LOS ANGELES, Calif. - Concord Music Group will release five new titles in its Original Jazz Classics Remasters series. Enhanced by 24-bit remastering by Joe Tarantino, several bonus tracks on nearly each disc (some previously unreleased) and new liner notes providing historical context to the original material, the series celebrates the 60th anniversary of Riverside Records, the prolific New York-based label that showcased some of the most influential jazz artists and recordings of the 1950s … MORE
MORE RELEASES FROM WES MONTGOMERY
The best modern jazz classics are revisited in the Original Jazz Classics Remasters series. More
Orrin’s commentary (from his new liner notes): “I began constructing the 1960 definitive presentation of [Wes] Montgomery by… More
Orrin Keepnews' commentary (from his new liner notes): "The most significant feature of the album is the uncanny rapport between the two leaders… More
Wes Montgomery, the most influential guitarist of his day, was also probably the most pleasing to listen to. His brilliant artistry at ballad… More
Remastered in 24-bit from the original master tapes. Part of our Keepnews Collection, which spotlights classic albums originally produced by the… More
Journalist Bill Milkowksi writes in his liner notes to the Riverside profile compilation of guitarist Wes Montgomery, “There are few joys… More
The incredibly inventive concepts and style of Wes Montgomery profoundly influenced and permanently changed virtually every jazz guitarist of his… More
ABOUT WES MONTGOMERY
Few musicians in jazz history were more innovative, or more unassuming, than guitar legend Wes Montgomery (1923-68). He dispensed with the plectrum and developed an incredible thumb-picking style, played octave and chordal passages with the fluency and nuance of single lines, and organized these astounding techniques in solos of daring detail and sustained shape. Yet Montgomery modestly saw himself as a provider for his large family, a man who turned out entertaining music that just happened to redefine the possibilities of the jazz guitar.
Wes was the second of three musician brothers from Indianapolis, and the last to make his name nationally. He had briefly worked under his given name John Leslie Montgomery with Lionel Hampton from 1948-50; but then he returned home, to raise his family, work a day job as a welder, and develop his revolutionary style in one and sometimes two gigs a night at clubs like the Turf Bar and the Missile Room. His brothers, electric bass innovator Monk and vibist/pianist Buddy, had moved to San Francisco and were enjoying success as half of the Mastersounds when Wes, still working organ gigs at home, joined them on several late-Fifties recording sessions. It was word of mouth from musicians like Cannonball Adderley and Gunther Schuller, who passed through Indianapolis and were knocked out by this local legend, that created a groundswell of interest in the guitarist among the New York opinion-makers and led to his Riverside recording contract in 1959.
The rest, which was all too brief given his unexpected death from a heart attack nine years later, was guitar and jazz history. He was an immediate success with critics, who were prepared to top any superlatives awarded him in album titles; became the model for an entire new generation of guitarists (as well as some established players who recognized the shape of guitar to come); and found himself just as eagerly celebrated by the general public, who heard a warmth and emotional directness in Montgomery's music that made questions of progress and influence secondary. For a time, Montgomery retained the local trio featuring organist Mel Rhyne that was heard on his first recordings; but soon he would reunite with Monk and Buddy as the Montgomery Brothers. Despite studio partnerships with some of the greatest players of the era (including Adderley, Tommy Flanagan, Milt Jackson, and Jimmy Smith) as well as large orchestras, and a couple of immortal live recordings with Wynton Kelly, not to mention an invitation to join John Coltrane's band (then a sextet with Eric Dolphy) that was briefly accepted in 1961, most of Montgomery's remaining work was in bands with Rhyne or his brothers.
As Montgomery moved to larger labels and more commercial projects, his popularity kept pace and his albums began to appear in the upper reaches of the pop charts. Yet his live performances still left musicians and jazz audiences speechless with his virtuosity, a situation that his slim but essential discography has continued without abatement in more than a quarter century since his untimely death.