Customer Reviews

Full House

5 star:		(7)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Forget "The Incredible". This is Wes's masterwork, performed live with a band finally up to his genius. Despite all the praise he got as a player, I think this album makes the argument that he's STILL under-appreciated. His solo on "Blue N' Boogie" is as fine a piece of spontaneous composition as exists. If you like jazz guitar, if you like jazz... hell, if you like music, don't wait another second. Get it.

I love guitar jazz. Real guitar jazz, not the watered down sap they play on 'smooth jazz' radio or the avantgarde dreck intellectuals play at their dinner parties. The category is chock full with wonderful players, both living and dead; alas, Wes is no longer with us, but his influence is all over the place. He was a great technician but also a brilliant interpreter who could achieve gorgeous tone, and sometimes slipping into schmaltzy pop modes. None of that on this disc, sparkling and freshly-remastered, that showcases Wes at the absolute top of his game...and of the guitar jazz heap.

Well cats this is it. This is the Wes you want. Swinging, hip, and utterly musical. Solo on Cariba take 2 is one of those magic solos that is just transcendent.

"Smokin at the Half Note" is usually touted as Wes' best recorded work and understandably so. However, in my opinion, "Full House" makes for a much better record. "Smokin'" as orginally issued is a piecemeal recording. Only the first two cuts are recorded live. The other tracts were recorded later at the Van Gelder Studios. Subsequently, "Willow Weep for Me" was issued posthumously containing the other tunes from the Half Note dates but with the cuts unfortunately overdubbed with a horn section. The most exciting cut from the Half Note dates, "Impressions" was absent from both records, only to appear on a later Verve collection. Just way too much tampering with a live performance for my taste. Full House is unadulterated and Wes plays with just as much fire. The feeling of "actually being there" is much better represented by this record. My only complaint is the needless repetition of the same songs one right after the other. If you're going to put on alternate performances, put them at the end of the record for crying out loud! Still, Full House is so good in spite of this that I can't bring myself to give it anything less than five stars. If I could only own one Wes cd it would be this one.

Recorded in 1962 and being digitally remastered, this live album still stands today, and how! Being a guitar player myself and loving the music of the new generation of players like Kurt Rosenwinkel, Adam Rogers, Jonathan Kreisberg, Brad Shepik amongst others, I had never bought a CD of Wes Montgomery.(except for his little contribution to the great 'Antonio Carlos Jobim Songbook-CD)...what a huge mistake that was! 'Full House'' is a diamont of a CD, it swings from the start and Wes plays so melodic and clean, seldom heard, ...and ...you can't be fooled with 'le nec plus ultra' in jazz land: Johnny Griffin, Wynton Kelly, Paul Chambers, Jimmy Cobb! No more words for me, that's the avantage of self-explanatory music! Enjoy the swinging on 'Cariba'!

From a musician's standpoint, Wes is the freakin man! This cd is a great example of what Wes Montgomery can do. If you are new to Wes, start with this cd or with 'Smokin At the Halfnote.' This cd is more upbeat and bluesy than 'Smokin', which is mostly jazz standards. IMHO these are 2 essential jazz guitar albums.

I'm a jazz guitarist and huge Wes Montgomery fan. This album is a real gem. We read that Wes never felt comfortable in the recording studio, but always let it hang out in live performance. Judging by these recordings, that must be true. I've been reviewing a number of Wes' albums; I keep thinking that maybe "Smoking At the Halfnote" is best, or maybe "Incredible Jazz Guitar", or even "Boss Guitar". For those that proclaim "Full House" his best, I can't argue. Mind you, I hate having to share my jazz guitar listening time with a sax player (Johnny Griffin), but when Wes steps up for his solos, he righteously smokes. Listening to these sides again makes me appreciate that Wes Montgomery is truly without peers in the history of jazz guitar. Simply put, no jazz guitarist has ever equaled this level of improvisation. Never has jazz had someone that was so creative, spontaneous and compelling to listen to. Wes seemed to always have a big smile while he played, and there's certainly something very jubilant, and rhythmically alive in his playing. It's all here on these tracks and it defies transcription. I listen to Wes and firmly believe, surely, jazz will never have a "better" guitarist than him. This album is a must buy for all jazz guitar fans.