Smokin' At The Half Note [Vinyl]

Wes Montgomery, Wynton Kelly, Wes Montgomery & Wynton Kelly | Format: Vinyl

Product Details

• Vinyl (April 29, 2008)
• Number of Discs: 1
• Label: Sundazed Music Inc.
• ASIN: B00140PLJ0
• In-Print Editions: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.9 out of 5 stars  See all reviews (24 customer reviews)
• Amazon Best Sellers Rank: #55,331 in Music (See Top 100 in Music)

Editorial Reviews

Track Listing: A1 No Blues 12:56 A2 If You Could See Me Now 8:27 B1 Unit 7 6:46 B2 Four On Six 6:45 B3 What's New? 6:16 Credits: Bass - Paul Chambers (3) Drums - Jimmy Cobb Engineer - Rudy Van Gelder Guitar - Wes Montgomery Piano - Wynton Kelly Notes: Recorded June 1965 at the Half Note, New York City; and September 22, 1965 at Van Gelder Studio, Englewood Cliffs, New Jersey

Customer Reviews

Most Helpful Customer Reviews

30 of 30 people found the following review helpful:

5.0 out of 5 stars Guru of the Guitar, May 31, 2004

By 

Samuel Chell (Kenosha,, WI United States) - See all my reviews
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This review is from: Smokin at the Half Note (Audio CD)

Wes arrived late (he was 35) and checked out early (fewer than 10 years in the spotlight). Still, no guitarist has had a greater impact in the history of this music. By the time he had moved on from Riverside to this session for Verve, he had little to prove to musicians and was beginning to accept more accessible, popular assignments that would broaden his appeal to the general public. "Smokin'," despite lacking any tunes as challenging as "Airegin" ("The Incredible Guitar Artistry of"), can stand alongside his Riverside work as an example of creative, inspired playing. And the presence of Wyn Kelley along with Chambers and Cobb definitely raises the swing factor a notch.

If you're new to Wes, don't expect to be blown away by just one recording. Guitar is such a popular if not universal instrument that to be designated "number one" often seems to over-inflate listeners' expectations, inviting subsequent doubt and dissent. What sets Wes apart from the field is not pyrotechnical legerdemain or bold innovation but every "little" thing that he does so well so effortlessly so much of the time. The sound he gets out of the instrument is of itself a marvel. It has a deep and meaty, utterly natural, resonance, almost as if the tone is doubling itself, reminding me less of other guitarists than of Bird and Clifford. Additionally, there's never a microsecond of doubt in his playing or solo constructions. Nothing is tentative--in terms of notes, phrases, or choruses. It's all so completely lyrical and logical that the listener's biggest challenge can be not to take it for granted.

His solo on Sam Jones' "Unit 7" might serve as a touchstone to all of his playing. He starts with inventive single note melodic ideas, then moves to octaves without the faintest suggestion of slowing down to accommodate the extra note, then finally kicks it into high gear with a fully chorded "out" chorus that feels as forceful as a shout chorus by the whole Count Basie Band.

I never caught Wes live, but I've heard that visually he was the mirror image of his music--efficient, composed, resourceful, economical--not the least hint of wasted motion, just like Bird and Tatum. Genius requires a level of concentration that the rest of us probably have little to no experience with. Wes Montgomery is one of those artists who can take the listener beyond the music, producing vibrations that are not merely satisfying at a sensual or emotional-intellectual level: his music is capable of leading to discoveries about the creative process itself.

24 of 24 people found the following review helpful:

5.0 out of 5 stars One of Wes' best - a must have, December 2, 2002

By 

Ben (Columbia, MO) - See all my reviews

This review is from: Smokin at the Half Note (Audio CD)

Put the greatest jazz guitarist ever with Miles Davis' rhythm section and you get this. Couple Wes' amazing improvisation and ceaseless ideas with Wynton Kelly's classy embellishments, Paul Chambers' continuous drive, and Jimmy Cobb's tireless swing and you get something very close to utopia. Everything that made Wes great is in this recording.

As far as the reviewer who said Wes was half the guitarist that Joe Pass was, he's right in a sense. Wes' thumb style limited his speed, so he couldn't play as fast as some other guitarists. However, Wes had something that Joe Pass, Johnny Smith, and Tal Farlow lacked: phrasing. Listening to Joe pick every note is enough to make a horn player faint. After listening to most jazz guitarists, I get the urge to say, "That's nice, but what's your point?" They can play fast, complex lines, but none of it seems to have any purpose other than showing off. Wes was a master at phrasing and the use of space. He skillfully used single lines, octaves, and chords to get his point across. He carefully constructed coherent solos that always seemed to say something. Listen to No Blues on this album. Though Wes plays a long solo, each chorus is more exciting than the one before it. When I listen to Joe Pass, each chorus does not build on the one before it, and it all gets boring very quickly.

18 of 18 people found the following review helpful:

5.0 out of 5 stars Moments to treasure, June 6, 2003

By 

Jack Webb (Springfield, Va United States) - See all my reviews

This review is from: Smokin at the Half Note (Audio CD)

One of the most memorable events of my youth was in 1967, the year before Wes Montgomery died. I and another guitar player friend sat just feet from Wes in Washington DC's Bohemian Caverns club as he tore into number after number, in total command of his fabulous L-5 Gibson guitar. I even recall the first tune of the night: "I Could Write a Book." If I could revisit any one time and place in my life, that would be it. The Half Note album is another session on that order. Oh, how I wish I could have been there..and at Tsubo in San Francisco to hear him with Wynton Kelly and sax man Johnnie Griffin. Moments like those are meant to live forever. Thank God someone recorded it. Get this CD and dream of being in the audience. These moments in history only happen once.