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| 1. | If I Should Lose You [Take 2-Alternate]
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| 2. | S.O.S. [Take 2-Alternate]
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| 3. | Yesterday's Child
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| 4. | Dangerous
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| 5. | Lolita
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| 6. | Blues Riff [Take 7]
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| 7. | Stella by Starlight [Take 1]
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| 8. | Stella by Starlight [Take 2]
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| 9. | On Green Dolphin Street [Take 2]
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Jazz / Hard Bop
Wes Montgomery - Guitar
Bobby Thomas Drums
Buddy Montgomery Piano
Chuck Stewart Photography
George Brown Drums
Jamie Putnam Art Direction, Design
Jimmy Cobb Drums
Joe Tarantino Remastering
Johnny Griffin Sax (Tenor)
Monk Montgomery Bass
Orrin Keepnews Producer
Paul Chambers Bass
Ray Fowler Engineer
Wally Heider Engineer
Wynton Kelly Piano
This fill-in-the-gaps compilation of early-'60s sessions includes six tracks (two of them alternate takes) that were previously only available on the box set The Complete Riverside Recordings, and three previously unissued alternate takes from the performance that yielded the 1961 live album The Montgomery Brothers in Canada. Even with just nine tracks, Montgomery is heard in a variety of contexts: the ballad "If I Should Lose You" performed by The Montgomery Brothers (an alternate take), the 1962 live version of "S.O.S." with Johnny Griffin and Miles Davis' 1959-62 rhythm section (another alternate take), four 1963 songs with organist Melvin Rhyne, and the three unreleased 1961 Montgomery Brothers cuts (two of which are different versions of "Stella By Starlight") with vibraphonist Buddy Montgomery. The material is characteristic early-'60s Montgomery: quality, straight-ahead jazz that you wouldn't place among his most essential efforts, but that wouldn't displease fans or dishonor him either. There's plenty of single-note and parallel octave playing throughout, and it might be that the four tracks with Rhyne, particularly "Lolita" and "Blues Riff," are the most interesting. Three cheers, by the way, to Milestone for putting out box set-only material in a single-CD format, which makes it easy to acquire for fans without deep pockets (a rare service in the record business). ~ Richie Unterberger, All Music Guide
Wes Montgomery
Active Decades: '40s, '50s and '60s
Born: Mar 06, 1925 in Indianapolis, IN
Died: Jun 15, 1968 in Indianapolis, IN
Genre: Jazz
Styles: Contemporary Jazz, Crossover Jazz, Hard Bop, Jazz-Pop, Mainstream Jazz, Soul-Jazz
Wes Montgomery was one of the great jazz guitarists, a natural extension of Charlie Christian, whose appealing use of octaves became influential and his trademark. He achieved great commercial success during his last few years, only to die prematurely.
It had taken Wes a long time to become an overnight success. He started to teach himself guitar in 1943 (using his thumb rather than a pick) and toured with Lionel Hampton during 1948-1950; he can be heard on a few broadcasts from the period. But then Montgomery returned to Indianapolis, where he was in obscurity during much of the 1950s, working a day job and playing at clubs most nights. He recorded with his brothers vibraphonist Buddy and electric bassist Monk during 1957-1959 and made his first Riverside album (1959) in a trio with organist Melvin Rhyne. In 1960 the release of his album The Incredible Jazz Guitar of Wes Montgomery made him famous in the jazz world. Other than a brief time playing with the John Coltrane Sextet (which also included Eric Dolphy) later in the year, Wes would be a leader for the rest of his life.
Montgomery's recordings can be easily divided into three periods. His Riverside dates (1959-1963) are his most spontaneous jazz outings, small-group sessions with such sidemen as Tommy Flanagan, James Clay, Victor Feldman, Hank Jones, Johnny Griffin, and Mel Rhyne. The one exception was the ironically titled Fusion!, a ballad date with a string section. All of the Riverside recordings have been reissued in a massive 12-CD box set. With the collapse of Riverside, Montgomery moved over to Verve, where during 1964-1966 he recorded an interesting series of mostly orchestral dates with arranger Don Sebesky and producer Creed Taylor. These records were generally a good balance between jazz and accessibility, even if the best performances were small-group outings with either the Wynton Kelly Trio or Jimmy Smith.
In 1967 Wes signed with Creed Taylor at A&M and during 1967-1968 he recorded three best-selling albums that found him merely stating simple pop melodies while backed by strings and woodwinds. His jazz fans were upset, but Montgomery's albums were played on AM radio during the period. He helped introduce listeners to jazz, and his live performances were as freewheeling as his earlier Riverside dates. Unfortunately at the height of his success, he died of a heart attack. However, Montgomery's influence is still felt on many young guitarists.
---Scott Yanow, All Music Guide |
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