Requisites

The Wes Montgomery Trio | By Eddie Carter

“It wouldn’t be easy,” I thought to myself. Other reviewers have been crafty, cunning, and just as resourceful when writing about Wes Montgomery. “What could I say, that hasn’t already been said about one of the true innovators on the guitar?” Staring at the blank page and flashing pointer on the computer screen, I anxiously awaited an answer that never came. I took one of my favorite albums down from the shelf to listen to after writing a review, placed the record on the turntable, and began to listen. The Wes Montgomery Trio (Riverside RLP 12-310/RLP 1156) was recorded and released during that magical year of 1959 shortly after he relocated from Indianapolis, Indiana to New York City. The other members of his trio are Melvin Rhyme on guitar and Paul Parker on drums. My copy used in this report is the 1975 Riverside Original Recording Series Japanese Stereo reissue (SMJ-6080) by Victor Musical Industries, Inc.

Side One opens with one of the greatest jazz standards ever recorded, ‘Round Midnight by Thelonious Monk, Cootie Williams, and Bernie Hanighen. The trio begins with an elegantly tender introduction by Wes that flows softly into a graceful theme with Melvin and Paul trailing him ever so gently. Montgomery is the only soloist and gives a mesmerizing interpretation with the delicacy of fine porcelain figurines preceding the ensemble’s heartwarming finale. Yesterdays by Jerome Kern and Otto Harbach was an instant hit after the Broadway musical, Roberta (1933), and remains an enduring standard to this day. The trio starts with a beautifully constructed, bluesy melody. The guitarist takes the reins again for the song’s only interpretation and unfolds an infectious performance that’ll have the listener snapping their fingers and tapping their toes.

The End of a Love Affair is from the pen of Edward C. Redding and was written in 1950. It’s a marvelous song that hasn’t been over-recorded. Wes would revisit it a few years later on Goin’ Out of My Head (1966) backed by The Oliver Nelson Orchestra. The group’s rendition is uptempo with Wes in front on the melody, then making use of his octaves and chords for an effervescent first solo. Melvin dances over the pedals on the next reading leading to the exit. Benny Golson wrote Whisper Not in 1956 while he was with The Dizzy Gillespie Big Band. It’s one of his most recorded compositions and the trio starts with a warm and mellow theme. Wes starts the soloing at a low glow and Melvin adds a modest comment before the close. Ecorah by Horace Silver is also taken at midtempo, and one can’t help but marvel at the trio’s collective improvisation during the first and final choruses.

The inspiration for Satin Doll by Duke Ellington, Billy Strayhorn, and Johnny Mercer comes from a famous black stripper who used the song’s title as her stage name. The trio pays homage to the standard with a happy theme and closing chorus that’s sure to put a smile on your face with its catchy beat. Melvin shows off a wonderful articulation on the first reading, followed by Wes who keeps things swinging with some relaxed cooking on the closer. Missle Blues, the first of two tunes by Montgomery, is named after the Indianapolis club he played in. This mid-tempo original begins with a compelling swing that the ensemble states proficiently in the melody. Melvin and Wes are the featured soloists and the organist opens with a velvety smooth interpretation. Wes strolls into the closing performance at a casual flow punctuated by Paul’s brushwork.

Too Late Now by Burton Lane and Alan Jay Lerner is a very lovely standard beginning with a collective, wistful opening chorus. Montgomery refreshes this chestnut with a breathtaking lead solo tinged with melancholy. Melvin expresses a remorseful answer to the guitarist ahead of the trio’s elegant closing thoughts culminating with a delicate climax. Wes’ Jingles ends the album allowing each member solo space beginning with Rhyme who cruises happily on the melody and first solo. Wes gets into a swinging groove on the second statement, and Paul has a quick exchange with Melvin and Wes leading to the reprise and finale. Jack Higgins engineered the original recording and Victor’s remastering of the tapes is nearly perfect. The sound quality is excellent, but on Jingles, both the guitar and organ are miked too strongly and there’s a bit of harshness on both solos and the out-chorus.

In fairness to Victor, I think this miking error may have happened during the original recording. That issue aside, the rest of the album’s sound is superb and worth auditioning for a spot in your jazz library. Wes Montgomery influenced countless guitarists with his creativity, innovation, and outstanding technique. Many have paid homage to him with original songs and tribute albums and whether working with big bands, small groups, or strings, his playing showed he could converse musically in any setting. He passed away from a heart attack on June 15, 1968. If you’re a fan of Wes Montgomery and enjoy jazz guitar, The Wes Montgomery Trio is a great album for any enthusiast and perfect for listening any time of the day or night!

~ Dizzy Gillespie and His Orchestra (Fanfare N 46 146); Goin’ Out of My Head (Verve Records V-8642/V6-8642) – Source: Discogs.com
~ Dizzy Gillespie and His Orchestra – Source: JazzDisco.org
~ ‘Round Midnight, Yesterdays, The End of a Love Affair, Whisper Not, Satin Doll, Too Late Now – Source: JazzStandards.com
~ Wes Montgomery – Source: Wikipedia.org
© 2021 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,guitar,history,instrumental,jazz,music

The Quarantined Jazz Voyager

To maintain my health during this variant period of the pandemic I am continuing to listen to great music as I remain socially distant. This week I am pulling out from my shelves the album Easy Like, Volume 1 by guitarist Barney Kessel.

The album was released by Contemporary Records in 1956. Eight songs were released on the 10-inch album Barney Kessel which were recorded on November 14, and December 19, 1953, while other songs were recorded on February 23, 1956. It was recorded at Contemporary Records Studio in Los Angeles, California. The album was produced by Lester Koenig.

All tracks are written by Barney Kessel except where noted.

1. Easy Like ~ 4:04
2. Tenderly (Walter Gross/Jack Lawrence) ~ 4:06
3. Lullaby of Birdland (George Shearing/George David Weiss) ~ 3:16
4. What Is There to Say? (Vernon Duke/Yip Harburg) ~ 3:10
5. Bernardo ~ 3:34
6. Vicky’s Dream ~ 2:37
7. Salute to Charlie Christian ~ 2:52
8. That’s All (Alan Brandt/Bob Haymes) ~ 3:18
9. I Let a Song Go Out of My Heart (Duke Ellington/Irving Mills/Henry Nemo/John Redmond) ~ 4:12
10. Just Squeeze Me (But Please Don’t Tease Me) (Ellington/Lee Gaines) ~ 3:41
11. April in Paris (Duke/Harburg) ~ 3:00
12. North of the Border ~ 2:46

• Barney Kessel ~ guitar
• Buddy Collette ~ alto saxophone, flute
• Bud Shank ~ alto saxophone, flute
• Arnold Ross ~ piano
• Claude Williamson ~ piano
• Harry Babasin ~ double bass
• Red Mitchell ~ double bass
• Shelly Manne ~ drums

More Posts: adventure,album,club,genius,guitar,jazz,museum,music,preserving,restaurant,travel

Daily Dose Of Jazz…

Bardu Ali was born September 23, 1906 in Mississippi. His mother, Ella, moved to the Bronx, New York, with her children and her sister Fanny. He moved into New York City in the 1920s and became leader of the Napoleon Zyas band. He was master of ceremonies for this band and for the bands of Leroy Tibbs and Chick Webb. He is credited with persuading Webb to hire singer Ella Fitzgerald.

Ali got involved with black cinema in the late 1920s and 1930s. He went on tour in England with Lew Leslie’s Blackbirds revue. Returning to the States, he replaced Webb as bandleader after Webb died.

1940 saw him move to California, where he became the business partner of Johnny Otis, performed as a singer in Otis’s band, and opened The Barrelhouse club with him in 1947. He played an important role in the early career of Charles Brown and was Redd Foxx’s business manager.

Guitarist, singer and promoter Bardu Ali, who performed in both jazz and R&B genres, passed away on October 29, 1981.

More Posts: guitar

Daily Dose Of Jazz…

Eddie Lee McFadden was born on August 6, 1928 in Baltimore, Maryland and as a small child tried the piano but later settled on guitar. After his military service, he concentrated on jazz guitar. By the 1950s the guitarist was playing in Philadelphia, Pennsylvania clubs. From 1957-58 he was in organist Jimmy Smith’s band and recorded a dozen albums with Smith as part of a trio and sextet. The trio included Donald Bailey on drums.

Staying with organists he next joined Johnny “Hammond” Smith and during the period 1960–63 and one more in 1966, McFadden made eight recordings. Two further sideman appearances on albums came to fruition in the late 1970s.

In November 1967, the Al Grey & Eddie McFadden Quartet played at Count Basie’s Lounge in New York. During the late Seventies he recorded with Sonny Phillips and Don Patterson.

Guitarist Eddie McFadden, who also wrote music for some of his bands, passed away on September 23, 1992 in Philadelphia.

More Posts: bandleader,composer,guitar,history,instrumental,jazz,music

Daily Dose Of Jazz…

Victor Lewis was born on July 29, 1919 in London, England and began playing the guitar at the age of three, and dabbled with cornet and trombone. One of his early bands included George Shearing, then a teenager, among its members.

Lewis first toured the United States in 1938, where he recorded sessions with a band that had Bobby Hackett, Eddie Condon, and Pee Wee Russell. Serving in the Royal Air Force from 1941 to 1944, he recorded with Buddy Featherstonhaugh. While he was in the RAF, he met Jack Parnell and together they formed the Vic Lewis/Jack Parnell Jazzmen. He worked with Stephane Grappelli after the war and with Ted Heath soon after.

Lewis put together his first big band in 1946 to play swing jazz, but soon after its formation he began to direct the ensemble toward the sound of Stan Kenton, who gave him some of his arrangements by Pete Rugolo, Gerry Mulligan, and Bill Holman. Pianist Ken Thorne also made arranging contributions. He toured the US with the band at various intervals between 1956 and 1959, and recorded extensively for Parlophone, Esquire, Decca, and Philips.

After 1959, Vic semi-retired as a performer, only occasionally recording, but he continued to write about jazz and champion its value. He went into artist management, and oversaw the careers of photographer Robert Whitaker and the singer Cilla Black among many others.

Selling his management agency in 1964 to Brian Epstein’s company NEMS, then worked with Epstein arranging the Beatles’ international tours. Following Epstein’s death in 1967, Lewis served as managing director of NEMS. Lewis also managed Robin Gibb of the Bee Gees, and produced his debut album Robin’s Reign in 1970.

He conducted recordings of his own and others with the Royal Philharmonic Orchestra on Vocalion, which included excerpts from his Russian Suite, a Romance for Violin, and two movements (Red and Jade) from a multi-composer suite called Colours. Guitarist, bandleader, agent and manager Vic Lewis, who was awarded the MBE in 2007, continued to work in the music industry until he passed away on February 9, 2009 in Golders Green, London.

More Posts: agent,bandleader,guitar,history,instrumental,music