A rare meeting of guitarist Wes Montgomery and the trio of pianist Wynton Kelly – heard here on unissued material that stands strongly next to their classic Smoking At The Half Note album on Verve! About half the tracks here just feature Kelly's trio – but that's A-Ok with us, as the group is wonderful – a luminous unit that features Ron McClure on bass and Jimmy Cobb on drums – both players who showcase the maturing style of Wynton's piano work – a great mix of lyricism that stretches out beautifully on the album's longer tracks! Montgomery joins in about a third into the set, and the tunes get even sharper and groovier – as Wes' tones ring out strongly next to the piano, often opening up Kelly with even more chromatic hues. The whole thing is very well-recorded, and beautifully remastered.
One of Wes Montgomery's finest recordings, a Riverside date that showcases the influential guitarist in a quintet with pianist Hank Jones, bassist Ron Carter, drummer Lex Humphries, and the congas of Ray Barretto…
All eight of the albums Wes Montgomery issued on Verve in the mid-'60s (including the two he did with organist Jimmy Smith) are on this limited-edition, five-CD box set. With the addition of 20 bonus tracks (none previously unreleased, some of them alternate takes or overdubbed versions) and a 76-page booklet that includes readable reproductions of the original LP sleeves, it's the definitive compilation of his work for the label. By its very size, of course, its appeal might be limited to completists and serious collectors.
Never-before-released recording of legendary guitarist Wes Montgomery playing with jazz pianist Eddie Higgins. An exclusive 1959 performance recorded live in Indianapolis. Following the 2012 release of Resonance's archival set Echoes of Indiana Avenue, author, photo journalist, and private collector Duncan Schiedt approached the label to see if they'd be interested in releasing a live tape of Wes Montgomery he owned. It was a 1959 set where the guitarist sat in with the Eddie Higgins Trio, then featuring drummer Walter Perkins (and also an unknown bassist).
Orrin’s commentary (from his new liner notes): “I began constructing the 1960 definitive presentation of [Wes] Montgomery by recognizing the need to keep things as clear-cut and uncomplicated as possible. There were at least three unique aspects to his performing style: he played with his thumb, never using a pick… and his solos almost invariably included two elements routinely referred to as ‘impossible’—his use of octaves and of pianistic block chords. Self-taught (his first ‘lesson’ had involved heavy listening to Charlie Christian records) and never able to read music notation of any kind, he somehow possessed an unfailing command of the blues and of ballad tempo and was an impressive composer.”
Rare Wes Montgomery material is hard to come by. Not counting Willow Weep for Me, the posthumous LP Verve issued in 1968 not long after the guitarist's passing, there was Resonance's 2012 set Echoes of Indiana Avenue, which contained largely live performances from 1957 and 1958. In the Beginning, released three years after Echoes, draws from a similar well of unreleased recordings, offering a heavy dose of live material along with five sides produced by Quincy Jones at Columbia Studios in 1955, plus three tracks a session at Spire Records in Fresno, California in 1949.