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HAPPY BIRTHDAY John Leslie "Wes" Montgomery (6 March 1923 - 15 June 1968) Indianapolis, IN



John Leslie "Wes" Montgomery (6 March 1923 - 15 June 1968)
was born in Indianapolis, Indiana in 1925. At age nineteen he took up the tenor guitar and moved almost immediately to the six-string electric. As a part of his efforts to learn the guitar he memorized Charlie Christian solos off records.






Then armed with these solos he got his first job playing in a local band where, by his own account, his job was to play the Charlie Christian solos.


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By1948 he had progressed significantly because he got a job in the





LionelHampton big band and went on the road with Hampton for two years.During this time he appeared on a long list of Hampton studio andbroadcast recordings, among them "Lavender Coffin, and "Benson's Boogie" and "Where or When". His appearances on the studio recordings
were limited to rhythm playing. But every now and then he got a short solo on some of the broadcast recordings like "Hot House".





Montgomery left The Hampton band in 1950 and returned to Indiana where he worked with his brothers and other local bands and musicians, including his own trio. He recorded his first record as a leader in 1959 when he made The Wes Montgomery Trio. Between 1959 and 1963 a succession of important Wes Montgomery recordings appeared that still represent some of his best work. Among these recordings were The Incredible Jazz Guitar of Wes Montgomery, The Wes Montgomery Trio and Full House. During this same period he made a set of recordings with his brothers that remain jazz classics today. All the recordings from this period were made in small groups and each represented important milestones in Montgomery's evolution as a jazz guitarist. After 1963, Montgomery began recording for Verve and A & M Records and the recordings took on a very different production quality aimed more at the mass music markets. Orchestration was added and more pop tunes were covered. It was the recording that included the title tune Going Out Of My Head that won Montgomery a Grammy in 1965.












The recordings in this second period were more significant for their commercial success than for the music. To some extent they were over produced and did not have the same immediateness and power of the small group recordings. They remain somewhat unpopular with jazz guitar purists. However, they made Wes Montgomery a household name and helped elevate the guitar to a whole new level in American popular music.



For the jazz guitarist, the recordings from the first period remain the most significant. All Wes Montgomery recordings have the unmistakable Montgomery imprint, but it is the small group material that best presented the whole context of the Montgomery approach to jazz guitar. Wes Montgomery was a superb melodist who made the head of the most common jazz standard sound fresh. His improvisational skills were second to none, and he was a magnificent supporting musician. And, of course, there was that warm Wes Montgomery sound achieved by using his
thumb rather than a pick. The small group material gave the listener immediate access to all this better than the later recordings.



Wes Montgomery died suddenly of a heart attack in 1968. He left behind a legacy that included changing the guitar's place in popular culture. He most likely did not set out to do this, it just happened as a by-product of his very accessible talent.For the jazz guitarist, he changed the course and direction of jazz guitar evolution and left an unsurpassed musical legacy~~~Classic Jazz Guitar










Technique

According to Jazz guitar educator Wolf Marshall, Montgomery often approached solos in a three-tiered manner: He would begin a repeating progression with single note lines, derived from scales or modes; after a fitting number of sequences, he would play octaves for a few more sequences, finally culminating with block chords.

The use of octaves (playing the same note on two strings one octave apart) for which he is widely known, became known as "the Naptown Sound". Montgomery was also an excellent "single-line" or "single-note" player, and was very influential in the use of block chords in his solos. His playing on the jazz standard Lover Man is an example of his single-note, octave- and block-chord soloing. ("Lover Man" appears on the Fantasy album The Montgomery Brothers.)





Instead of using a guitar pick, Montgomery plucked the strings with the fleshy part of his thumb, using downstrokes for single notes and a combination of upstrokes and downstrokes for chords and octaves.
Montgomery developed this technique not for technical reasons but for his wife. He worked long hours as a machinist before his career began and practiced late at night while his wife was sleeping. He played with
his thumb so that his playing would be softer and not wake her. This technique enabled him to get a mellow, expressive tone from his guitar. George Benson, in the liner notes of the Ultimate Wes Montgomery album, wrote, "Wes had a corn on his thumb, which gave his sound that point. He would get one sound for the soft parts, and then that point by using the corn. That's why no one will ever match Wes. And his thumb was double-jointed. He could bend it all the way back to touch his wrist, which he would do to shock people." He generally played a Gibson L-5CES guitar. In his later years he played one of two guitars that Gibson
custom made for him. In his early years, Montgomery had a tube amp, often a Fender. In his later years, he played a solid state Standel amp with a 15-inch (380 mm) speaker.




Recording career

Montgomery toured with vibraphonist Lionel Hampton's orchestra from July 1948 to January 1950, and can be heard on recordings from this period. Montgomery then returned to Indianapolis and did not record again until December 1957 (save for one session in 1955), when he took part in a session that included his brothers MonkBuddy, as well as trumpeter Freddie Hubbard, who made his recording debut with Montgomery. Most of the recordings made by Montgomery and his brothers from 1957-1959 were released on the Pacific Jazz label.
and


From 1959 Montgomery was signed to the Riverside Records label, and remained there until late 1963, just before the company went bankrupt. The recordings made during this period are widely considered by fans and jazz historians to be Montgomery's best and most influential. Two sessions in January 1960 yielded The Incredible Jazz Guitar of Wes Montgomery, which was recorded as a quartet with pianist Tommy Flanagan, bassist Percy Heath and drummer Albert "Tootie" Heath. The album featured two of Montgomery's most well-known compositions, "Four on Six" and "West Coast Blues."



Almost all of Montgomery's output on Riverside featured the guitarist in a small group setting, usually a trio (and always with his organist from his Indianapolis days, Melvin Rhyne), a quartet, or a quintet, playing a mixture of hard-swinging uptempo jazz numbers and quiet ballads. The lone exception, Fusion, telegraphed his post-Riverside career: it was his first recording with a string ensemble. One of the more memorable sets involved a co-leadership collaboration with vibraphone virtuoso and Modern Jazz Quartet mainstay Milt Jackson, whom producer Orrin Keepnews has said insisted on a collaboration with Montgomery as a condition for signing a solo recording deal with Riverside.




In 1964 Montgomery moved to Verve Records for two years. His stay at Verve yielded a number of albums where he was featured with an orchestra---brass-dominated (Movin' Wes), string-oriented (Bumpin', Tequila), or a mix of both (Goin' Out of My Head, California Dreamin').



But he never abandoned jazz entirely in the Verve years, whether with a few selections on most of the Verve albums, or by such sets as 1965s Smokin' at the Half Note (showcasing two memorable appearances at the famous New York City club with the Wynton Kelly Trio) or a pair of albums he made with jazz organ titan Jimmy Smith, The Dynamic Duo and The Further Adventures of Jimmy and Wes).He continued to play outstanding live jazz guitar, as evidenced by surviving audio and video recordings from his 1965 tour of Europe.



As a considered founder of the Smooth Jazz school the album "Bumpin'" (1965) represents a model from which many modern recording are derived: as the liner notes to the CD remaster issue note, after being unable to produce the desired results by the guitarist and orchestra playing together, arranger Don Sebesky suggested Montgomery record the chosen music with his chosen small group, after which Sebesky would write the orchestral charts based on what Montgomery's group had produced. Longer clips from all of the tracks on "Bumpin'" and other Wes Montgomery albums are found on Verve Records website.



By the time Montgomery released his first album for A&M Records, he had seemingly abandoned jazz entirely for the more lucrative pop market, though as in his Verve period he played his customary jazz in small group settings in live appearances. The three albums released during his A&M period (1967–68) feature orchestral renditions of famous pop songs ("Scarborough Fair," "I Say a Little Prayer for You," "Eleanor Rigby,"
etc.) with Montgomery reciting the melody with his guitar. These records were the most commercially successful of his career, but featured the least jazz improvisation.



He didn't have very long to live to enjoy his commercial success, however; in 1968, he woke one morning, remarked to his wife that he "Didn't feel very well," and minutes later collapsed, dying of a heart attack within minutes. Montgomery's home town of Indianapolis has named a park in his honor. He is the grandfather of actor Anthony Montgomery.



Wes and Buddy, along with Richard Crabtree and Benny Barth, formed "The Mastersounds", and recorded "Jazz Showcase Introducing The Mastersounds" and a jazz version of "The King and I", both released by World Pacific Records. They first played together at Seattle, particularly working up the set for "The King and I", at a club called Dave's Fifth Avenue. The composers were so impressed by the jazz version of "The King & I" that they pre-released the score of "Flower Drum Song" to the quartet to allow simultaneous release with the sound track album.



Riverside ( 1959-1963 )

Wes' recordings for Riverside/Milestone Records, including those made with The Montgomery Brothers are on the 12CD Box The Complete Riverside Recordings.[3]

[edit] Verve ( 1964-1966 )

[edit] A&M ( 1967-1968 )

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