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| Encores, Volume 1: Body & Soul |
| Wes Montgomery |
első megjelenés éve: 1960
51 perc |
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| (2006)
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CD |
Kérjen
árajánlatot! |
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| 1. | Body and Soul [Take 4/6 Alternate]
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| 2. | So Do It! [Take 1]
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| 3. | Movin' Along [Take 4-Alternate][Take]
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| 4. | Doujie [Take 7 Alternate]
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| 5. | Doujie [Take 8]
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| 6. | Blue Roz [Take 3 Alternate]
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| 7. | Stablemates [Take 2]
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| 8. | Sam Sack [Take 2]
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| 9. | S.K.J. [Take 4]
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Jazz / Hard Bop
Wes Montgomery - Guitar, Guitar (Bass)
Bobby Thomas Drums
Buddy Montgomery Piano, Vibraphone
David Redfern Photography
Deb Sibony Design
Derek Everett Liner Notes
James Clay Flute, Sax (Tenor), Piano
Jim Ferguson Liner Notes
Joe Tarantino Remastering
Leslie Tomkins Liner Notes
Louis Hayes Drums
Milt Jackson Vibraphone
Monk Montgomery Bass
Orrin Keepnews Producer
Phil Carroll Art Direction
Philly Joe Jones Drums
Ray Fowler Engineer
Rick Laird Bass
Ronny Stephenson Drums
Sam Jones Bass
Stan Tracey Piano
Victor Feldman Piano
Wally Heider Engineer
William Claxton Photography
Wynton Kelly Piano
In the wake of its massive The Complete Riverside Recordings box, Fantasy rounded up 13 of the 16 newly released Wes Montgomery outtakes from that set, added a few stray alternates from earlier LP issues, and produced a pair of intelligently programmed CDs that prove just how staggeringly gifted an improviser Montgomery was. Arranged in chronological order, Volume One opens with three alternate takes from the somewhat overlooked "Movin' Along" album, continues with two versions of "Doujie" -- one with Buddy Montgomery on vibes instead of piano -- from Groove Yard, and concludes with four from Bags Meets Wes. Everything is worth hearing, for Wes hardly ever misses, and the few times where he does -- as in the second chorus of "Blue Roz" -- are canceled out by marvelous newly revealed passages. Indeed, the solo on "Movin' Along" is more beautiful than that on the take Wes approved, and the different, extended, octave-rich tag on "So Do It" is wonderful (too bad producer Orrin Keepnews audibly cuts in and stops the music). The Bags Meets Wes outtakes have the advantage of the crack Philly Joe Jones/Sam Jones/Wynton Kelly rhythm section, as well as an inspired Milt Jackson on vibes. ~ Richard S. Ginell, 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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