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| 7.588 Ft
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| 1. | Goin' out of My Head
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| 2. | O Morro N&
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| 3. | Boss City
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| 4. | Chim Chim Cheree [From Mary Poppins]
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| 5. | Naptown Blues
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| 6. | Twisted Blues
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| 7. | End of a Love Affair
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| 8. | It Was a Very Good Year
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| 9. | Golden Earrings
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Recorded December 7, 8 & 22, 1965 at Van Gelder Studios, Englewood Cliffs, New Jersey
Wes Montgomery - Guitar
Bill Levenson Reissue Supervisor
Bob Ashton Clarinet, Saxophone, Flute
Cameron Mizell Production Coordination
Candido Conga
Charles Stewart Cover Photo, Photography
Creed Taylor Producer
Danny Bank Flute, Flute (Alto), Clarinet (Bass), Sax (Baritone)
Danny Moore Trombone
Dennis Drake Digital Remastering
Donald Byrd Trumpet
Ellen Fitton Mastering
Ernie Royal Trumpet
George Duvivier Bass
Grady Tate Drums
Herbie Hancock Piano
Hollis King Art Direction
Isabelle Wong Design
Jerry Dodgion Clarinet, Piccolo, Flute, Sax (Alto)
Jerry Tolmich
Jimmy Cleveland Trombone
Joe Newman Trumpet
Kevin Gray CD Preparation
Marcia McGovern Pre-Production
Oliver Nelson Arranger, Conductor
Orrin Keepnews Liner Notes
Phil Woods Sax (Alto), Clarinet
Quentin Jackson Trombone
Richard Seidel Preparation
Roberta Ballard Production Coordination
Roger Kellaway Piano
Romeo Penque Flute, Oboe, Sax (Tenor), Clarinet, Horn (English), Piccolo
Rudy Van Gelder Engineer
Sol Gubin Drums
Steve Fallone CD Preparation
Steve Hoffman Remastering
Tom "Curly" Ruff CD Preparation
Tony Studd Trombone
Val Valentin Director of Engineering
Wayne Andre Trombone
Wes Montgomery was by now becoming a household name. His albums often featured covers of hit songs and show tunes of the day, with the guitarist backed by a hot band and lush strings. It may have been a nod to commercial tastes but it was a subversive tactic, ’cause Wes always found room to burn, and this session, cut in late 1965, was no exception. Though a Top 10 R&B LP chart hit - his first listed on the best-seller charts there - the album had fallen out of print until this great-sounding reissue.
Wes Montgomery is a man who can swing and drive hard with just a rhythm section behind him, who can improvise with great beauty in front of a luch violin background, and can also do just about anything you can think of between those extremes. This particular exercise in-for the most part-the fine art of using the hazz guitar as a vechicle for strong and lovely melodic creativity should, therefore, surprise no one. It is no more (and no less) than another chapter in the continuously and consistently astounding saga of Wes Montgomery, very possibly the greatest of them all.
--Orrin Keepnews
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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