Ho! Ho! Ho! Merry Christmas and Felíz Navidad to everyone!!!

     As far as I know, this particular track from 1965, which appears on the "HOLIDAY SOUL"(Prestige) LP by organist Don Patterson, has never been released in CD format. and, If memory serves, I believe that I bought this album during the late '60s for $2 when I was still living in Los Angeles and attending U.C.L.A.!
    From the opening vamp, complete with sleighbells, and Pat Martino's guitar doubling the organ's chords: Bb7(13) up a 1/2-step to B7(13), you just know that you're in for a 'bluesy' treatment of the wonderful Christmas standard, "Santa Claus is Coming to Town." On this recording, they are joined by the very swingin' drums of Billy James. The tune itself is a typical A-A-B-A, 32-bar form, and though we are not presenting the statement of the melody here, you should know that during the melody, the chords in bars 1-4 are treated as major chords, but when Pat Martino launches into his tremendous 2-chorus solo, the blues take over and the chords become dominant 7ths.
    Even with a most bluesy feeling permeating the entire performance Pat's phrasing remains steeped in the language of jazz. His usage of 8th-note triplets as little 'rockets' ascending or descending are heard throughout the solo in chorus [1] in bars: 1, 2, 6, 8, 13, 15, 18, 23-24, 29, 31-32; and in chorus [2] in bars: 5, 6, 8, 14, 16, 17, 19, 21, and 24. You should also look at some other traditional jazz phrasing mannerisms Pat employs in chorus [1] at [A2] bar 4; [B] bar 4; [A3] bar 7; and in chorus [2] in [A1] bar 4; [A2] bar 5 and finally, at letter [B] bar 4. These little 'mannerisms' really capture a part of the essence of what the 'language' of jazz is all about. They seem to pass by the ear without calling any special attention to themselves because that should always be what 'speaking' any language is about. They should sound off-handed and effortless.
    From a historical perspective, one must never forget that the guitar  began as an instrument, at least within the context of a big band, with no linear melodic, nor soloing functions. It was strictly another time-keeping, rhythm instrument. So, when the guitar became 'liberated' to pursue such things, the language had already been formed by instruments like the trumpet, saxophones, trombones, and piano. It then became the task of the guitarist to learn those same mannerisms, and then adapt them to the guitar. What is so interesting about just how they are adapted to the guitar, when played by a guitarist like Pat Martino, who picks just about every single note, is that these mannerisms require more subtlety and are executed as you can hear by slurs, pull-offs, and hammer-ons. Remember that when you are trying to assimilate these phrases into your own vocabulary.
    Throughout the solo, blues elements and phrases can heard during chorus [1] in bars: 1-3; 8-11; 15-16; 24-33; and in chorus [2] bars: 9-12; and finally in bars 31-32 after treating [A3] with octaves. For blues/jazz guitar nuts, or just plain Martino nuts out there, please pay special attention to the little line he plays in the last bar of [B] in chorus [1] into [A3]! It's a real classic!!!
    On the jazzier side of things, where his lines are concerned, Pat uses a traditional device when making the changes from Dm7(iiim7)-G7(alt.)(VI7alt.)-Cm7(iim7) in bars 5-6 and 7-8 of any [A] section, by employing it in bars 5 and 7; and also during chorus [2] in bar 7, the C harmonic minor scale(C, D, Eb, F, G, Ab, B) presents us with the interval from the 3rd(B) to the b9(Ab) which gives it a special 'pull' to bring us to a cadence. Also pay attention to how often Pat uses the #9-b9 notes in succession when going from almost any V-I or V-i. You can see examples of this in chorus [1] in bars: 6, 14, 31; and in chorus [2] in bars: 5, 8, and 15(b9-#9).
    For the true jazz guitar lovers amongst you, you might want to pay special attention to Pat's treatment of both the appearances of letter [B]. During the first 4 bars of each of these sections, we have a simple ii-V to Ebmaj. Then there is the little modulation with a ii-V now to Fmaj7. And finally to turn the tune around to our real 'key' of Bb, we now have a II7, a C7 which is preceded by its ii of Gm7, and then we go to the 'real' ii(Cm7)-V7(alt.)(F7alt.) to turn home to Bb. And, as he always does, Pat negotiates these changes with grace and swing.
    I would guess that when this was recorded, during 1965, Pat was still using his Gibson L-5 which produced this beautiful tone. I would also venture to guess that he was using pretty heavy gauge strings which would account for his full-bodied tone across the range of the instrument. However it was done, he does it as beautifully as anyone ever has, and always with swing, bounce and drive. So, keeping these little things in mind, enjoy this wonderful solo as a Christmas gift with our best wishes.
    As we now come to the end of 2002, and look ahead with hopes and dreams for the New Year of 2003. Blaine and I want to take this opportunity to thank everyone for their countless visits to our Website, for all the e-mails of support and encouragement, and for the entries to our Guestbook. We appreciate and value each one of you, and will continue to hope that we have done some small part to enrich your enjoyment of music, and to encourage your personal growth in some way. Again, here's wishing everyone the joys of the season, and more than this, a year of fresh beginnings, and wonderful new opportunities full of love and hope in your hearts.

Merry Christmas and Happy New Year!!! ¡Felíz Navidad y Felíz Año Nuevo!