What brand guitar does Pat Martino play?

[Hardbopjazz]

Last week I saw Pat Matino play in New York. I really like the sound from his solid body guitar. I didn't get a change to ask what he was playing. When the set was done, Pat walked off to the back with his guitar. Anyone here know what he plays?

[jazzbo]

A lot of that sound is from PAT.

Don't know what he's playing exactly, and it may be hollow semi-hollow? I see pictures with this guitar in several colors:

EDITED TO ADD: Okay Hardbop, if it was the guitar pictured above, it was a Benedetto guitar. It's a Pat Martino signature model made by the Benedetto luthiers.

http://benedettoguitars.com/2011/06/28/numero-uno-pat-martino/

http://benedettoguitars.com/guitars/professional-series/pat-martino-signature-model%e2%84%a2/

From the link above:

The Pat Martino Signature Model took nearly a year of collaboration between Bob and Pat to develop the perfect instrument for Pat to use every single day on the road, in the studio, while conducting clinics, and while composing new music and revisiting the classics. A very light weight, chambered mahogany body, carved maple top, fast ebony fingerboard, and two A6 Benedetto pickups with duel volume and tone controls, make this instrument specific to Pat’s exacting needs: all without losing the Benedetto pedigree, uncompromising workmanship, and unmatched balance and tonal performance. Available with Pat’s signature inlaid on the fingerrest, Pat’s famously heavy-gauge strings, and in his favorite finishes – Black on Black or Autumnburst on Black. This model is available ONLY DIRECT FROM BENEDETTO GUITARS. Pricing is not discounted. Includes hardshell case and signed Certificate of Provenance by both Pat Martino and Bob Benedetto. (Photos on right by Mark Sheldon)

A Quote from Pat Martino:

“A fine guitar, from a great luthier is designed to remain neutral, and yet provide all that’s necessary for an ongoing relationship. Its visual beauty, a continuous reminder of how it originally hypnotized, and how it will always do the same. Its balance, unquestionable, its endurance outlasting, its adaptation, … like a fluid that takes the shape of what it’s creatively poured into.

Bob Benedetto thank you, that’s what this instrument means to me”.

$6500

Edited July 27, 2011 by jazzbo

[Hardbopjazz]

Thanks.

[DrJ]

I had the pleasure of seeing this lovely guitar (oh and Mr. Martino!) up close and personal at Yoshi's this past Saturday. The Pat Martino Trio (Pat Bianchi on Hammond B3, Carmen Intorre, Jr. on drums) was in smashing form, 90 minutes of bliss. Boy, Pat hasn't lost a step, he gets better with age, and I was just so impressed with Bianchi and Intorre, two remarkable young musicians. They brought down the house. We had great seats right up front; during the first tune I looked to my left and there was John Scofield sitting unobtrusively at a table next to ours, thoroughly enjoying the proceedings (interesting that nobody else seemed to notice). Martino never announced Sco but looked directly at him and smiled twice, announcing two "requests" they had received from "someone" in the audience (early in the set, Shorter's "Footprints," and then the set closer Wes Montgomery's "Full House"), with Sco nodding subtly and smiling back in response. A magical evening - so glad I finally got to see Martino.

Anyway it is again a lovely axe. I agree with jazzbo that much of the sound Martino gets comes from within/his fingers, but also think the axe and even moreso his use of a Marhsall cabinet (quite unusual in my experience for a jazz guitarist of his era) probably do contribute some to his chunky, slighty grainy/midrangy tone (lest those sound like negatives, I don't find them to be - he has a very pleasant and refreshingly different sound).

Edited June 26, 2012 by DrJ

[7/4]

I had the pleasure of seeing this lovely guitar (oh and Mr. Martino!) up close and personal at Yoshi's this past Saturday. The Pat Martino Trio (Pat Bianchi on Hammond B3, Carmen Intorre, Jr. on drums) was in smashing form, 90 minutes of bliss. Boy, Pat hasn't lost a step, he gets better with age, and I was just so impressed with Bianchi and Intorre, two remarkable young musicians. They brought down the house. We had great seats right up front; during the first tune I looked to my left and there was John Scofield sitting unobtrusively at a table next to ours, thoroughly enjoying the proceedings (interesting that nobody else seemed to notice). Martino never announced Sco but looked directly at him and smiled twice, announcing two "requests" they had received from "someone" in the audience (early in the set, Shorter's "Footprints," and then the set closer Wes Montgomery's "Full House"), with Sco nodding subtly and smiling back in response. A magical evening - so glad I finally got to see Martino.

Anyway it is again a lovely axe. I agree with jazzbo that much of the sound Martino gets comes from within/his fingers, but also think the axe and even moreso his use of a Marhsall cabinet (quite unusual in my experience for a jazz guitarist of his era) probably do contribute some to his chunky, slighty grainy/midrangy tone (lest those sound like negatives, I don't find them to be - he has a very pleasant and refreshingly different sound).

This is the band I heard at the Blue Note two weeks ago!

He was using closed cabinets again, not Marshall. It's that guitar and the ultra heavy flatwound strings (.015=high E) too.

Great show, too short.

Edited August 5, 2014 by 7/4