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Pat Martino - His Contributions And Influence On The History Of The Modern Jazz Guitar.

Ph.D. thesis. by Dr. Jörg Heuser, University of Mainz (Germany) 1993.
(Unfortunately the text of this thesis is in GERMAN, sorry!)
The original German title is:
Der Gitarrist Pat Martino. Ein Beitrag zur Bedeutung der Gitarre im modernen Jazz
Dissertation, Mainz 1993.
only €19/$25 (includes thesis in PDF, 49 MP3s, FOXIT PDF-Reader, MediaPlayerClassic)
CONTENTS (PDF) - (400 pages => 250 pages text, 150 pages transcriptions)
PM-thesis download (Euro 19)

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0. Introduction (p.1)
0.1. The guitar in Jazz. A short history and background
0.2. Object and aims of the thesis
0.3. Basics, method & terminology

1. Pat Martino's stylistic development (p.14)
- Short biography
- Stylistic phases
1.1. First steps as a sideman in organ combos (p.19)
1.1.1. Instrumentation, repertoire
1.1.2. Form, tempi, style
1.1.3. Solo analyses ("Jive Samba","Gator Tail" and "Satin Doll" all P.M. w/W.Jackson) (p.23)
1.1.4. Synopsis: Improvisational material used by Pat in the given context.

1.2. The first albums as a leader: EL HOMBRE, STRINGS! and EAST! (p.39)
1.2.1. Instrumentation, repertoire
1.2.2. Form, tempi, style
1.2.3. Solo analyses ("Strings", "Lean Years" and "Lazy Bird") (p.43)
1.2.4. Synopsis: Improvisational material used by Pat in the given context.

1.3. The experimental phase: BAIYINA (The Clear Evidence) and DESPERADO. (p.80)
1.3.1. Instrumentation, repertoire
1.3.2. Form, tempi, style
1.3.3. Solo analyses ("Sky Shadows" w/E.Kloss and "Oleo" from Desperado) (p.86)
1.3.4. Synopsis: Improvisational material used by Pat in the given context.

1.4. Phase of consolidation and stylistic variety: FOOTPRINTS/THE VISIT, LIVE, CONSCIOUSNESS, EXIT and WE'LL BE TOGETHER AGAIN. (p.108)
1.4.1. Instrumentation, repertoire
1.4.2. Form, tempi, style
1.4.3. Solo analyses ("Dreamsville", "Along Came Betty", "The Visit" and "Passata On Guitar". (p.111)
1.4.4. Synopsis: Improvisational material used by Pat in the given context.

1.5. The Jazz-Fusion phase: LIVE, STARBRIGHT and JOYOUS LAKE. (p.141)
1.5.1. Instrumentation, repertoire
1.5.2. Form, tempi, style
1.5.3. Solo analyses ("Pyramidal Vision" and "Songbird") (p.147)
1.5.4. Synopsis: Improvisational material used by Pat in the given context.

1.6. THE RETURN: Renewed consolidation (p.178)
1.6.1. Instrumentation, repertoire
1.6.2. Form, tempi, style
1.6.3. Solo analysis ("Do You have a name") (p.183)
1.6.4. Synopsis: Improvisational material used by Pat in the given context.

2. Pat Martino's style and its influence on other important jazz guitarists. (p. 198)
2.1. The jazz guitar after Pat Martino
2.1.1. Scott Henderson: Jazz-Fusion Improvisation (1988) (p.199)
2.1.2. John Scofield: On Improvisation (1983) (p.204)
2.1.3. Bireli Lagrene (p.207)
2.2. Final remarks: The importance of Pat Martino in the development of a modern jazz guitar style (p.218)

3. Bibliography/Discography (p.220)
- books
- albums/CDs
- magazines
- videos
- sheet music

4. Transcriptions
4.1. Pat Martino
- Along Came Betty
- Do You Have A Name
- Dreamsville
- Gator Tail
- Jive Smba
- Just Friends
- Lazy Bird
- Lean Years
- Oleo
- Passata On Guitar
- Pyramidal Vision
- Satin Doll
- Sky Shadows
- Songbird
- Strings
- The Great Stream
- The Visit

4.2. Other Transcriptions
- Along Came Betty (A. Blakey)
- Donna Lee (B. Lagrene)
- Elvis At The Hop (S. Henderson)
- I Can't Give You Anything But Love (B. Lagrene)
- Inferno (B. Lagrene)
- Jean-Pierre (B. Lagrene)
- Josef (B. Lagrene)
- Lazy Bird (J. Coltrane)
- Oleo (S. Rollins)
- Softly As In A Morning Sunrise (B. Lagrene)
- Trim (J. Scofield)
- Wabash III (J. Scofield)