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| The Montgomeryland Sessions (2CD) |
| Wes Montgomery |
| első megjelenés éve: 2009 |
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| (2013)
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2 x CD |
| 4.492 Ft
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| 1. CD tartalma: |
| 1. | Finger Pickin'
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| 2. | Sound Carrier
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| 3. | Lois Ann
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| 4. | Bud's Beaux Arts
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| 5. | Bock to Bock
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| 6. | All the Things You Are
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| 7. | Billie's Bounce
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| 8. | Far Wes
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| 9. | Leila
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| 10. | Old Folks
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| 11. | Wes' Tune
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| 12. | Hymn to Carl
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| 13. | Montgomeryland Funk
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| 14. | Stompin' at the Savoy
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| 15. | Love for Sale
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| 2. CD tartalma: |
| 1. | Summertime
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| 2. | Monk's Shop
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| 3. | Falling in Love with Love
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| 4. | Renie
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| 5. | Ouverture
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| 6. | And This is My Beloved
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| 7. | Fate
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| 8. | Stranger in Paradise
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| 9. | Baubles, Bangles & Beads
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| 10. | Not Since Nineveh
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| 11. | A Good Git Together
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| 12. | Feed Me
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| 13. | Music in the Air
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| 14. | Pretty Strange
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| 15. | The Shouter
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| 16. | Socila Call
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| 17. | Out of the Past
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Jazz
(*) First time on CD.
CD 1:
Tracks #1-7 originally issued as "The Montgomery Brothers & Five Others" (World Pacific WP 1240)
Recorded in Indianapolis, Indiana, on December 30, 1957
Wes Montgomery (g), Freddie Hubbard (tp), Wayman Atkinson, Alonzo Johnson (ts), Buddy Montgomery (vib), Joe Bradley (p), Monk Montgomery (b) and Paul Parker (d)
Tracks #8-14 originally issued as "Montgomeryland" (Pacific Jazz PJ 5)
Recorded in Los Angeles, on April 18, 1958
Wes Montgomery (g), Harold Land (ts), Buddy Montgomery (p), Monk Montgomery (b) and Tony Bazley (d)
Track #15 taken from the various artist compilation "Almost Forgotten" (Columbia FC 38509)
Recorded in New York City, on June 15, 1955
Alonzo Johnson (ts), Buddy Montgomery (p), Wes Montgomery (g), Monk Montgomery (b) and Robert Johnson (d)
CD 2:
Tracks #1-4 also from Pony "The Montgomeryland" LP
Recorded in Los Angeles, on October 1, 1959
Wes Montgomery (g), Poindexter (as), Buddy Montgomery (p), Monk Montgomery (b) and Louis Hayes (d)
Tracks #5-10 taken from Mastersounds' "Kismet" (World Pacific WP 1243)
Recorded at Forum Theatre, in Los Angeles, on April 22, 1958
Monk Montgomery (b, ldr), Wes Montgomery (g), Buddy Montgomery (vib), Richie Crabtree (p) and Benny Barth (d)
Tracks #11-17 taken from John Hendricks' "A Good Git-Together" (World Pacific WP 1283)
Recorded at Fugazi Hall, in San Francisco, October, 1959
Pony Poindexter (as, vo), Gildo Mahones (p), Wes Montgomery (g), Monk Montgomery (b), Walter Bolden (d) and Jon Hendricks (vcl)
This release contains the complete classic albums "The Montgomery Brothers & Five Others" (1958), "Montgomeryland" (1959) and "Wes, Buddy & Monk" (1958). Also included are all the songs featuring solos by Wes Montgomery from the LPs "Kismet" (1958) and A Good Git Together (1959) and, as a final bonus, a rare 1955 Montgomery Brothers version of "Love for Sale" appearing here on CD for the first time ever - taken from a long out of print compilation LP called appropriately, "Almost Forgotten".
Total time: 77:44 + 79:08 min.
"Rarely does an LP rate the four-star bit for the playing of just one musician on the album, but this one does. The man who does this is the phenomenal Wes Montgomery. Yes phenomenal. I feel that Montgomery is not just the best thing to happen to jazz guitar since Charlie Christian, as Ralph Gleason says, but the best thing to happen to jazz guitar, period! This album can be summed up in three words: Wes Montgomery, yeah!"
---Don DeMicheal -Down Beat (1958)
"Wes Montgomery's only featured appearance on a Mastersounds album has been excerpted here and there on LP and CD but never reissued in its entirety; this is both difficult and easy to understand. With such a relatively small discography for a jazz giant, you would think that EMI, the current owners of this tape, would rush to put the whole thing out. On the other hand, the score of Kismet -- based on confectionery adaptations of melodies by Russian composer Alexander Borodin -- has worn out its welcome over the decades, and the Mastersounds interpretations sometimes border on lounge-ish run-throughs of the tunes (with corny "gong" smashes). Nevertheless, the album gives us a good look at Montgomery when he was just about to break out of Indianapolis. Often when he appears, whether solo or on rhythm, he gives the group a kick that takes it out of a sedate MJQ mindset. He is especially lively and swinging on "Not Since Nineveh," "Baubles Bangles and Beads," and "Stranger in Paradise." Yet even when he doesn't ignite the band, his performances are always worth hearing."
---Richsrd 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: 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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