional jazz guitarists of the '60s, Martino tapped into flavors that felt far beyond. He added character, especially in the 1970s, a time that has often been portrayed as the dark ages by those representing jazz "purism." Yet most professional jazz guitarists will tell you that Martino's work during the decade is considered some of the most essential of our instrument. His sound seemed to move with the times, capturing the era in a way that went well past typical jazz guitar combos. It would be easy to imagine Martino's late-'60s and early-'70s work fitting into the score of The French Connection, Mean Streets, Shaft, or other culturally emblematic films of that time.
I became aware of Pat Martino during a period in which he was making an astonishing comeback after being sidelined for much of the '80s. A near fatal aneurism led to brain surgery. This was followed by complete memory loss, including his ability to play. In a story right out of the movies (note to Hollywood film producers: please make this happen), he made a full recovery, teaching himself to play all over again partially by listening to his own music. Incredibly, he not only reached the highly advanced level where he'd been but was able to pick up right where he left off, developing his art even further.
Pat Martino - Open Road - A Documentary
As if his recorded output and miraculous recovery weren't enough, Pat's contribution to guitar education is also remarkable. His series of instructional VHS cassettes for the REH company were essential viewing and became a part of my practice regimen for several years. I credit Pat with enabling me to grasp intimidating concepts. For example, his way of viewing the diminished scale and its relation to dominant 7 chords was especially enlightening.
In modern jazz guitar, all roads lead to Wes Montgomery and Pat was no exception. Much like Pat Metheny—who recently described a youthful period of sounding "just like Wes" on my podcast—Pat Martino forged his own unique sound initially built on Montgomery's influence. Yet unlike the other Pat M, whose essence of Wes was largely inconspicuous by the time of his earliest recordings, one can clearly hear it, especially on tracks like "Once I Loved" from Martino's debut as a leader, El Hombre. Yet with each subsequent album, Pat's sound became more and more unmistakably Martino.
Once I Loved - Pat Martino
One thing Pat and Wes did not have in common was Montgomery's infectious grin while playing (similar to how we picture Eddie Van Halen). While in the throes of cranking out chromatic lines onstage or posing for publicity photos, Pat maintained a firm expression of seriousness that might be described as a borderline scowl. It could even be mistaken for darkness, which would be more than understandable after all he'd been through health-wise. Yet meeting him in person, one quickly realized the complete opposite was true: He was the embodiment of the delightful French term "joie de vivre."
The one and only time I met Pat Martino was in June of 2009, when we were both guest instructors at a guitar camp. Not wishing to bother him—surely, he had more important things to do than converse with little old me—I mentally prepared a quick statement of gratitude fit for a book-signing line in which one is granted a word or two and then quickly shuffled along. Upon being introduced by Premier Guitar's own Jason Shadrick, the thing I remember most is being completely disarmed by his big smile and genuine appreciation to be meeting in person. I supposed that perhaps he'd come across my name in a guitar magazine or somewhere similar. Yet, I soon realized his enthusiastic demeanor wasn't limited to those of us who were VIPs in this context. That same warmth, sincerity, and graciousness shone through unselectively that day, whether with colleagues, students, or others.
It was a year or two later that Pat's autobiography Here and Now, co-written by jazz bio specialist Bill Milkowski, came out. During a promotional feature in the Philly Inquirer, he made clear that he'd channeled his life experience into true enlightenment. Indeed, the same level of wisdom that many hope to channel by following Eastern spiritual leaders such as the Dalai Lama could be gleaned by this modest but highly skilled musician in Philadelphia. He told the newspaper, "The mind has a way of thinking about things that have nothing to do with the moment, but if I can love my life in that moment, I'm in the right place at the right time." He went on to say that the aneurysm was "the greatest thing that ever happened to me."
As strange as that may sound, he makes sense of it with the following statement: "What's on my mind is a greater focus with more intimate accuracy on each and every moment so that I can truly focus on what life is really all about." Through his playing and his infinite wisdom, Pat Martino will continue to remind the rest of us what life is really all about for many years to come.
- George Benson's Badass Bebop - Premier Guitar ›
- George Benson: Still the Coolest of Cats - Premier Guitar ›
- Pat Martino: A Beautiful Mind - Premier Guitar ›
Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
- User-Defined Audio Presets: Each user can create and name up to five custom presets, like “Band Practice,” “Studio Mic Setup,” or “Quick Jam,” making it effortless to jump back in with the perfect sound.
“These tools are all about saving time and hassle,” said Patrick Finn, Business Manager at Lutefish. “Musicians want to make music, not spend time rebalancing levels every session. With presets and recall, we’re giving them time back and helping them sound their best, every time.”
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
- Instantly identify which contacts own a Lutefish Stream device—so they will always know who’s ready to jam.
Go Yearly and Save 20%
Lutefish now offers a Yearly Subscription Plan, providing users with the same great access as the monthly plan at a 20% discount.
This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefish’s mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriers—whether you’re jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).