Introducing the Fabulous Trudy Pitts is the debut album by jazz organist Trudy Pitts which was recorded in 1967 and released on the Prestige label. Trudy Pitts (born 1933) is a soul jazz keyboardist from Philadelphia, Pennsylvania. She is known primarily for her skill with the Hammond B3 organ. She is married to Bill Carney (born 1925), known to most as Mr.
He often joins her on the drums. In 1999, the Prestige label remastered a couple of her discs from the 1960s into a single compact disc, Legends of Acid Jazz, Trudy Pitts & Pat Martino. She also accompanies Pat Martino on the Prestige Rudy Van Gelder re-issue El Hombre. On September 15, 2006 Ms. Pitts was the first jazz artist play a concert on Philadelphia's Kimmel Center's 7,000 pipe organ, taking the medium to a whole new level. Tracklist A1 Steppin' In Minor 4:30 A2 The Spanish Flea 4:20 A3 Music To Watch Girls By 4:35 A4 Something Wonderful 3:25 A5 Take Five 5:30 B1 It Was A Very Good Year 3:45 B2 Siete 4:00 B3 Night Song 3:50 B4 Fiddlin' 3:55 B5 Matchmaker 4:10 Congas – Abdu Johnson Drums, Liner Notes – Bill Carney Guitar – Pat Martino Organ, Vocals – Trudy Pitts Recorded By – Rudy van Gelder Recorded February 15 & 21, 1967 Van Gelder Studio, Englewood Cliffs, New Jersey Label Prestige PR 7523 This file is intended only for preview!
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El Hombre is the debut album by guitarist recorded in 1967 and released on the label Guitarist 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, flutist, drummer, and both and on percussion, 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 impressive start to what would be a productive solo career. Pat Martino was just 22 when he stepped through the hallowed doors of Rudy Van Gelder’s Englewood Cliffs studio to record his first date as a leader. A veteran of a series of great bands—particularly the organ groups of Brother Jack McDuff, Jimmy Smith, and Richard Groove Holmes—the kid knew the blues.
And he had speed. El Hombre is an organ-drenched speedfest that shows off this Philly kid’s ability to play soulfully, spinning out seemingly endless solos shot through with blue notes, flatted fifths, and thirty-second runs. It was Martino’s calling card, and this was his party. And it is, appropriately, a good time. The Martino story can’t be told without a mention of his 1980 brain aneurysm, which resulted in amnesia and a total loss of his legendary guitar skills. In the following seven years, Martino listened to his own records and retaught himself how to play, renewing his astonishing technique and bringing to it the sheen of experience. You imagine that, in copping his own riffs, Pat Martino could have done no better than listening to El Hombre at great length.
The personnel on this debut is neither imposing nor disappointing. Trudy Pitts is (to this day) a strong Philly Hammond player, and here she gets to devise dozens of settings for Martino’s taking-on-the-word sound. Danny Turner, from McDuff’s group, plays tasty flute on some selections. Mitch Fine is the drummer, with two-hand percussion on board for flavor on tunes that swing in three, four, and six.
The band keeps up with the kid, and that’s plenty. In 1967 Martino came out of the bag with a rich history of recent style-changing players—always-always Wes Montgomery, but also Grant Green and Kenny Burrell.
Pat Martino
Martino sounds in some ways like his contemporary, George Benson, in the fluid way that he translates Montgomery’s impulses into something more insistent and, if possible, prettier. On a Latin treatment of Jobim’s “Once I Loved”, Martino plays Wes-style octaves, but he also unfurls gorgeous runs that start on the low E-string and push upward like rising water. On “A Blues for Mickey-O”, Martino is smack-dab in the center of the blues, and he has the wisdom not to rush too much. His solo quickly gets into the effective use of repeated phrases, and he makes a point of not playing more fancy bop changes than a straight blues can bear. There’s just enough bite to his attack that you hear something contemporary, but there are also echoes of old tunes such as “Teach Me Tonight”. When he moves to the Wes octaves again for a couple of climaxing choruses, it feels alright. More often, though, there is the young cat’s incredible speed.
On “Waltz for Geri”, Martino seems to have a bottomless bag of ideas, and he yanks them out one after the other without seeming to take a breath. Amazingly few of them sound like regurgitated practice patterns. Rather, they come out like shards of potential songs, actual compositions in motion. No other soloist dares to play on the song. The title track is a tune in 6/8 that may even be slightly faster.
The melody is articulated as harmony with the flute, with the hand percussion percolating beneath as incitement to riot. Martino comes out of the gate with harmonic invention and rhythm on his mind, wrapping licks around the insistent organ figure with abandon. The flute solo adds color and precision before the tight melody returns. “Cisco” and “One for Rose” swing up-tempo too, in four, with the same formula making for great listening. “Just Friends” drops the flute but also gallops through the changes, with Martino playing as fluently as on any blues. When he rips down from a high note with a small edge of distortion amidst the speed, you’re able to recapture what must have seemed so special about this kid in 1967—he was an unabashed jazz guitarist who played with a youthful abandon without seeming to defect from the tradition. There is one previously unissued track on the end of El Hombre this time out, a Martino ballad called “Song for my Mother”.
Pitts sounds a bit overdramatic here, coloring the very slow melody, and Turner’s flute seems out of place playing unison with Martino on such a lugubrious line. Still, when Martino begins to solo, there is gold in the way he rises up into a chord and, later, when he gently swings the band with octaves.
This kind of track is never what this flag-waving album is going to be remembered for, but it’s good to know that the young Philly axe-wielder has more on his mind than the Indy 500. As always, Rudy Van Gelder’s sound is exceptional, and the remastering keeps the album crisp and urgent. Today, Pat Martino is fully recovered from his amnesia and playing better than ever. El Hombre deserves to be heard by new fans as well as old ones. Many a young guitarist today will be stunned and jealous, I’m sure, of how fresh this 40 year-old music still sounds. Track listing All compositions by Pat Martino except as indicated. 'Waltz for Geri' - 6:21.
'Once I Loved' (, ) - 5:42. 'El Hombre' - 5:57. 'Cisco' - 4:29. 'One for Rose' - 4:54. 'A Blues for Mickey-O' - 8:02.
' (, ) - 5:47 Personnel. Danny Turner -. Mitch Fine -. Vance Anderson -. Abdu Johnson.
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Contents. Reception Professional ratings Review scores Source Rating In his review for, which awarded the album 4 stars, Scott Yanow states, 'Veteran Pat Martino is teamed up with a variety of different fellow guitarists on this interesting if not quite essential release. A decent effort, but not up to Pat Martino's most significant'. Glen Astarita from was less forgiving noting 'The Blue Note Records debut by guitarist extraordinaire Pat Martino is spotty at best.
It is primarily a series of duets and ensemble settings with a wide array of top notch guitarists spanning different genres. The feeling here is that Mr. Martino had been granted a minimal amount of artistic control from the onset. What we have here is something short of a hack job!' The critic, Bill Kohlhaase, rated the album 2½ stars stating 'Guitarist Martino, who was forced to relearn his instrument after suffering a brain aneurysm in 1980, retains a solid identity in these diverse collaborations with seven fellow guitarists. Martino brings a measure of feeling that his partners never seem able to match'.