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Wes Montgomery

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John Leslie "Wes" Montgomery was an African-American jazz guitarist. He was born in Indianapolis, Indiana, part of a musical family including his brothers, Monk (string bass, electric bass) and Buddy (vibraphone, piano) He died of a heart attach on June 15, 1968.  He is also the grandfather of Star Trek: Enterprise star Anthony Montgomery.


Montgomery started learning guitar only in his late teens, listening obsessively to recordings of his idol, Charlie Christian.  Within a relatively short period of time, he could play Christian solos verbatim.

Montgomery was not skilled at reading music, but he had an instinctive knowledge of jazz harmony and an incredible command of the fretboard.  Along with the use of octaves for which he is widely known, Montgomery was also an excellent single-line player, and was very influential in the use of block chords in his solos.

 

Montgomery employed an unorthodox guitar technique; he did not use a pick. Rather, he 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. This technique enabled him to get a mellow, expressive tone from his guitar. George Benson, in the liner notes to "Ultimate Wes Montgomery" CD, wrote that "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 guitar, usually an L-5CES. 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.

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 Monk and Buddy, as well as trumpeter Freddie Hubbard. Most of the recordings made by Montgomery and his brothers from 1957-1959 were released on the Pacific Jazz label.

In 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 his most acclaimed album, The Incredible Jazz Guitar of Wes Montgomery.  Recorded as a quartet with pianist Tommy Flanagan, bassist Percy Heath and drummer Albert "Tootie" Heath, the album featured one of Montgomery's most famous compositions, "Four on Six."

Almost all of Montgomery's output on Riverside featured the guitarist in a small group setting, usually a quartet or quintet, playing a mixture of hard-swinging uptempo jazz numbers and quiet ballads.

In 1964 Montgomery moved to the Verve Records label. His stay at Verve yielded a number of albums that usually featured him in front of an orchestra. During this period (1964-1966) Montgomery's music started to move more into the territory of  pop music. One notable exception is 1965's Smokin' at the Half Note, which showcased two memorable appearances at the famous New York City club with the Wynton Kelly Trio.  Wes continued to play outstanding live jazz guitar, as evidenced by surviving audio and video recordings from his 1965 tour of Europe.

By the time Montgomery released his first album for  A & M Records, he had seemingly totally abandoned the straightforward jazz of his earlier career in favor of pop. The three albums released during his A&M period (1967-1968) 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. While these records were the most commercially successful of his career, they are now poorly regarded by fans and critics alike.

From Wikipedia, the free-content Encyclopedia.

 

 
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