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Excellent playing. Pat is in his prime. Good choice of players. Tune selection is spot on too. Too bad the guy that mixed Stone Blue wasn't brought in for this project to mix it. I can hear the attempt to create that smoky live feel of Wes's famous album "Smokin at the halfnote", but there were some unfortunate mistakes made in the mixing room. As a tribute to Wes, the guitar is cast for center stage....but isn't mixed that way. One of Wes's trademarks is that you can hear every note he plays clearly. His orchestrated recordings in the Pop setting (done at the end of his very short life)were designed to frame the voice of his guitar as though is was Frank Sinatra. Wes knew where his sound needed to be....up front, for the listener to hear. Sometimes a player might not want to be heard that much. Maybe his lines and phrases are cliche'...so he might want to color it by pulling the guitar back. Pat plays very well on this work. It's just a shame that the producer didn't take some time to listen to a lot of Wes's mixes. There was another rather strange aspect of Pats tone. When playing on his top 2 strings, his tone was fat and clear, but as he worked across to the lower G,D, A, and E strings, the tone would roll off to a very dark, mushy sound. Totally different than his tone on Stone Blue. Will I listen to it. Off course! It's Pat Martino & Co. What could he do to make this DC better? Go into the studio and remix it. QuinceRead full review
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