Pat Martino Transcriptions-Wolf Marshall
Rob T
Just received in the Wolf Marshall's latest jazz guitar offering "The
Best of Pat Martino". Tunes: All Blues, Along Came Betty, Blues In
Green, El Hombre, The Great Stream, Interchange, Nefertiti, Noshufuru,
Oleo, Road Song, Strings and The Visit.
Wolf Marshall has to be the ultimate chameleon. He plays all the solos
and heads on this transcription CD. As having listened to a number of
the orginals over the years, I have to say that Wolf does a pretty
credible job. He plays all the tunes using a Gibson Pat Martino guitar
through a Clarus head..not sure if he used the 12" Raezor's edge..its
pictured in the book as Wolf's equipment,...or he went direct. Not to
sound like a commercial but I'm impressed at Marshall's ability to
mimic the styles and techniques on a number of players from all
musical fields. /rob
Jeremey Poparad
I was quite impressed with how accurate he was to the origional recordings.
He seems to own just about every jazz guitar you would need to reproduce
those sounds to, as pictured at the beginning of that book. I might have to
check out that Martino book.
"Rob T" <ta...@nobozosonthisbus.com> wrote in message
news:akiicv8tpgtjlkelt...@4ax.com...
Rob T
<jjp14(at)uakron.edu> wrote:
>I've got his "Best of Jazz Guitar" book and he does the same with the CD and
>I was quite impressed with how accurate he was to the origional recordings.
>He seems to own just about every jazz guitar you would need to reproduce
>those sounds to, as pictured at the beginning of that book. I might have to
>check out that Martino book.
>
>
>
I have that one as well and his George Benson and Wes Montgomery
books. He does a creditable job at capturing the tone as well as the
actual solo. I don't have the patience or time to learn entire solos
but I have used his books to lift various figures/runs from different
musicians. For example, GB on his solo on "Affirmation" plays an
interesting chromatic type run early in the solo that I've
borrowed...stolen..and worked into my own playing. I also hadn't
really heard Hank Garland until I heard Wolf Marshall's version. Went
out and bought "Jazz Winds" after that. rob
PS, By the way the versions of "Oleo, All Blues and Blue In Green"
that Wolf Marshall transcribes/plays are from "Live at Yoshi's".
Charlie Robinson
sound like a commercial but I'm impressed at Marshall's ability to
mimic the styles and techniques on a number of players from all
musical fields. /rob >>
I know, it is extremely impressive. Does anyone know if he has a thing of his
own? If transcription is the true path, as many purport he should be a monster.
I would like to hear him.
Charlie Robinson Jazz Guitarist, Composer
You can hear me online at: http://www.cdbaby.com/cd/robinsonchazz
or http://www.soundclick.com/bands/rmmgj_music.htm
Keith Freeman
> sound like a commercial but I'm impressed at Marshall's ability to
> mimic the styles and techniques on a number of players from all
> musical fields.
be out there playing his own thing. Or is there real money to be made from
the transcription business?
A pity he has chosen Martino, though, all of whose stuff has been
transcribed already, before doing people like Burrell, Raney etc. of whom
there are few if any published transcriptions.
-Keith
Jeremey Poparad
>
> PS, By the way the versions of "Oleo, All Blues and Blue In Green"
> that Wolf Marshall transcribes/plays are from "Live at Yoshi's".
Ooo... that's one of my favorite Martino CDs... I may just have to pick this
one up now.
Rob T
From a few email conversations, I've had with him over the past year,
Pat Martino was an influence (especially the early PM...Live etc.) on
his own playing. I don't know why he doesn't have music of is own. He
has a couple of dozen books covering various artists..I imagine he
does fairly well from this particular aspect. By the way, in the Best
of Jazz Guitar, he covers solos by Burrell, Farlow, Garland, Howard
Roberts (another influence), Joe Pass, Herb Ellis, Johnny Smith,
Barney Kessel, Emily Remler and others. rrob
Adam Gottschalk
Rob T <ta...@nobozosonthisbus.com> wrote:
> By the way, in the Best
> of Jazz Guitar, he covers solos by Burrell, Farlow, Garland, Howard
> Roberts (another influence), Joe Pass, Herb Ellis, Johnny Smith,
> Barney Kessel, Emily Remler and others.
One should definitely check this out if they haven't. I'm certainly all
for lifting and transcribing by ear on your own of course, but it's
helpful to have some back up and clues or verification sometimes. In
addition, it's really just astounding to listen to WM's ability to mimic
even the minute details, the timbre, the differing pick attacks, etc.
soapy10999
And thank God he cut the hair ;)
"Rob T" <ta...@nobozosonthisbus.com> wrote in message
news:akiicv8tpgtjlkelt...@4ax.com...
>
John Graham
>
> A pity he has chosen Martino, though, all of whose stuff has been
> transcribed already, before doing people like Burrell, Raney etc. of whom
> there are few if any published transcriptions.
>
> -Keith
In a recent correspondence with Wolf Marshall he mentioned that he had
just finished a book of transcriptions of "early" Joe Pass material.
"Included titles are CED, Milestones solo, The Night Has a 1000 Eyes,
No Greater Love, Django, Rosetta, For Django, Cavalerie and Nobody
Else But You from the 1960s."
pmfan57
Wolf spent much of his earlier years compiling a huge book of every
one of Pat's solos (under his real name, which escapes me at the
moment).
BTW, he has "the best of Wes Montgomery", "the best of George Benson",
and "the best of Charlie Christian" available already. Those are
probably good, too.
Rick Del Savio
'Yesterdays, 4 on 6, O.G.D. Misty, West Coast Blues and several more.
Published by Hal Leonard. # HL 00695387 ISBN 0-634-00902-8 Cheers,
Rick :D
--
Jazz Guitarist/Educator
Check out lessons and original music @
http://www.rickdelsavio.com
Tristen J. Rosenn
and was shocked by how bad his time was. It was a perfect demonstration
of how you can play the hippest notes and still sound like an amateur if
your time is not happening. I actually used it back to back with the
real Wes solos in a class I was teaching at GIT to demonstrate this.
There are times when right after the count off he comes in at a
completely different tempo. I believe "4 on 6" is one of those. He'll
occasionally put some rocker vibrato on a note as well. Not to mention
the band he uses is horrible too. I've played it for my friends and they
universally find it funny for about 30 seconds and then offensive. To be
fair the transcriptions are accurate enough. But Wolf's recording
basically demonstrates to me that Wes' time and groove was a MAJOR part
of his sound. Normally I wouldn't bag on someone's playing in a public
forum like this but I found his slaughtering of these timeless solos
really offensive. And if he had played the solos at half speed so they
would have been useful to someone who was trying to learn the solos it
would have been different. But there is no reason to have a cd of
someone else playing Wes' solos no matter how accurate they are when the
real solos are still widely available. The only reason would be to raise
the price of his book by about $10.
-jamie rosenn
www.jamierosenn.com
In article <akiicv8tpgtjlkelt...@4ax.com>,
Greger Hoel
<tri...@linkline.com> wrote:
>I'm surprised to hear people praising his playing. I got the Wes book
>and was shocked by how bad his time was. It was a perfect demonstration
>of how you can play the hippest notes and still sound like an amateur if
>your time is not happening. I actually used it back to back with the
>real Wes solos in a class I was teaching at GIT to demonstrate this.
>There are times when right after the count off he comes in at a
>completely different tempo. I believe "4 on 6" is one of those. He'll
>occasionally put some rocker vibrato on a note as well. Not to mention
>the band he uses is horrible too. I've played it for my friends and they
>universally find it funny for about 30 seconds and then offensive. To be
>fair the transcriptions are accurate enough. But Wolf's recording
>basically demonstrates to me that Wes' time and groove was a MAJOR part
>of his sound. Normally I wouldn't bag on someone's playing in a public
>forum like this but I found his slaughtering of these timeless solos
>really offensive. And if he had played the solos at half speed so they
>would have been useful to someone who was trying to learn the solos it
>would have been different. But there is no reason to have a cd of
>someone else playing Wes' solos no matter how accurate they are when the
>real solos are still widely available. The only reason would be to raise
>the price of his book by about $10.
I haven't listened to Marshall's soundclips in like fifteen years, but
as I remember his and others' soundclips from books they seem to have
been recorded entirely for the purpose of bringing the right note
pattern across, loud and clear with the other instruments way back in
the mix. I don't think there's much artistry intended in them. Making
it swing or rock is kinda beside the scope of the learning material.
--
Greger
______________________________________________
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Adam Gottschalk
"Tristen J. Rosenn" <tri...@linkline.com> wrote:
> I actually used it back to back with the
> real Wes solos in a class I was teaching at GIT to demonstrate this.
> There are times when right after the count off he comes in at a
> completely different tempo. I believe "4 on 6" is one of those. He'll
> occasionally put some rocker vibrato on a note as well.
I've listened very closlely to the Best of Jazz Guitar book, comparing
several tracks back-to-back with the originals. In some cases, I thought
his playing was "better", time, articulation, etc. One example was HR's
Misty; great original, but WM's rendition I think makes "the point"
clearer.
Keith Freeman
would have been useful to someone who was trying to learn the solos it
would have been different. But there is no reason to have a cd of
> someone else playing Wes' solos no matter how accurate they are when the
> real solos are still widely available.
solos at a practice tempo and performance tempo, plus a lot of them are not
so easily available.
-Keith
MBR
> forum like this but I found his slaughtering of these timeless solos
> really offensive. And if he had played the solos at half speed so they
> would have been useful to someone who was trying to learn the solos it
> would have been different. But there is no reason to have a cd of
> someone else playing Wes' solos no matter how accurate they are when the real solos are still widely available. The only reason would be to raise > the price of his book by about $10.
>
> -jamie rosenn
> www.jamierosenn.com
The major music publishers have found they can make money doing this.
It's that simple. Perhaps they don't have to pay anything for the
rights to use an improvised solo. Some other educators have done a
credible job recording classic solos at full and half speed and
including the CD with the book. Jack Grassel did a series which is
quite good. I agree, it does seem a bit bizarre to hear solos being
replicated this way.
Rob T
<tri...@linkline.com> wrote:
> Normally I wouldn't bag on someone's playing in a public
>forum like this but I found his slaughtering of these timeless solos
>really offensive.
No but you felt like doing it anyway
In my mentioning Wolf Marshall, I stated that I was "impressed at
Marshall's ability to mimic the styles and techniques on a number of
players from all musical fields."....Hebdrix to Martino. Would I
listen to Wolf over the original ....,no
You also go in to say " But there is no reason to have a cd of
someone else playing Wes' solos no matter how accurate they are when
the real solos are still widely available. The only reason would be to
raise the price of his book by about $10. "
Frankly, I don't have the time to transcribe numerous guitar solo's.
In my opinion,, spending $19 -20 is a reasonable amount of money to
spend for a transcribed version of a solo. As I mentioned in a
previous post, I don't have the patience to learn entire rote solo's
but I do use the transcribed versions to lift phrases, spur new
concepts etc. By the way, I'm always looking for a new educational
book...tell me where I can find yours. r/rob