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8 of 10 people found the following review helpful:
4.0 out of 5 stars
Finger Lickin Good, November 15, 2000
This is the side off Wes Montgomery most people are aware of. This is a collection of his most "popular" recordings fron the sixties. Several of the songs are pop tunes from that era but Wes had a unique talent to improvise a standard and eventually bring you back to the more "recognizeable" parts of the song. His style is easily identifiable as he takes the listener soaring and weaving as he moves about on the fret, using his thumb like no other before or since. Anyone who is familiar with Wes will immmediately remember his versions of such pop songs as "A Day in The Life", "Sunny". "Tequila" and his hit "Going out of my Head". The classics are all here on this 66 minute beaut, including the songs he penned like "Road Song", "Bumpin" and my personal fave "Bumpin On Sunset". I don't know if it was because I actually remember being on Sunset Blvd. listening to Wes or what but I just love this song. I've had versions in every format of my life beginning with vynyl,ssshhhhhh-eight track,cassette and now CD of this song. It is just a cool song, from my perspective worth buying for just that 5 minute song alone! Back to the review, the Wes on this CD is more accesible and palateable, not as free flowing as the work he did with his brothers. The arraignments are lush, strings and orchestral at times, but ever tasty. I guess you could say that this is the foundation for what is now known as pop jazz, smooth jazz or whatever you want to call it. What it is not is hard core, straight ahead jazz, with the exception of "Impressions" where he plays the parts that John Coltrane penned. Although the feel of this collection is soft and borders on "elevator music" the talent and impact Wes had on future musicians is without queston and evident throughout. The tracks included feature some of the best musicians who later would be resposible for the crossover and fusion of jazz like Herbie Hancock and Ray Barretto. The majority of the accompanying musians are heavyweights like Grady Tate, Ron Carter and Paul Chambers. The arrangemnets are beautiful orchestral "mini concerts" and have a relaxing effect, the perfect unobtrusive music for doing something else that demands your attention. Not to say that it is void of any emotion it evokes from the listener, it just flows through you, capturing your interest but not demanding your full attention. The guitar work is masterfull and one can only marvel at the warm simplistic yet intricate details of his fingering. If you have an hour where the music doesn't have to be the focus of your attention put this on your player and carry on with that book you may be reading or finalize those plans you may be working on. Any fan of Wes Montgomery will like this but for the more adventurous who like their Wes pure, prior to his acceptance by the pop world try the CD "Impessions". Wes had the ability to fuse pop and jazz, an innovator, a true master of guitar, at home in both worlds with the unique ability to bring it all together as one nnew form. This is soothing, yet stimulating, smooth jazz before the term was ever used, listen to pop jazz in it's embryo stage. Like Jimi Hendrix, there is Wes and the other guitarists, he stands alone.
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1 of 1 people found the following review helpful:
3.0 out of 5 stars
FAR from his finest hour, but still better than some others' best., August 1, 2007
Here's the deal. If "smooth jazz" just makes you cringe, stay away from this title. If you like "smooth" or "groove" jazz, this is quite good. Personally, I don't generally care for any of those genres, but I make an exception for this album.
Most of the music here is not what I consider jazz - not serious or "real" jazz, anyway. And if you want to hear Wes playing jazz guitar, or hear him playing at the top of his form, look for the albums on Riverside and Pacific (I recommend "Incredible Jazz Guitar", "Boss Guitar" and "So Much Guitar", but they're all good).
In the words of Wes himself: "There's a jazz conception to what I'm doing, but I'm playing popular music and it should be regarded as such." These are pop/groove instrumentals with a "jazzy" feel - and as a serious jazz fan, I dislike almost anything that can be described as "jazzy". This music is a rare exception, but it's not really jazz and unless you're looking for old-style smooth/pop "jazz", there are MUCH better Wes Montgomery albums out there.
So - I give it 3 stars because, in the end, I find that I actually enjoy listening to it. I prefer any of his jazz albums to this, but for light listening or background music, this is not bad at all. For lounge music, it's actually quite fine.
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1 of 1 people found the following review helpful:
4.0 out of 5 stars
A Pleasurable listen, April 22, 2007
I'm not going to re-hash the traditionalist vs sellout theme here.
I will however let it be known that I am not a fan of re-interpretations of current pop music in other forms. Things like these have traditionally smacked of embarrassing attempts at relevancy, Ala "Peace Love & Pops" by Arthur Fielder and The Boston Pops Orchestra.
BUT, there are exceptions, and this is one.
Yes, some of these tracks don't quite work. I was dissapointed with "Milestones" a personal favorite. Something's lost in this arrangements really slow tempo (not Montgomery's playing). It has all the soul of a Wal-Mart.
But for the most part, this is a really strong crossover piece with moments that just shine.
If you're not tappin' and snappin' to "Up And At It" "Impressions" and the wonderful "Twisted Blues" you ain't livin' Brother!
If this is cheesy elevator music in a equally bad hotel, then book me for a stay.
As I found this a pleasant musical snapshot of the late 60's filled with trademark Wes harmonics.
Overall a better attempt at this type of recording than most.
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