Israfel or Israfil (Arabic: إسرافيل‎, Isrāfīl) ("The Burning One"^{[citation needed]}), is the angel of the trumpet in Islam, though unnamed in the Qur'an. Along with Mikhail, Jibril and Izra'il, he is one of the four Islamic archangels. In Judaism and Christianity, Israfel is as the same as Raphael.

Although the name "Israfel" does not appear in the Qur'an, mention is repeatedly made of an unnamed trumpet-angel assumed to identify this figure: "And the trumpet shall be blown, so all those that are in the heavens and all those that are in the earth shall swoon, except Allah; then it shall be blown again, then they shall stand up awaiting." —Qur'an (39.68).

In Islamic tradition he is said to have been sent, along with the other three Islamic archangels, to collect dust from the four corners of the earth, although only Izra'il succeeded in this mission. It was from this dust that Adam was formed.^{[unreliable source?]}

Israfel has been associated with a number of other angelic names not pertaining to Islam, including Uriel, Sarafiel and Raphael.

Pat Martino (born August 25, 1944) is an Italian-American jazz guitarist and composer within the post bop, fusion, mainstream jazz, soul jazz and hard bop idioms.

Martino was born Pat Azzara in South Philadelphia. He began playing professionally at age 15. Martino played and recorded early in his career with musicians such as Willis Jackson and Eric Kloss. He also worked with many jazz organists, such as Charles Earland, Jack McDuff, Trudy Pitts, Jimmy Smith, Gene Ludwig, Don Patterson, Richard "Groove" Holmes. Throughout the 1960s and 1970s, Martino made many recordings as a sideman and also under his own name.

In 1980, Martino underwent surgery as the result of a nearly fatal brain aneurysm. The surgery left him with amnesia, leaving him, among other things, without some memory of the guitar and his musical career. With the help of friends, computers, and his old recordings, Martino made a recovery [1], and learned to play the guitar again.

His improvisation method, "Conversion to Minor", is often mistakenly thought to be based upon using exclusively minor systems for soloing. In fact, the system involves conceptualising chord progressions in terms of the relative minor chord/scale, but in practice this seems to be more a way for organising the fretboard, rather than justifying playing certain tones in terms of whether they are "correct" or not. Martino's lines contain chromatic notes outside any particular IIm7 chord that might be conceptualised over a chord progression; even in the examples he provides in his books and instructional videos. Indeed, on his bulletin board he has stated that he formulated the system more as a way to explain his playing, rather than as something to use to create music. In his own words, "although the analysis of some of my recorded solos have been referred to as modal, personally I’ve never operated in that way. I’ve always depended upon my own melodic instinct, instead of scale like formulas".