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An analysis of Wes Montgomery's and Pat Martino's interpretations of ''Impressions'' by John Coltrane

Subject Music

Candidate name

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Exam Session May 2012

Supervisor

! Word Count 392/ ·I 7

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Abstract:

An analysis of Wes Montgomery's and Pat Martino's interpretations of "Impressions" by John Coltrane (....-

The main purpose of this study is to investigate the impact of Wcs Montgomery's improvisational style on Pat

r-.hrtino's style through the analysis of their recordings of John Coltrane's Jmpre.r.rionr. I want to outline the distinctive

f , techniques and improvisational materials that characteri·te Wes Montgomer y's style, and evaluate the impact of his /

style on Pat lVfartino. ./

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The first part of the essay focuses on a rustorical background and on the important characteristics o f jazz music.

The second one analyzes Wes Montgomery's version of Impres.rion.r with a focus on basic techniques and typical

devices. The third part investigates the harmonic, melodic, rhythmic and tonal traits of Pat r-. Iartino's improvised line.

In the last section the similarities and differences were carefully analyzed to create a clear understanding of the

selected features of both guitatists. /

This research shows that Pat Martino acquired, the harmonic techniques together with an adoption of a so called,

block c·,~ord soloing from \XIes Montgomery. Wes, unable to read mus.ic, created his personal system which enabled him

to play the sounds he heard applying the harmonic and melodic complexity which is still modern for today's jazz

guitarists. T hrough the adoption and transformation of \XIes Montgomer y's virtuosity Pat Martino developed one of

the most unique .instrumental styles and timbres in the jazz history.

Word Coun t: 212

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TABLE OF CONTENTS

' J 1\bstract. ............................................................................... ........................ ............... ....... .. ............. . 1

[j Introduction ....................................................................... .......... ... ..... ........................ ....... ........... ... 3

Jazz music .......... ........ ................... ........ ........... ........... ............................ .... .............. ... ...................... 4

Wes Montgomery ..... .......... ... ............. .. .................... .. .................... ............. ..................... ... ..... .. ...... 5

T he thumb and the octaves ........................................ ................ ....... .......................... ........ ............ 5

The Recording at the Half N ote ................. ...... ................. ......... .... ................................................ 6

Analysis of~/es Montgomery's Impression.r .................................................................................... 6

Pat Martino ............ ......... ...... ....... ............................ .................... ... ...... ............................................. 9

Pat Martino's Picking Technique ...................... ............................... ... ............. ............................... 9

Analysis of Pat Martino's Impre.uiom .... ... ................................ ... .. ................................................ 10

Compare and Contrast ............................... .. .................. ..................................... ...... ................... .. 11

Conclusion .... .. ............................................................. ............................ ........................................ 13

Bibliography ............ ..... ......... .............. ...... ......................... ....................... ..................... ................. 14

Appendix 1: \Ves Mon~omery's Impressions Score .... .... ............................................. .. .............. 15

Appendix 2: Pat Martino's Impressiom Score ........................... .... ................................................ 28

Appendix 3: Pat Martino and Maciej Tomczak after Pat's concert.. ........................................ 36

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Introduction

To play jazz means many things: to express yourself, to tell a stoxy, and to disseminate your soul. , \11 of these can be

/ nta.ined in one thing- musical impro,risation. Tlus is the essence of jazz music and an aspect that I, as a beginning

~jazz musician, wish to explore. 1 have chosen two versions of Jolm Coltrane's Imprm·ions recorded by \XIes

Montgomery and Pat 1\fartino, in order to study the art of improvisation from the masters of jazz guitar. In an

attempt to reveal the secrets of real improvisation, I have decided to pick a musician who in his musicality

outperforms others. \XIes ~Iontgomexy clearly desenres to be included in the handful of the most inspirational artists

that have ever lived. My aim in this work will be to prove the impact \XIes l'v!ontgomery had on further generations of ----jazz guitarists, represented by Pat Martino.

Why are musicians such as Wes I\Iontgomery, John Scofield, Pat Metheny, or Pat Martino so great? T lus question

occupies minds of many jazz enthusiasts, including myself. Most would say that timing, melodic and haxmonic

knowledge, rhythmic complexity, and musicality axe the key aspects that make up a great musician. However, in a

process of underst'lnding jazz music most of these key elements are unintelligible to many people. _-\ simple

understandi.ng of these terms does not automaticil lly bri11g a musician to a "blissful statc"1• The full awareness of the

greatness of people like Wes makes other musicians realize how big the space is between them and the ge•uus.

G reat musicians, like Pat Martillo further developed \Ves's innovative techniques and inco rporated them into their

own repertoire, rather than simply copying his style. Wes' licks" and melodic ideas became an inspiration for many

musicians to create their own masterpieces. l1or instance, could an interpretation of .John Coltrane's Impre.r.riou_r by Pat

lvfartino be the same without Wes having introduced block chord3 or octave soloing technique before?

My aspirations to e--xplore the technical aspects of performance of these two great jaz7. guitarists should be

considered predominant in this paper. For me however, emotions accompanying listening to the music are admittedly

substantial. 1 truly believe that no one can get really drunk on a novel or a painting, but who can help getting drunk

on Mo:~.art's Por!J' l'irst, Maceo Parker's ut's Get lt 011, or l\ Iontgomery's solo in Imprwiou.r? ~

1 Wellington, Anthony. FoHr Leuel r of Awqreue.rs lor t1 l!lltritiau. You tube. Web. lO June 20 ll. <hrtp:// youtu. be/9Rhvxy0r2Do>. ] Lick is a short phrase or passage; often with the connotation of a commonly used phrase or a cliche. 3 It is a large, many-voiced chord, which usually moves in parallel motion. 1 An idea fo r forming this phrase came from lVWan Kundera's book - "The Unbearable Lightness Of Being" exccqJt from (A Short Dictionary of Misunderstood Words), "[V[usic", page. 46.

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Jazz music

A great contemporary conductor, Leopold Stokowski s;tid once that, jazz was the most astonishing phenornenon in

the whole history of music5; and tl1ere is no exaggeration in this sentence. jazz music could be considered ulliquely

American with its cradle in New Orleans. Jazz as a musical genre, was born out from a marriage of down-home

blues and ragtime just after the turn of the century. Early jazz appeared in the '1800's, sealing the first, most

significant African-American contribution that motivated musicians and audiences worldwide crossing the musical

borders, since d1e very beginning of it all. With this understanding of jazz music I will be looking at two different

recordings, one by \Xles J\1lontgomery and the other by Pat Ivlartino.

In the 1930's jazz went to the next major era as the music moved out of New Orleans and into cities like St. Louis,

Chicago and New York. fn the 30's and 40's jazz entered what many think was the most popular time for jazz music

- the Swing Era. By then jazz was characterir.ed by big bands led by musicians like Count Basie, Benny Goodman

and Duke Ellington. l t was usually performed in groups of twelve to sixteen that were traveling in _\merica playing

in the packed dance halls.

T n the SO's and GO's jazz musicians began to tal;.e music to the boundaries of creativity. Jazz combos became smaller

so that the previous dominant horn section was pushed away making space for instruments such as the electric guitar.

in Wes Montgomery's album "Smokin' at the Half Note", there are drums, piano, bass and guitar. It was recorded

live duxing one of the jam sessions at the bar Half Note in New York in June and September '1965. 1t was usual that

jam sessions occurred in the bars: a group of musicians got together and agreed on a tune, or a musician staued to

play. ln the latter instance, musicians who know the tune might have joined in the p laying or waited until they felt at

ease with the piece. The jam session might have continued until the performers decided to stop.

The way of creating smmd is different in jazz and in popular music. In an orchestra for example, the idea is that

separate insttwnents are supposed to sound ' felicitously. Every musician must have possibly the same ideal sound

and unquestionably be able to play it. In jazz, however, a compliance with generally applicable sound ideas is not the

m;Un focus. T\·Iontgomery's tone was more a way of expressing his individual feelings rather than being 'esthetic'. ,\ n

expression of emotion is also important in popular music but it is not the main point. ln jazz, an expression is more

important than esthetics. Having said d1at, the tendency of opposing the esthetic norms does not mean that jazz

must be "unaesthetic". Even though Wcs could not read music his harmonic conception is extremely advanced even

to this day.

5 Sclunidt, .-\ncL:zej, Hi.rlona}a;,;,« 194 5- /990. Volume 3. Warszawa: Krajowa agencja wydawnicza. Print. Page 23.

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Wes Montgomery

Wes Montgomery came from a musical family but was not skilled at reading musrc, instead, he could pick up

everything by ear. He started playing a guitar at the age of 19 and grew up with idols such as: Django Reinhardt,

Charlie Pflrker and Charlie Christian. Christian 's influence can clearly be heard in Wes ' music, especially in his early

recordings; he was even known for being able to play all Christian's solos by heart His performing career falls in the

"post bob" period from the late 1950's until the 1960's, when many of those now considered among the greatest of

all time such as £\-Liles Davis and John Coltrane achieved d1eir fame.

The thumb and the octaves

It is the thtunb d1at made Wes famous in the fust place. His unique sound is regarded as the most 'distinguishing and

memorable feature' of his improvisational style. He never used a guitar pick for playing. Many guitarists use 'hammer

on and pull off' teclmique in order to minimize picking motion and create a smoother note flow This helps with the

creation of a swingint feel while playing fast lines on guitar. In Wes' situation 'hammer ons' and 'pull offs' were not

the only techniques he used to create a more swinging sound. Adrian lngram acknowledged tl1at "besides the octaves,

the main reason for Wes' enormous popularity was the ·warm sensual timbre7 produced by the thwnb."K

The octaves slowed down d1e 'superhuman' fas t playing to a human rhythm so d1at the guitar line sounded thioY .-\t

the time when Wes started playing with octaves it was commonly adopted as incorrect. Nat Adderley said in his

interview for OrrLn Keepncws's "The Incredible Ja:t% Guitar o f Wcs Montgomery", that he and his peers had studied

in universities how to be 'a correct musician' 1V. H e said referring to the time when had seen Wes playing for the first

time, "I studied all that and 1 don't know anything about, what this man is doing." Onin Keepnews says himself that

Wes was playing things that a musician was not supposed to be able to do. On d1e whole, d1c use of octaves obtained

greater volume and thickened texture, and dynamics in l1is improvised lines. More importantly, Wes' concept was

unique in d1at he developed octave soloillg to the point w here he could easily sustain long improvised eight-note

lines for entire choruses II in that respect, creating interest and maintaining continuous intensity throughout.

6 Swing is basically defmed as a rhythmic element and manner of playing (inflecting) rhythms peculiar to jazz. Berendt, Joachim Ernst, Od Raga Do Rotka. Krakow: Polish Music Publisher, 1979. Print. Page 209. 7 l t is the toue guality that cliffeccntiates one instrumenr from another. The properties that define the tone color. N Ingram, Adrian, IIYrr Mnlltgnlllf[J. London: Ashley :Mark Publishing Co., 1985. Print. Page 49 . ''Says Sirrota Warren in his article: Wn Mol!tgOJIIOQ'• Thr KiNg n( Octa/ICJ. Web. 20 Aug. 2011. < http://www. wo.ddwidewoodshed .com/ woodshedd in / I ssue8 /Wes.h tm >. 10 Orrin Keep news, T/;e lucrrdib!c]a:;,;. Gwiar qf !!Yes Moll(gOIIJC(l'· You Tube. Web. 09 I\ fay. 2011. <http: / /youtu.be/ BLsoz58946k> . II A musical form in jazz setting a chord structure or progre~~ion which in its totality forms the basis for an improvisation

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The Recording at the Half Note1 ~

Due to lack of available resources I am forced to use a remastered 13 version of Impressions. This may have an effect

on the listener by taking away the pureness of the live reco rding from the Half Note. lmpreuiom is the only tJack on

the remastered "Sm okin' at the Half Note" album that does not have any bonus tJacks. 14

T his ve rsion is the only offlcial studio versio n of ll!lpre.r.rions that \X!es recorded. The instrumentation was: bass, piano

and drums however, the song features onJy \X!es's solo which lasts for 289 measures. Consequently, 1 am taking \XIes'

version firs t in o rder to create a base for further e;'l:aminacion and analysis of the basic techniques, imprmrisational

materials, and typical devices that characterize \X!cs ~fontgomery's improvised line .

.Analysis o f Wes Hontgomer)"s lmprwionr

lmpre.rsioJIJ" is a jazz s tandard 15 and a d erivative workl6, based on the common .\ 1\B,\ thirty-two measure formal

s tructure. Tt is a classic modal theme, based not on functional ha.rmony17 but o n two D orian scales (0, E b). Tts

chord sequen ce is identica l to that o f Miles Davis' "So What" (16 bars of Dm7, 8 bars of Ebm7, and 8 bars of Dm7).

T he ,-\..AB.A structure (also called Bock to Bock progression) rep eats throughout d1c whole tune. 'fhe tension creating

factor in this tu11e, oth er than keeping it inrerestiJ1g through the .A.AK-\. progressio n, is the turnaround from the last 8

bars of Dm7 to 16 bars of Dm7 which gives s tra.igbt 24 bars of D m7.

In tl1e A section, the melody steers upwards from the note D to its fifd1 .A in a dtone-like fas hion outlining a Om

chord. Wes' u se of the open strings has an impact on his p hrasing. fie uses open D and G strings (example 1). lt is

common for him to use them to deepe n tl1e sound and sometimes to slow down the melodic line.

Example 1

m jt0m7 -<. I J ,, ---

Part B ra.ises the;\ sec tion a half s tep from Dm 7 to Ebm 7. This structure is typical for modal pieces, two parts, one

lower in pitch, followed by a higher. Wes performed sect.ion B using octaves. ln jazz music, a more p ersonalized and

individual interpretation is desired . Instead of playi11g part B in the same fashion as part .-\., Montgomery used

11 Half Note ts a reconl1ng studio and club Ul New York City. 11 Rcmastcring of an old ~tereo mix .is a process of cleaning up the mtginal instrument tracks, am.! balancing them appropriately for today's ctig.i. tal stert:o t:quipment. 1" l\ [ontgomery, Wes, per( Itnpre.r.riom. Album: Smolan' at the Half Note. Riverside Records, 1965. CD l5 Standard tunes are familiar, well-established popular nmes, used by Jazz musicians as a basi.~ for improvisation. 11• A work based upon one or more pre-existing works. Sclurudt, r\ndrzcj, op. cit. Page 137. 17 Punctional harmony is a method used by modern arrangers Rnd orchestrators which effects a complete and thorough understanding of the pr.i.ncipb of harmony in a minimum of time. Adam A., \Xliliiam. Fam1iol!OI Hamtlll!)' -ltr Urc io Modern Arraugiug. Educational Music Magazine, Nov-D ec, 1949. Web. 23 Oct. 20 II .

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octaves changing the rhythmic structw:e as well as the melodic structure of the Ebm7 part. The melodic shape of

part B contains the same idea as in part ~-\ with addition of symmetrical ascending and descending octave movement

(bars20-22) as shown in (example 2).

Example 2

\XIes created many of his best solos with a great concern for the form. Using the basic components of the single

notes, octaves, and block chords, he pursued a definite strategy: a general th ree-tier plan usually occurring over mul­

tiple choruses. In fmpressions Montgomery opened his solo with single-note playing, then he progressed to octaves,

and ended with a block chord finish in Ius fina l chorus. H is powerful block chord climax will be further analyzed in

(example 6) .

.A nalysis of \XIes Montgomery's solo transcription reveals the prevailing use of various types of triadic, four-note,

five-note, and SL'(-note chordal structw:es, wluch he outlined in his solos. Wes bad a strong inclination towards the

arpeggiated structures in his improvised solos. T he way he employed these diverse structures and their

superimpositions was what made hL~ harmonic language so unique. He employed varying types of arpeggios (minor,

major, minor seventh, major seventh, etc.) when improvising. _-\heady in bar 8 (Example 3) J\lontgomery used triads

in different inversions. In example 3 he used a rapid Gmajor and Fmajor triads at the end of the first repeat of the

section .A.

Example 3

JJI IJ1J. JJJir~J r (c__...... •

[n bar 60 (example 4), Wes used the upper stt:ucture uiads to add extensions (719/ 13) to the chords. It is the upper part

of the 0m7 arpeggio. The notes (F, A, C) make up an F major chord which is a part of the more modern m 7/9

extension. This creates a more modem chord called 0m7/~.

Example 4

- 3 3

The 7•11, 9•h, 11•11 and 13•h extensions arc the trademark of the jazz music.18 Cha.1:lie Parker was the pioneer who

greatly contributed in the spreading of this approach in jazz by moving the extensions fw:tJ1er away from the root

than anyone in the past. In jazz the key signature is treated more freely because it changes so much throughout tl1e

progression of the piece. In comparison to classical music, key changes occm throughout the tune without any

specific notation. Furthermore, his technique was extremely linear. He frequently connected several positions

laterally up and down the fret board in one phrase, and often shifted on a single suing. As a result, he seemed to

avoid the normal positional confines of guitaristic "box playing" . 19 Instead, most of his lines overlapped and

dovetailed each other in the manner of chord inversions arranged hot'izontaliy on the ftngerboal:d . Example 4.1 IS a

perfect illustration of this approach. Starting in bar 47 Wes plays a Om idea over two positions.

Example 4.1

EPm7 47

I@ o*Th r r:-r r f'tJtf;br i j 1 1

.-\nod1er important element of the bebop style is the use of tl1e passing notes which served the pw-pose of creating

melodic tension. These passing tones also serve a greater purpose of leading the melody line. Wes among many

other jazz musicians used a lot of passing notes in his improvised lines. Their application in jazz is to create a logical

link in d1.e improvised line to the target note. T.n ilie example below Wes uses .t\# as a passing note that leads to tile B

natural (example 5). l t creates a melodic fluency and tension.

Example 5

IX Joachim Ernst Berendt, op. cit. Page 187. 1? Mar$h, Wolf. Best of UVcr Mo11tgwmry: G11itar (Jigttal{lj'e LickrJ. Hal Lconru:d Corporation, Qanuary I, 2001 ). Print. Page 6.

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O ne of the most recognizable and distinctive surface feature of t\ilontgomery's improvisational style is his unique

application of rhythmic motives. I Ie usually creates these motives tluough rhythmic repetition of a single note or a

small group of notes. Wes often uses rhythmic motives in octave and chordal passages to further strengtl1en and

amplify his solos. The example below shows one of the most popular of his percussive, rhythmic ideas.

Example 6

29 7 Dm9 f m9 Ern9 Ebm9Dm9

l&t~=B~ i1i~ ~===~~ ifi~1;·~ :~~ ~~ ~-===~ fi1 302 F m9 Em9 Ebm9 Ebm9

1& fi ~ ~ i i i 1 ~ fi fi ~ ~ ,.~·~ :~ -~~ ll•ln n ~ u

J n e..'l:ample 6 illustrates a repeated tlouble-eighth and quarter-note motive, which intensifies and concludes the me­

Lodic and rhythmic feel of the solo. Beforehand, Wes had improvised with clashing, and syncopated block chord idea

also using quarter-note and half-note rhyd1ms. This is the climiL'< of his solo which leads straight back to the head.

Pat Martino

]'vfartino began playing guitar when he was twelve years old and he left school in the tenth grade to devote himself to

music. Pat was first exposed to jazz through his father, who sang in local clubs and briefly studied guitar with Eddie

Lang. His first-hand encotulters were 'Trane and Montgomery, whose album Crooveyard had "and an enormous

influence" on him as he recaUs. 20 ln his version of lmpres.rion.r Pat Martino is performing together with drums, bass

and organs which is similar to \Xfes' combo set up. For the analysis, I will use the version from the album called

"Cream" which is a compilation of recordings made from 1972 to 1977. Wes Montgomery can be placed in the

second generation of d1e jazz guitarists after people like Django Reinhardt, Eddie Land and Charlie Christian. Pat

l'vfar tino is somewhere in between the second and the third generation which is represented by rl1e later musicians

such as John Scofield, Pat Ivietheny, ancl l\Iike Stern.

Pat's Picking Technique Pat's right hand teclmique is very unique. Whenever he answers ques tions about his picking hand he says that it is "a

completely random, and not a practiced element to his playing". He almost always uses very thick custom strings

where his high E is a .15mm. The unusually thick strings and d1e way he picks every note have an effect on his tone

color. Pat picks all notes rarely using 'hammer ons' or 'pull offs', since dus technique is difficult on the duck strings.

2<1 Martino Pat, Biog,mpbv. \Xfeb. 23 Aug. 2011. <http://www.patmartino.com/>. 9

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A nalysis of Pat Martino's lmJ!res.rjow

ln his version Pat starts with a 2 bars long motive which he plays in the fust 8 bars before the head21. ln bars l and 2

in example 7, he descends from Cmaj and Bm triads to reach the targe ted "-\m chord. In the second part o f this

melodic idea he moves his target cho rd higher fwm previous ,-\m to E7119 (bar 4). T heE domi11ant chord with added

#9•h resolves the minor tension from bar 2.

Example 722

Pat J\Iartino lowered the original key of Impreuions a fifth so this line from section A is built on .-\m 7 cho rd. The

phrase in example 8 begins with repeated asymmetric motive (six eights), i11troducing an i11teres ti.ng shift o f accents.

The motive is chromatic but on the strong parts of the tac t there are oruy diatonic sounds. Bars 3-6 are made out of

notes from an ,\ minor, D o rian scale with a few passing notes with and exception of G# in bar 3. T lus note is a par t

1 [ of the melodic minor scale.

Example 8 2l

I. - t L - I I 1 • • r1• - 1.1. ----,. .... .... • 'lr "Jl \lW "'!. II ·- ..-

} - - - - I' ~

Am7

•

In Pat's solo he mai.lliy uses miJ.1or 7•h Hnes such as the one shown in d1e example 8. Many o f Ius Hcks arc built o n

almost constant 8•h notes. The begiruling (.fust 3 bars) clearly outlines an Am7 chord. In C..'l:ample 8 Pat uses the lead­

ing tone of G to stir the Hne to ,\ . In bar 4 he forms a Gm chord and finishes o f with an Am7 chord again. To form

his licks over .\m7 he would use d1e relative chords such as D 7, Cmaj7, and F#m7b5. The advan tage is tl1at t.he same

line works over diffe rent chords. l\Iarti.no calls this a 'minor conversio n' principle, wluch he explains in his book

called Linear E xpressio ns.

! I In Jazz the head o f a piece is its main theme. 2! llfeasut·es 1-5 of Pat Martino's I111pre.r.rio11.r. 23 This part was no tatetl in Sibelius (composition and not:J. tion software) and does not come from I he score from Appendix 2. Ano ther representation of this lick can be found in Martino's score (A ppendix 2) on page 5, in the part , \ 3.

10 1

Example 8 truly highlights Martino's improvisation style. It is his typical melodic line in which the beginning of the

phrase starts with long and fluent lines which resolve into a short rl1ythmic ending. Tn Martino's playing many char­

acteristic improvised licks are easily recogtu:table, however, they will always vary in tbe pill:asing. Pat carefully ma­

nipulates the aforementioned rhythmic and melodic licks in such a manner as to change their general contour with­

out, however, sacrificing recognizability.

Example 924

In Example 9 Pa t: uses a small rhythmic motive in a number of variations. He is using a 3 note motive (G D # E),

wlllch he combines in the eight-note line. ln the 4•11 bar of the example the line is completely turned around, so it

starts again on beat 1. Furthermore, i\Iartino keeps on accenting Lhe D# no te, which then occurs on different beats.

Compare and Contrast

The time-feel in jazz can be divided into three different parts o f the beat; either ahead of the beat, behind the beat,

or on the beat.!S Wes' feel of the timing is such that he usually plays on the beat, however, he often pushes the beat

ahead .in I111prwio11J because of the fas t tempo. Similarly to Wes, Pat l\ (artino plays with impeccable swing most of

the time starti11g on the bea t. Wes' improvisa tions were comprised mostly of eight-notes and tended to be more

rhythmically directed. When moving to the octave and b.lock chord parts of tl1e solo \XIes' rhythm:< usually become

more motivic and reiterative. l'vfartino mostly improvises witl1 more frequen t changes in his melodic ideas although,

his licks tend to be more rhyt.Lunically linear. Examples 1 1 and 12 illustrate the great difference bet\:veen Montgomery

and Martino in tl1eir approaches to rhytlllD.

1< Appendix 2. Pat .l'vlartino "lt;prcssionl' score, page 3 . 1' De Stefano, Reno. ll?'e.r MontgtJ!Imy} !IJ!pm!ILfalional S£vle (19 59-631· Tbe Riverside Yeq!:r. Thesis. Universite De Montreal, 1995. \XIeb. Chapter 7, page l.

11 /

Example 11

Wes ?viontgomery

80

i&JJJI Example 12

Pat i'viart:ino

-

The example 12 clearly exhibits Pat Martino's rhythmical approach. It seems evident, that he has a tendency of play­

ing straight eight-note lines with little rhythmic variations, whereas, Wes is more creative. On bar 81 in example 11

\X'es improvises in Ebm7 with 2 note rhythms that occur on different starting points all the time. The development

of different improvised ideas with variations in rhythm and acccnt1.1at:ion is common and bo th Wes and Pat do that.

However, Wes' musicality can be seen as a rare gift and one could say tlut he is a compose r in real time.

Both Montgomery's and Martino's goal is to become closer with tl1eir phrasing to the horn players such as Dizzy

Gillespie or Charlie Parker. 21. Because of 1\Iart:ino's right hand teclullque his approach to p laying is more guitaristic

whereas, \XIes's phrasing is smoother. A similarity that characterizes i\Ion tgomery and !\-Iartino is tl1e use of a warm,

deep, and distant timbre. l\lart:ino thinks more in the box-shapes, which he combines in a very fluent way, whereas

Wes is playing more horizontally.

21• tvfnrlino mentions in an interview filmed in Bologna, Italy in 2010 that in the he was always " more interested in ho l'll players".

12

.. t-- '

Conclusion

In my work I illus trated that although both inteqJreta tions are quite unique one can prove the impact of Wcs' playing

technique on Pat's improvisational li11e. Both Wes and Pat had great inclinations towards d1e use of arpeggiated

structures. However, in their solos in lmprcniom they demonstrated two distinctively personal ways of employing

various arpeggios (minor, major, minor seventh, major sevenths, etc.) with their superimpositions. Different types of

major and minor atpeggiated structures affected the tone color of their improvised lines. Pat comfortably incorpo­

rated Wes' block chord soloing without losing sight of the advanced chromatic approach that had defined his origi­

nal style from the beginning of his career.

In the mid-1960's l\Iartino and Montgomery developed a slrong bond of friendship, despite a twenty year difference

in their age. "Whenever they were working in the same town they would get together at one or the other's hotel and

play, work, jam, learn, teach, e>.:perimcnt, and dig each o ther."27 These opportunities to play with Wcs had a great

harmonic influence on l\Iartino. He learned a lot from Wes but instead of just copying him, he managed to trans­

form that into his own style. His fascination with Montgomery's improvised lines lasted for years and is still visible

on Martino's 1·elatively new album ''Remember: A tribute to Wes Montgomery'' .

27 Giddi.ns, Gary. Uurar Ne!c.r to PaL Mmtjuo/ Footjujut.r, .i'vluse 5096.

13

Bibliography Public;Pons

tf ~rendt, Joachim Ernst, OdR«f.a Do Rockq. Krakow: Polish l'vfusic Publisher, 1979. Print.

c.:/ D e Stefano, Reno. !Per Moutgomec,v\· lmproviratitJ!Iql Jtyle (1959-631: Tbe Rjumide Yeat:<·. Thesis. Universite De

Montreal, 1995. Web.

~iddins, Gary. Linear Notu to Pat Mmtiuo!Foo(JJiiul.r, Muse 5096.

~-~~ngram, Adrian, We.r Montgomco. London: .Ashley l\hrk Publishing Co. , 1985. Prin t.

• Kundera, Ivfilan, The Unbearable Lightne.r.r o( Being. New York: Harper & Row, 1984. Print. Page 46.

~Iarsh, Wolf. Be.rt oJ JJ:7e.r Montgomev: Guitar {Signature Lick.rl. H al Leonard C01poracion, Qanuary 1, 2001).

Print.

/ Schmidt, .\ndrzej, HistotiaJawr 1945 - 1990. Volume 3. Warszawa: Krajowa agencja wydawnicza. Print.

Websites

~/ .-\dam .A., William. Fzmdioual H armonv- [ !J Use in Modem Arranging. Educational Music l'vfagazine, Nov-Dec,

1949. Web. 23 Oct. 2011.

~lartino Pat, 13iograPhl1. Web. 23 Aug. 2011. <http:/ / www.patmarcino.com/>.

~Orrin K eepnews, Tbe Incredible latx, Guitar of !Pes M.ontgomcfJI. You Tube. \\7eb. 091Iay. 201 1.

< http:/ /youtu.be/BLsoz58946k> .

vJ" Sirrota, Warren, IIY'e.r Montgomer,y. Tbe King of Octaves. Web. 20 Aug. 2011.

<http://www. worldwidcwoodshcd.com/ woodsheddi.n/ lssue8 / Wes.htm>.

• Wellington, Anthony. Four Leuelr o( /liUttrcnes.r for ctmttsidan. Youtube. Web. 10 June 2011. v

<http: / / youtu.be/ 9Rhvxy0r2Do> .

An Online Interview

• _..A\~.rt:i.no, Pat. lAZZlT Inter!Ji.rta Pat Mattino 01/ Vimco.lnterv.iew: Vimeo, Video Sbming For Yo/f. J. \ ZZTT n r, 3 1._../

July 2011. Web. 23 Sept. 2011. <http:/ /vi.meo.com/25936924>.

t-An Online Forum Dedicated to Pat Martino

• M~tino, P>t. J<C<:< /JuUWu B""" - &1Wrd h)! VBuU<tfu. Ed. P>~ Mucino. Wob 24 Aug~ < http:/ / fomms.allabout)azz.com/showthread.php?t=14335 >. -

Recordings

/. l'vlartino, Pat, perf. Jmpre.r.riOil.r. Album: Cream. 32 Jazz Records, 1997. CD.

/- lvlontgomery, \~/es, perf. fmpression.r. Album: Smoki.n' at the Half Note. Riverside Records, 1965. CD

14

Appendix 1 Wes l'viontgomery "lmpressions"

Based on the Changes to

Impressions As Played by Wes Montgomery On the album Smokin' at the Half Note

This album was an album that stirred a lot of controversy in the Jazz world. One would think that from the title of the album that it would have been an entirely live set but much of the album was recorded at Rudy van Gelder's studio in Englewood Cliffs, New Jersey. The 1965 album features the same rhythm as is featured on Miles Davis' famous Kind of Blue record; bassist Paul Chambers, pianist Wynton Kelly and drummer Jimmy Cobb. Only two of the original LP's five tracks were recorded at the Half Note ("No Blues" and "If You Could See Me Now.") At the behest of producer Creed Taylor, the other three were re-recorded three months later at Rudy Van Gelder's studio in New Jersey. An album called "Willow Weep for Me• was posthumously released from the remaining live tracks. Thisrecord included string and brass arrangements by Claus Ogerman on "Willow Weep for Me", "Portrait of Jennie," "Oh! You Crazy Moon," and "Misty" that were obviously not a part of the original live sessional the Half Note and these arrangements were panned by the critics. Later the album was rereleased with the first five tracks are from the original Verve LP. Tracks six through eleven are from the Willow Weep for Me album without that album's string and brass arrangements. Impressions is what is known as a "derivative work", a work based upon one or more pre-existing works. Its chord sequence is identical to that of Miles Davis' · so What• (16 bars of Dm7, 8 bars of Ebm7, and 8 bars of Dm7). The song is a variant of Davis' song that Coltrane had long explored as a member of the Miles Davis quintet. The original recording of the song is an up tempo tenor onslaught, a blistering, sustained exploration in which Coltrane and drummer Elvin Jones established new parameters for intensity and sheer physicality. Both songs originate in Ahmad Jamal's 1955 cover of Morton Gould's "Pavanne" which makes Impressions a double derivative. The quartet sets the D and Eb dorian changes of "Impressions" on fire. En fuegoll Montgomery's solo is chalked full of superior melodic expression. He epitomizes power and assurance with his note selections. On the other hand, Kelly is no slouch either. He's kind of like the Vice President, you know he's there waiting and when it's his turn to take the driver's seat, he'll get the job done. His interaction with Montgomery during his solo shows just how close these two musical minds were. During several moments of Montgomery's solo, he and Kelly accent right on time with each other. You can hear Wes laughing in joy on the track in the background. This was by far one of Montgomery's tour de force songs. This song is the very definition of what we know as swing and an excellent example of modal playing on guitar.

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COLTfANI' • AiL PAT IIIAtTI'IIO

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Thank you Pat!

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