Wes Montgomery Albums (31)
What The Critics Say
Wes Montgomery accomplished something few jazz artists could, as he used the disparate elements of the orchestral string ensemble and small organ combo within a similar balladic approach. While one could contend these concepts may not be as effective as a more conventional configuration, Montgomery made them work to a certain extent. What he could not do was infuse an energy that transcends the ballad approach, making this style of jazz priceless. There's a certain lugubrious restraint that permeates this single CD, originally a two-fer on vinyl, that showcases the guitarist's first recordings with strings, and selections plucked from his most ramped down organ combo featuring Melvin Rhyne. The 12 selections with a 12-piece string ensemble (conducted and arranged by Jimmy Jones) plus woodwinds and his rhythm section cover standards, a lone original, a Miles Davis and a Duke Ellington composition reissued from the 1963 Riverside LP Fusion! There's no forward motion or groove whatsoever, it's all ballads and an emphasis on diffidence, with the strings submerging Montgomery's guitar for the most part. The wintry sparkle of the title cut and intro of "Prelude to a Kiss" brightens the otherwise sleepy mood and does indeed complement Montgomery. Two takes of "God Bless the Child" are weakly interpreted, while the strings clash with the easy swing of the otherwise bop icon "Tune Up." An occasional oboe or clarinet turns jazz ballads chamber-like, but literally smothers the music, and only on "My Romance" and "Somewhere" does honest emotionalism emerge. For the sessions with master organist Rhyne, it's all ballads and no soul-jazz as one might expect, save a sprightly bossa nova take on "Canadian Sunset" and a relaxed swing for Benny Golson's "Whisper Not." There's a slight spooky feeling on "'Round Midnight," where otherwise Montgomery matches the serenity Rhyne evokes on these nine standards taken from three different trio recordings for Riverside in 1959 and 1963. Where Montgomery's more distinctly commercial work would follow these sessions, what this album represents is an easy listening prelude that would shape the guitarist's path, for better or worse depending on your perspective. ~ Michael G. Nastos, All Music Guide
'Live in Belgium 1965'
Release Date 12/20/2005
Tracks 14
Label Gambit
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What The Critics Say
In 1965, Wes Montgomery was growing increasingly commercial and was making his presence felt in the pop market more and more. One could argue that in the mid-1960s, Montgomery provided some of the first NAC recordings -- his heavily arranged covers of R&B and pop-rock songs certainly foreshadowed the NAC/smooth-jazz radio formats of the 1980s and 1990s. But the distinctive guitarist was still quite capable of embracing standard hard bop, which is exactly what he does on Live at Ronnie Scott's. This CD finds Montgomery performing at the famous London jazz club in April and May 1965, when he was joined by pianist Stan Tracey, bassist Rick Laird, and drummer Ronnie Stephenson. There are no hints of pop-jazz or NAC music on this disc. Montgomery is in fine form on "Wes' Easy Blues" as well as performances of standards like "I'll Remember April" and "Body and Soul." Although not quite essential, Live at Ronnie Scott's is a CD that lovers of Montgomery's straight-ahead playing will appreciate. ~ Alex Henderson, All Music Guide
What The Critics Say
Taking the listener on a smoother, rather than bumpier, ride down the moonlight highway of jazz is Wes Montgomery, a chief architect of the world's guitar virtuoso scene. Not only is his brilliant command of the six-string present here, so is the vivid color tones of notes and blue notes played between. Backed up by a hauntingly beautiful and mesmerizing orchestra conducted and arranged by Don Sebesky, the music almost lifts the listener off his feet into a dreamy, water-like landscape. The atmosphere is serene and enchanting, such as a romantic evening for two under starlight, and certainly a romantic eve merits the accompaniment of this record. The sounds are soft, smooth, and silky, and Montgomery addresses full leadership of his graceful melodic style, fronting close to 20 members of a orchestra perhaps best described resonant and sweeping. So too are the sweeping note flows of Montgomery's guitar, and his surprising fluidness towards the art of comping, a necessary trait of the jazz guitar virtuoso. Even the unforgettable Jim Hall can be tickled and intrigued through a listen of these influential records, as for all amateur and professional guitar musicians. "A Quiet Thing" is perhaps the most somber, peaceful, and smooth piece on the record, demonstrating Montgomery's love of quiet, and how much the idea of not playing at all brings music to the listeners. The charming sounds of orchestral violas, violins, cellos, and harp are sent ablaze to create a pleasant atmosphere, either for a quick morning get up, get ready for work, or evening dining setting. "Here's That Rainy Day" is an up-tempo bossa nova tune that resonates with Montgomery's enticing chordal changes and blissful phrasing, not to mention the blend of harp and strings lays the groundwork for a perfect rainy day inside, with drops pattering at the windows and fires aglow. The recording engineer did a wonderful job with this album. The sound quality is clear and lush, and, overall, this collection of mid-'60s cool jazz is a delight to listen too, once and again. ~ Shawn M. Haney, All Music Guide
What The Critics Say
Wes Montgomery's last album for Verve (other than an exciting collaboration with Jimmy Smith) is a so-so orchestral date featuring arrangements by Don Sebesky. The material (which includes "Sunny" and "California Dreaming") is strictly pop fluff of the era and the great guitarist has little opportunity to do much other than state the melody in his trademark octaves. This record was perfect for AM radio of the period. ~ Scott Yanow, All Music Guide
What The Critics Say
This historical CD contains some of guitarist Wes Montgomery's first recordings; in fact only three small-group songs predate these performances. The then-obscure guitarist is heard in two different quintets, both of which include his brothers Buddy (on piano) and Monk (playing electric bass). The earlier set has Harold Land's tenor as a lead voice while altoist Pony Poindexter takes his place on the later date, Wes's sound was already quite recognizable and he contributes six originals which alternate with Harold Land's "Hymn for Carl" and four standards. ~ Scott Yanow, All Music Guide
'The Alternative Wes Montgomery'
Release Date 2/1/1990
Tracks 12
Label Milestone Records
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What The Critics Say
This CD has 12 "alternate" versions of songs recorded in a variety of settings by guitarist Wes Montgomery during his period with Riverside. Montgomery's sidemen include tenor-saxophonist Johnny Griffin, organist Mel Rhyne, vibraphonist Milt Jackson, the flute of James Clay, pianists Wynton Kelly, Buddy Montgomery and Victor Feldman and (on "Tune Up") a string section. The two-LP set that this succeeded actually had two additional selections; all of the material is also available in more definitive form on Wes Montgomery's 12-CD boxed set. In any case, the mistakes and flaws (such as they are) are minor on these performances and this CD gives one a good introduction into Montgomery's early recordings. ~ Scott Yanow, All Music Guide
'A Day in the Life'
Release Date 5/2/1989
Tracks 10
Label A&M Records
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What The Critics Say
By the time Wes Montgomery recorded this album (his debut for A&M), he was a major name in the pop world. Montgomery's melodic renditions of current pop hits caught on and were played regularly on Top 40 radio. In most cases the guitarist did little more than play the melody, using his distinctive octaves, and it was enough to make him saleable. Of his three A&M recordings, A Day in the Life (the first one) was by far the best and, although the jazz content is almost nil, the results are pleasing as background music. "Windy" was a bit of a hit; the other selections (which find Montgomery backed by muzaky strings arranged by Don Sebesky) include "Watch What Happens," "California Nights," "Eleanor Rigby" and the title cut. ~ Scott Yanow, All Music Guide
'Fusion! Wes Montgomery with Strings'
Release Date 3/20/1989
Tracks 13
Label Riverside/OJC
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What The Critics Say
Although most Wes Montgomery fans associate his playing with strings with his later A&M and Verve recordings, the influential guitarist actually fronted a string section for the first time on this Riverside date from 1963, which had the ironic name of Fusion. As with his later albums, Montgomery's guitar solos here are brief and melodic but the jazz content is fairly high even if the emphasis is (with the exception of "Tune Up") on ballads. This CD has three additional performances not included on the original LP and is worth picking up; the music is quite pretty and pleasing. ~ Scott Yanow, All Music Guide
What The Critics Say
This live set is notable for teaming guitarist Wes Montgomery and the Wynton Kelly Trio (comprised of pianist Kelly, bassist Paul Chambers, and drummer Jimmy Cobb) with the fiery tenor of Johnny Griffin. As with the OJC release, six selections (highlighted by "Blue 'n' Boogie" and Montgomery's "S.O.S.") are augmented by "Born to Be Blue" and a pair of alternate takes. ~ Scott Yanow, All Music Guide
