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Movin’ Along ~ Wes Montgomery | By Eddie Carter

Submitted for your approval this morning is an overlooked, underrated gem by one of my favorite jazz guitarists: Wes Montgomery. Movin’ Along (Riverside RLP 342/RLP 9342) was his third release as a leader and one of six albums he recorded in 1960. Two as a leader, plus one each with Cannonball Adderley, Nat Adderley, Harold Land and his brothers. All six albums received critical acclaim, underscoring how rapidly Wes Montgomery’s star was rising. The personnel on this release are James Clay on flute (tracks: A1, A2, A4, B1) and tenor sax (B2); Wes Montgomery on guitar (A1, A3, B2, B3) and bass guitar (A2, A4, B1); Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums. I own the 1977 Victor Musical Industries Japanese Mono reissue (Riverside SMJ-6199M).

Wes Montgomery’s Movin’ Along, which opens the album, is a perfect tune to listen to and unwind to after a long workday or week. The quintet’s soothing, soul-pleasing melody starts at a leisurely pace. James steps up first with a relaxing solo as enjoyable as spending time with old friends, then Wes follows with a velvety-smooth reading. Victor takes a mellow stroll last before the group’s theme reprise fades out softly. The temperature moves upward for the ensemble’s spirited theme to Tune-Up by Miles Davis. Wes switches to bass guitar and gets a nice little swing groove going in the opening statement. James cruises into the second interpretation with vigorous enthusiasm, and Victorhas the last word with a few energetic choruses ahead of the theme’s restatement.

Ghost of a Chance by Bing Crosby, Ned Washington, and Victor Young is a beautiful ballad from the thirties that later became a jazz standard. This rendition becomes a quartet showcase for Wes and the rhythm section. The foursome begins the melody delicately, then steps aside for the guitarist’s thoughtful and tender opening solo. Victor shares a reflective moment of lyrical beauty in a short statement leading to the gentle closing chorus. Sandu by Clifford shifts the mood to a medium groove for the opening ensemble, with Wes back on bass guitar. Wes takes the reins first, and the listener will snap their fingers and tap their toes along. Sam comes in next for a short walk before engaging in a brief exchange with Wes before the theme’s return.

Side Two starts with Body and Soul, by Edward Heyman, Robert Sour, Frank Eyton, and Johnny Green. Wes, on bass guitar, introduces a warm, gentle melody as soothing as a summer breeze. The rhythm then becomes lively for James’s spirited opening solo. Wes follows with a wonderful reading, and Victor wraps up with a bright and sparkling finale. Wes slows down softly to conclude the song beautifully. Wes Montgomery’s So Do It slows the ensemble’s beat down slightly to medium for their opening chorus, featuring James on tenor sax. Wes moves right into the first solo with a bouncy effervescence. James handles the second statement with a few inspired ideas. Victor shapes the third interpretation into something special. Wes, Louis, and Sam take turns in a short three-way conversation before the quintet takes the song out.

Sam Jones’s Says You ends the album with the group’s upbeat theme. Wes gets things started with a cheerful, engaging solo. Victor follows with an easygoing interpretation, and Sam takes a brief walk before the quartet returns for the climax. Orrin Keepnews produced the album, and Wally Heider managed the recording console. The Victor reissue sounds excellent, offering a spacious soundstage that emerges from your speakers with superb fidelity. Wes Montgomery possessed a special gift for drawing listeners into his music, giving them a glimpse into the creative world of a true master. is one of the best albums in his discography. With the added talents of James Clay and the Cannonball Adderley Quintet’s rhythm section, I highly recommend checking it out on your next record-shopping trip!

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