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| 6.825 Ft
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| 1. | All The Way
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| 2. | Pretty Blue
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| 3. | God Bless The Child
take 4
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| 4. | God Bless The Child
take 2
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| 5. | In The Wee Small Hours Of The Morning
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| 6. | The Girl Next Door
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| 7. | My Romance
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| 8. | Tune Up
Take 5
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| 9. | Tune Up
take 4
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| 10. | Prelude To A Kiss
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| 11. | Somewhere
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| 12. | Baubles, Bangles, And Beads
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| 13. | 'Round Midnight
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| 14. | Whisper Not
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| 15. | Too Late Now
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| 16. | Canadian Sunset
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| 17. | For Heaven's Sake
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| 18. | Days Of Wine And Roses
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| 19. | Yesterday's Child
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| 20. | Dreamsville
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| 21. | For All We Know
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Wes Montgomery - Guitar
Alfred Brown - Viola
Arnold Eidus - Violin
Burt Fisch - Viola
Charles McCracken - Cello
David Nadien - Violin
Dick Hyman - Piano
George "Funky" Brown - Drums
George Ricci - Cello
Gloria Agostini - Harp
Hank Jones - Piano
Harry Lookofsky - Violin
Isadore Zir - Violin
Jimmy Cobb Quartet - Drums
Kenny Burrell - Guitar
Kermit Moore - Cello
Leo Kruczek - Violin
Lucien Schmit - Cello
Mac Ceppos - Violin
Margaret Rose - Harp
Melvin Rhyne - Organ
Milt Hinton - Bass
Osie Johnson - Drums
Paul Parker - Drums
Paul Winter Consort - Violin
Ralph Hersh - Viola
Raoul Poliakin - Violin
Samuel Rand - Violin
Sylvan Shulman - Violin
Winston Collymore - Violin
* Deb Sibony - Package Design
* Gene Orloff - Concert Master
* J.R. Taylor - Liner Notes
* Jack Higgins - Engineer
* Jimmy Jones - Conductor, Orchestral Arrangements
* Joe Tarantino - Remastering
* Lee Tanner - Cover Photo
* Orrin Keepnews - Producer
* Phil Bodner - Woodwind
* Phil Carroll - Art Direction
* Ray Fowler - Engineer
Wes Montgomery accomplished something few jazz artists could, as he used the disparate elements of the orchestral string ensemble and small organ combo within a similar balladic approach. While one could contend these concepts may not be as effective as a more conventional configuartion, Montgomery made them work to a certain extent. What he could not do was infuse an energy that transcends the ballad approach, making this style of jazz priceless. There's a certain lugubrious restraint that permeates this single CD, originally a two-fer on vinyl, that showcases the guitarists first recordings with strings, and selections plucked from his most ramped down organ combo featuring Melvin Rhyne. The 12 selections with a 12-piece string ensemble (conducted and arranged by Jimmy Jones) plus woodwinds and his rhythm section cover standards, a lone original, a Miles Davis and a Duke Ellington composition reissued from the 1963 Riverside LP "Fusion!" There's no forward motion or groove whatsoever, it's all ballads and an emphasis on diffidence, with the strings submerging Montgomery's guitar for the most part. The wintry sparkle of the title cut and intro of "Prelude To A Kiss" brightens the otherwise sleepy mood and does indeed complement Wes. Two takes of "God Bless The Child" are weakly interpreted, while the strings clash with the easy swing of the otherwise bop icon "Tune Up." An occasional oboe or clarinet turns jazz ballads chamber-like, but literally smothers the music, and only on "My Romance" and "Somewhere" does honest emotionalism emerge. For the sessions with master organist Rhyne, it's all ballads and no soul jazz as one might expect, save a sprightly bossa nova take on "Canadian Sunset" and a relaxed swing for Benny Golson's "Whisper Not." There's a slight spooky feeling on "'Round Midnight," where otherwise Montgomery matches the serenity Rhyne evokes on these nine standards taken from three different trio recordings for Riverside in 1959 & 1963. Where Montgomery's more distinctly commercial work would follow these sessions, what this album represents is an easy listening prelude that would shape the guitarists path, for better or worse depending on your perspective.
---Michael G. Nastos, All Music Guide |
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