Pat Martino - 1976 - Starbright

Pat Martino 

1976 

Starbright

01. Starbright 3:38

02. Eyes 2:36

03. Law 3:35

04. Fall 2:04

05. Deeda 3:43

06. Starbright Epilogue 0:31

07. Masquerada 2:53

08. Nefertiti 2:51

09. Blue Macaw 3:03

10. City Lights 0:55

11. Prelude 6:30

12. Epilogue 1:00

Bass – Will Lee

Drums – Charles Collins, Michael Carvin

Flute – Al Regni

Guitar, Synthesizer – Pat Martino

Keyboards – Gil Goldstein

Percussion – Alyrio Lima Cova

Synthesizer – Michael Mainieri, Warren Bernhardt

Tabla – Marty Quinn

Violin – Joe D'Onofrio

Pat Martino embraces fusion at long last! Bit of a latecomer, but hey, that did not seem to deter him in any way. Fusion bands were collapsing around this time, but Pat's efforts seem to be genuine and full of enthusiasm. There were hints of fusion on his earlier albums like Desparado and Consciousness, but you can tell he was holding back. I think it's not so much because he is traditionalist, but rather because he is a purist. However on these two gems he seems to have embraced fusion wholeheartedly and unapologetically. Yet it may be strange to hear Pat Martino play pure fusion, with distortion, synthesizers and heavy drums, to those who are more familiar with his work in the hard-bop arena. But it's not hard to accept, because he is a natural at it.

The first album contains dreamy interludes, bad-ass funk, gritty jazz-rock and even a classical solo guitar piece played with passion and dazzling dexterity (who said Al D had the heaviest chops in classical fusion?). The second album contains some serious odd-meter workouts, soaring solos, knockout riffs, powerful drumming and break-neck group runs all wrapped up in heavy atmospheres. Despite the thick vibe, Pat's trademard bebop phrasing and pristine guitar tone can be heard throughout the album. He does plenty of that cool modal comping as well, during keyboard solos. Speaking of those, the evil twins, Minimoog and Rhodes totally dominate, so those alergic to analog electronics are advised to visit a nearby pharmacy and get some medicine.

These are truly fabulous fusion recordings, and it's sad that they did not get as much attention as some others, but that may be because of their relatively late release date. It's possible that Pat's illness interrupted his intrepid forays into the distant realms of fusion, although his comback did produce another brilliant, if more grounded fusion recording, Stone Blue. This is a brilliant musician, capable of amazing things. Do youself a favor and get this album.

As startling as this album may initially sound to all fans of the Wes Montgomery influenced Pat Martino, this is nevertheless an elucidative catalogue of the multiple styles the guitarist was eager to experiment with and thus a testament to his open mind and inquisitive spirit; with so many genres embraced, this may seem a bit disjointed, but its coherence lies in the fact nothing is over emphasized herein, although the contrary is also true: nothing is really deeply explored.

Mostly comprising Martino originals, the track list also includes a couple of Wayne Shorter pieces and one each from his long time associated keyboards player Gil Goldstein and from violin player Joe D’Onofrio, who along with synth players Mike Manieri and Warren Bernhardt, bassist Will Lee, drummers Charles Collins and Michael Carvin, percussionist Alyrio Lima Cova, flute player Al Regni and tabla player Marty Quinn guest according to the needs of the numbers.

A Pop flavor or a commercial sheen occasional pervade a melody as on the Far Eastern theme in the title track or the quasi-Disco synth motifs on the Funky inflected tracks, but they should not distract the listener from the unexceptional but fine playing that surrounds them and the tasty or scorching guitar work that glues everything together, as Martino alternates between electric, steel and nylon stringed acoustic guitars.

The moods and vibes vary from the mentioned Far East theme on an ambience build upon a looped keys pattern to the tabla propelled, build on Zawinul like keyboards tone and chords, as flute and synth chirp around, and the guitar gets on and off in the undulating “Masquerade”; from the tremoloed and reverby limpid and tranquil soundscapes of D’Onofrio “Eyes” to the naked and warm, melancholic and passionate, guitar and electric piano duet readings of Shorter’s “Fall” and “Nefertiti”; or from the more or less Soulful, Heavy, Fusion or Disco Funky grooves of “Law”, Deeda” and “Blue Macaw” to the Spanish infected acoustic nylon strings solo work of “Prelude” and the trio of short and tranquil interludes “City Lights” and the pair of “ Epilogues”.

At the end of the day, this album makes up a relaxing audition, with some moderately exciting and/or inspired moments, a refreshing character and the guarantee you won’t fall asleep.

Starbright features a larger, well put together different Martino groups featuring three keyboardists (Gil Goldstein, Warren Bernhardt and Mike Maneri), + three percussionists, bass, violin, flute and tabla. But the real strength of the guitarist's melodic personality, particularly during signature solos, his command is never in question. This is music that can be enjoyed well beyond the July 1976 date well into 2015 ..and still as fresh.. Even after relearning his craft, he's still a machine gun sounding single note run's kind of guy, quite the legacy indeed..