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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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