The Les Paul Trio with Guitarist Pat Martino and Pianist Eldar
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The last date listed for The Les Paul Trio with Guitarist Pat Martino and Pianist Eldar was Monday December 7, 2009 / 10:00pm.
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Lemony Snicket's The Composer is Dead is a murder mystery that takes place at the orchestra. The composer is dead -- and we must discover who did the wicked deed. The performance is intended to introduce young people to instruments in the orchestra through the guise of a humorous and thrilling mystery, keeping both children and adults immersed in the action. The orchestra will also perform the New York premiere of Embrace by Brooklyn composer Kenji Bunch, featuring Tracy Silverman on electric violin. Learn More
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“Eldar combines Art Tatum’s superhuman velocity with echoes of Oscar Peterson’s grandeur." —The New York Times
When the anesthesia wore off, Pat Martino looked up hazily at his parents and his doctors. and tried to piece together any memory of his life. One of the greatest guitarists in jazz. Martino had suffered a severe brain aneurysm and underwent surgery after being told that his condition could be terminal. After his operations he could remember almost nothing. He barely recognized his parents. and had no memory of his guitar or his career. He remembers feeling as if he had been ’dropped cold, empty, neutral, cleansed…naked.
In the following months. Martino made a remarkable recovery. Through intensive study of his own historic recordings, and with the help of computer technology, Pat managed to reverse his memory loss and return to form on his instrument. His past recordings eventually became ‘an old friend, a spiritual experience which remained beautiful and honest.’ This recovery fits in perfectly with Pat’s illustrious personal history. Since playing his first notes while still in his pre-teenage years, Martino has been recognized as one of the most exciting and virtuosic guitarists in jazz. With a distinctive, fat sound and gut-wrenching performances, he represents the best not just in jazz, but in music. He embodies thoughtful energy and soul.
Born Pat Azzara in Philadelphia in 1944, ha was first exposed to jazz through his father, Carmen ‘Mickey’ Azzara, who sang in local clubs and briefly studied guitar with Eddie Lang. He took Pat to all the city’s hot-spots to hear and meet Wes Montgomery and other musical giants. ‘I have always admired my father and have wanted to impress him. As a result, it forced me to get serious with my creative powers.’
He began playing guitar when he was twelve years old. and left school in tenth grade to devote himself to music. During visits to his music teacher Dennis Sandole, Pat often ran into another gifted student, John Coltrane, who would treat the youngster to hot chocolate as they talked about music. Besides first-hand encounters with `Trane and Montgomery, whose album Grooveyard had ‘an enormous influence’ on Martino, he also cites Johnny Smith, a Stan Getz associate, as an early inspiration. ‘He seemed to me, as a child. to understand everything about music,’ Pat recalls.
Martino became actively involved with the early rock scene in Philadelphia, alongside stars like Bobby Rydell, Chubby Checker and Bobby Darin. His first road gig was with jazz organist Charles Earland, a high school friend. His reputation soon spread among other jazz players, and he was recruited by bandleader Lloyd Price to play hits such as Stagger Lee on-stage with musicians like Slide Hampton and Red Holloway.
Martino moved to Harlem to immerse himself in the ‘soul jazz’ played by Earland and others. Previously, he had ‘heard all of the white man’s jazz. I never heard that other part of the culture,’ he remembers. The organ trio concept had a profound influence on Martino’s rhythmic and harmonic approach. and he remained in the idiom as a sideman, gigging with Jack McDuff and Don Patterson. An icon before his eighteenth birthday, Pat was signed as a leader for Prestige Records when he was twenty. His seminal albums from this period include classics like Strings!, Desperado, El Hombre and Baiyina (The Clear Evidence), one of jazz’s first successful ventures into psychedelia.
In 1976, Martino began experiencing the excruciating headaches which were eventually diagnosed as symptoms of his aneurysms. After his surgery and recovery, he resumed his career when he appeared in1987 in New York, a gig that was released on a CD with an appropriate name, The Return. He then took another hiatus when both of his parents became ill, and he didn’t record again until 1994, when he recorded Interchange and then The Maker.
Today, Martino lives in Philadelphia again and continues to grow as a musician. As the New York Times recently noted, ‘Mr. Martino, at fifty, is back and he is plotting new musical directions, adding more layers to his myth.’ His experiments with guitar synthesizers, begun during his rehabilitation, are taking him in the direction of orchestral arrangements and they promise groundbreaking possibilities.
Eldar left his native Kyrgystan for the United States in 1998, a boy of 11 with a slight grasp of English but an astonishing natural talent that immediately captured the attention of the jazz world. In the last seven years, with the support of his family, he has established American roots as he continued his education, absorbed the culture, and emerged as one of the most distinctive jazz pianists of the new generation.
Jazz pianist Eldar masters yet another milestone in his young but already remarkable career, with the release of Eldar Live at the Blue Note, his second CD for Sony Classical. Captured live at New York’s legendary Blue Note in October 2005, the recording features Eldar and his trio with jazz trumpeters Chris Botti and Roy Hargrove as guest artists. Its release comes a little over a year since his self-titled Sony Classical debut CD hit the stores, just as he passed his 18th birthday. It won rave reviews from jazz critics across the country, as have his live performances in the nation’s top jazz venues.