Smokin at the Half Note [Original recording remastered]

Wes Montgomery | Format: Audio CD

Product Details

• Audio CD (February 15, 2005)
• Number of Discs: 1
• Format: Original recording remastered
• Label: Verve
• ASIN: B0006VXF4G
• In-Print Editions: MP3 Download
• Average Customer Review: 4.9 out of 5 stars  See all reviews (12 customer reviews)
• Amazon Best Sellers Rank: #3,251 in Music (See Top 100 in Music)
  • #6 in Music > Jazz > Soul-Jazz & Boogaloo
  • #15 in Music > Jazz > Bebop > Hard Bop
  • #30 in Music > Jazz > Bebop > Bebop General

Editorial Reviews

Amazon.com

Wes Montgomery brought the art of the electric guitar to new heights in the 1950s and 1960s before his untimely death at 43. His vaulting style employed octaves much as his main influence, Charlie Christian, did in the Benny Goodman Sextet. Montgomery's crowd-pleasing facility with the fretboard was best employed in live performance when he could stretch out and really be heard. Smokin' is a thoroughly satisfying live album recorded in 1965 and 1966 at the New York nightclub, with co-leader Wynton Kelly and his trio--Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. Montgomery and Kelly are in perfect sync here, especially on "No Blues" and "If You Could See Me Now." --John Swenson

Product Description

No Description Available.
Genre: Jazz Music
Media Format: Compact Disk
Rating:
Release Date: 15-FEB-2005

Customer Reviews

Most Helpful Customer Reviews

75 of 76 people found the following review helpful:

5.0 out of 5 stars A fire that won't go out., February 18, 2005

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)

This remastered, expanded edition of the classic Wes Montgomery-Wynton Kelly session is essentially an economy-priced version of the import, "The Complete Live at the Half Note." If you have the original "Smokin' at the Half Note" and are not a Wes completist, the audio quality of this version is not sufficiently superior, imo, to justify purchase. As for the addition of six previously unreleased tunes, only "Impressions" might be considered essential. Still, it's reassuring to see that Wes' popularity continues to be supported by new editions of his work.

Wes did not receive widespread public recognition until he was 35, and he was barely 44 when he died. Still, it's unlikely any other guitarist (including Christian and Django) 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.

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, offering a glimpse of the creative process itself as practiced by a true master.

11 of 11 people found the following review helpful:

5.0 out of 5 stars One of two Wes Classics, October 23, 2005

By 

Ben Fernandez (Boston, MA) - See all my reviews
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This review is from: Smokin at the Half Note (Audio CD)

This cd and "Full House" are Wes Montgomery's two best cd's, and they are both live. If you like the one, get the other. If you have both, buy anything Wes did on Riverside. All those cd's are great!

14 of 16 people found the following review helpful:

5.0 out of 5 stars Guitar god, January 25, 2006

By 

Geoffrey R. Balme (raleigh NC) - See all my reviews
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This review is from: Smokin at the Half Note (Audio CD)

with so many great guitar players referring to him as their favorite it was time to delve into jazz (a music I never really found myself loving - aside from bits of Django- )but after a couple of listens it's easy to overlook the grandiose over dramatic piano solos and buzzy bass noise.

This is a great album - Montgomery at first sounds choppy by comparison to Django who always struck me as just pure fluidity.
M. seems to want you to hear every note, clear and strong - his tone is very basic - a big jazzbox clearly amped - and you can hear him wide open - each formula piece of his lyrical leads is done with such casual ease you'd think it was something programmed. Players say he was "on" this night - and when you get your ear tuned to the musical style "be-bop" I guess - you can hear him fiddling with "salt-peanuts" and other brass instrument lines that come from his hands with ease.

a great album.
even for a die-hard punk enthusaist.