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| Plays The Hits - Great Songs / Great Performances |
| Wes Montgomery |
| első megjelenés éve: 2010 |
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| (2010)
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CD |
| 3.796 Ft
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| 1. | Goin' Out Of My Head
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| 2. | Tequila
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| 3. | California Dreaming
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| 4. | Windy
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| 5. | When a Man Loves a Woman
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| 6. | What The World Needs Now Is Love
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| 7. | Sunny
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| 8. | Yesterday
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Jazz
Andy McKaie - Compilation
Creed Taylor - Producer
Kevin Reeves - Digital Remastering
Rob Jacobs - Product Manager
Sachico Asano - Design
Ute Friesleben - Production Manager
Vartan - Art Direction
The Great Songs/Great Performances series by Verve is a new attempt to get prospective buyers interested in its vast jazz catalog, introducing them to large-scale hits by artists who appeared either on its label proper or on one of its licensees'. In the case of guitarist Wes Montgomery, Plays the Hits, it only takes eight tracks and just over 26 minutes. Montgomery is respected by jazz aficionados for his brilliant technique and soulfulness; many regard his '50s recordings for Riverside as his finest. The record-buying public didn't see it that way. These tracks, all produced by Creed Taylor, are his versions of the rock, pop, and soul hits of the era, and each one landed as a charting single. Featured here are his own jazzy bossa recording of "Goin' Out of My Head" (which echoed virtually all the vocal versions of the tune at the time); his signature takes on "California Dreamin'" (that literally defined soul-jazz as Verve interpreted it); the Association's "Windy"; Bobby Hebb's "Sunny", the Percy Sledge vehicle "When a Man Loves a Woman", and the Beatles' "Yesterday", among others. Montgomery's touch was light, breezy, full of groove -- if not swing -- and orchestrated by a team of pros. His voice ion the guitar was the sound of singing itself. All these cuts are heavily orchestrated but contain more soul than schmaltz, and the arrangements are terrific (the latter two cuts mentioned above were charted out by Don Sebesky). Any serious fan of Montgomery has this stuff many times over, but for the uninitiated, or those seeking some good-time, summery guitar grooves, the music can't be beat -- especially at this price. ~ Thom Jurek, 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: Soul Jazz, Hard Bop, Jazz-Pop, Contemporary Jazz, Mainstream Jazz, Crossover Jazz, Jazz Instrument, Guitar 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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