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Wes Montgomery Trio - Guitar On the Go (1992)

Posted By: Oceandrop
Wes Montgomery Trio - Guitar On the Go (1992)

Wes Montgomery Trio - Guitar On the Go (1992)
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 242 MB. & 112 MB.
300dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (1992) | Label: Riverside/OJC | Catalog# OJCCD-489-2 (RLP-9494) | 42:53 min.

Review by Scott Yanow ~allmusic.com
The final Riverside release of Wes Montgomery material (before the important label went completely bankrupt) was similar to his debut four years earlier: a trio with organist Melvin Rhyne and an obscure drummer (this time George Brown). The CD reissue even includes one leftover track from the earliest session ("Missile Blues") along with newer jams and a pair of "bonus tracks" – an alternate take of "The Way You Look Tonight" and a brief "Unidentified Solo Guitar" piece. In general, the music swings hard (particularly the two versions of "The Way You Look Tonight"), and is a worthy if not essential addition to Wes Montgomery's discography. He would have a few straight-ahead dates for Verve, but this release was really the end of an era.
Tracklist:
01. The Way You Look Tonight [alternate take] (5:55)
02. The Way You Look Tonight (9:11)
03. Dreamsville (3:51)
04. Geno (2:57)
05. Missile Blues (6:04)
06. For All We Know (4:32)
07. Fried Pies (6:44)
08. [Unidentified Solo Guitar] (3:39)

Wes Montgomery Trio - Guitar On the Go (1992)

Personnel:
Wes Montgomery - guitar
Mel Rhyne - organ
Paul Parker - drums (on #5)
Jimmy Cobb - drums (on #7)
George Brown - drums (on all other selections)

~wikipedia
John Leslie "Wes" Montgomery (March 6, 1923 – June 15, 1968) was an American jazz guitarist. He is widely considered one of the major jazz guitarists, emerging after such seminal figures as Django Reinhardt and Charlie Christian and influencing countless others, including Pat Martino, George Benson, Russell Malone, Emily Remler, Kenny Burrell, Pat Metheny, and Jimi Hendrix. DigitalDreamDoor named Montgomery the greatest jazz guitarist of all time.

Biography
Montgomery was born in Indianapolis, Indiana. He came from a musical family; his brothers, Monk (string bass and electric bass) and Buddy (vibraphone and piano), were jazz performers. The brothers released a number of albums together as the Montgomery Brothers. Although he was not skilled at reading music, he could learn complex melodies and riffs by ear. Montgomery started learning guitar at the relatively late age of 19, by listening to and learning the recordings of his idol, guitarist Charlie Christian. He was known for his ability to play Christian's solos note for note and was hired by Lionel Hampton for this ability.

Many fellow jazz guitarists consider Montgomery the greatest influence among modern jazz guitarists. Pat Metheny has praised him greatly, saying "I learned to play listening to Wes Montgomery's Smokin' at the Half Note." In addition, Metheny stated to the New York Times in 2005 that the solo on "If You Could See Me Now," from this album is his favorite of all time. Joe Pass said, "To me, there have been only three real innovators on the guitar—Wes Montgomery, Charlie Christian, and Django Reinhardt," as cited in James Sallis's The Guitar Players and in his Hot Licks instructional video. Kenny Burrell states, "It was an honor that he called me as his second guitarist for a session." In addition, Stevie Ray Vaughan, Eric Johnson, Joe Satriani, Jimi Hendrix, David Becker, Joe Diorio, Steve Lukather and Pat Martino have pointed to him numerous times as a great influence. Lee Ritenour, who recorded the 1992 album Wes Bound named after him, cites him as his most notable influence; he also named his son Wesley.

Following the early work of swing/pre-bop guitarist Charlie Christian and gypsy-jazz guitarist Django Reinhardt, Wes joined Tal Farlow, Johnny Smith, Jimmy Raney, and Barney Kessell to put guitar on the map as a bebop / post-bop instrument. While these men generally curtailed their own output in the 1960s, Montgomery recorded prolifically during this period, lending guitar to the same tunes contemporaries like John Coltrane and Miles Davis were recording. While many Jazz players are regarded as virtuosos, Montgomery had a very wide influence on other virtuosos who followed him, and in the respect he earned from his contemporaries. To many, Montgomery's playing defines jazz guitar and the sound that learners try to emulate.

Dave Miele and Dan Bielowsky claim, "Wes Montgomery was certainly one of the most influential and most musical guitarists to ever pick up the instrument….He took the use of octaves and chord melodies to a greater level than any other guitarist, before or since….Montgomery is undoubtedly one of the most important voices in Jazz guitar that has ever lived-or most likely ever will live. A discussion of Jazz guitar is simply not thorough if it does not touch upon Wes Montgomery." (Jazz Improv Magazine, vol 7 # 4 p. 26).

"Listening to [Wes Montgomery's] solos is like teetering at the edge of a brink," composer-conductor Gunther Schuller asserted, as quoted by Jazz & Pop critic Will Smith. "His playing at its peak becomes unbearably exciting, to the point where one feels unable to muster sufficient physical endurance to outlast it." Wes received many awards and accolades: Nominated for two Grammy Awards for Bumpin', 1965; received Grammy Award for Goin' Out of My Head as Best Instrumental Jazz Performance by Large Group or Soloist with Large Group, 1966; nominated for Grammy Awards for "Eleanor Rigby" and "Down Here on the Ground", 1968; nominated for Grammy Award for Willow, Weep for Me, 1969. Wes' second album, The Incredible Jazz Guitar of Wes Montgomery, earned him Down Beat magazine's "New Star" award in 1960. In addition, he won the Down Beat Critic's Poll award for best Jazz guitarist in 1960, '61, '62,'63, '66, and 1967. (NPR.org, September 26, 2007).

Montgomery toured with Lionel Hampton early in his career, however the combined stress of touring and being away from family brought him back home to Indianapolis. To support his family of eight, Montgomery worked in a factory from 7:00 am to 3:00 pm, then performed in local clubs from 9:00 pm to 2:00 am. Cannonball Adderley heard Montgomery in an Indianapolis club and was floored. The next morning, he called record producer Orrin Keepnews, who signed Montgomery to a recording contract with Riverside Records. Adderley later recorded with Montgomery on his Pollwinners album. Montgomery recorded with his brothers and various other group members, including the Wynton Kelly Trio which previously backed up Miles Davis.

John Coltrane asked Montgomery to join his band after a jam session, but Montgomery continued to lead his own band. Boss Guitar seems to refer to his status as a guitar-playing bandleader. He also made contributions to recordings by Jimmy Smith. Jazz purists relish Montgomery's recordings up through 1965, and sometimes complain that he abandoned hard-bop for pop jazz towards the end of his career, although it is arguable that he gained a wider audience for his earlier work with his soft jazz from 1965–1968. During this late period he would occasionally turn out original material alongside jazzy orchestral arrangements of pop songs. In sum, this late period earned him considerable wealth and created a platform for a new audience to hear his earlier recordings.

He didn't have very long to live to enjoy his commercial success, however; on June 15, 1968, while at home in Indianapolis, Indiana, USA, he woke one morning, remarked to his wife that he "Didn't feel very well," and minutes later collapsed, dying of a heart attack within minutes. Montgomery's home town of Indianapolis has named a park in his honor. He is the grandfather of actor Anthony Montgomery.

Technique
According to Jazz guitar educator Wolf Marshall, Montgomery often approached solos in a three-tiered manner: He would begin a repeating progression with single note lines, derived from scales or modes; after a fitting number of sequences, he would play octaves for a few more sequences, finally culminating with block chords. He used mostly superimposed triads and arpeggios as the main source for his soloing ideas and sounds.

The use of octaves (playing the same note on two strings one octave apart) for which he is widely known, became known as "the Naptown Sound". Montgomery was also an excellent "single-line" or "single-note" player, and was very influential in the use of block chords in his solos. His playing on the jazz standard Lover Man is an example of his single-note, octave- and block-chord soloing. ("Lover Man" appears on the Fantasy album The Montgomery Brothers.)

Instead of using a guitar pick, Montgomery 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. Montgomery developed this technique not for technical reasons but for his wife. He worked long hours as a machinist before his career began and practiced late at night while his wife was sleeping. He played with his thumb so that his playing would be softer and not wake her. This technique enabled him to get a mellow, expressive tone from his guitar. George Benson, in the liner notes of the Ultimate Wes Montgomery album, wrote, "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 L-5CES guitar. 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 amp with a 15-inch (380 mm) speaker.

Recording Career
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, who made his recording debut with Montgomery. Most of the recordings made by Montgomery and his brothers from 1957–1959 were released on the Pacific Jazz label.

From 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 The Incredible Jazz Guitar of Wes Montgomery, which was recorded as a quartet with pianist Tommy Flanagan, bassist Percy Heath and drummer Albert "Tootie" Heath. The album featured two of Montgomery's most well-known compositions, "Four on Six" and "West Coast Blues."

Almost all of Montgomery's output on Riverside featured the guitarist in a small group setting, usually a trio (and always with his organist from his Indianapolis days, Melvin Rhyne), a quartet, or a quintet, playing a mixture of hard-swinging uptempo jazz numbers and quiet ballads. The lone exception, Fusion, telegraphed his post-Riverside career: it was his first recording with a string ensemble. One of the more memorable sets involved a co-leadership collaboration with vibraphone virtuoso and Modern Jazz Quartet mainstay Milt Jackson, whom producer Orrin Keepnews has said insisted on a collaboration with Montgomery as a condition for signing a solo recording deal with Riverside.

In 1964 Montgomery moved to Verve Records for two years. His stay at Verve yielded a number of albums where he was featured with an orchestra—brass-dominated (Movin' Wes), string-oriented (Bumpin', Tequila), or a mix of both (Goin' Out of My Head, California Dreamin').

But he never abandoned jazz entirely in the Verve years, whether with a few selections on most of the Verve albums, or by such sets as 1965s Smokin' at the Half Note (showcasing two memorable appearances at the famous New York City club with the Wynton Kelly Trio) or a pair of albums he made with jazz organ titan Jimmy Smith, The Dynamic Duo and Further Adventures of Jimmy and Wes). He continued to play outstanding live jazz guitar, as evidenced by surviving audio and video recordings from his 1965 tour of Europe.

As a considered founder of the Smooth Jazz school the album "Bumpin'" (1965) represents a model from which many modern recording are derived: as the liner notes to the CD remaster issue note, after being unable to produce the desired results by the guitarist and orchestra playing together, arranger Don Sebesky suggested Montgomery record the chosen music with his chosen small group, after which Sebesky would write the orchestral charts based on what Montgomery's group had produced. Longer clips from all of the tracks on "Bumpin'" and other Wes Montgomery albums are found on Verve Records website.

By the time Montgomery released his first album for A&M Records, he had seemingly abandoned jazz entirely for the more lucrative pop market, though as in his Verve period he played his customary jazz in small group settings in live appearances. The three albums released during his A&M period (1967–68) feature orchestral renditions of famous pop songs ("Scarborough Fair", "I Say a Little Prayer", "Eleanor Rigby", etc.) with Montgomery reciting the melody with his guitar. These records were the most commercially successful of his career, but featured the least jazz improvisation.

Wes and Buddy, along with Richard Crabtree and Benny Barth, formed "The Mastersounds", and recorded "Jazz Showcase Introducing The Mastersounds" and a jazz version of "The King and I", both released by World Pacific Records. They first played together at Seattle, particularly working up the set for "The King and I", at a club called Dave's Fifth Avenue. The composers were so impressed by the jazz version of "The King & I" that they pre-released the score of "Flower Drum Song" to the quartet to allow simultaneous release with the sound track album.

Produced by Orrin Keepnews
Recorded in New York; October 5, 1959; October 10, 1963; April 22, and November 27 - 1963.
Digital remastering, 1990 - Phil De Lancie; Fantasy Studios, Berkeley.
Cover Photograph: Lee Tanner
Design: Sam Alexander


Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

Archivo Log de extracciones desde 4. Julio 2008, 15:16

Wes Montgomery Trio / Guitar On The Go

Usar unidad : TSSTcorpDVD+-RW TS-H553A Adapter: 1 ID: 0

Modo de Lectura : Seguro
Utilizar Corriente Exacta : Sí
Descartar Audio caché : Sí
Utilizar los punteros C2 : No

Corrección de Desplazamiento de Lectura : 6
Sobreleer tanto en Lead-In como en Lead-Out : No
Rellenar las muestras faltantes con silencios : Sí
Eliminar silencios inicial y final : No
Se han usado muestras nulas en los cálculos CRC : Sí
Interfaz usada : Interfaz ASPI externo instalado
Gestión de Gaps : Añadido a la pista previa

Formato de Salida utilizado : Compresor definido por el usuario
Bitrate seleccionado : 768 kBit/s
Calidad : Alta
Añadir Etiqueta ID3 : No
Compresor de linea de comandos : D:\Archivos de programa\Exact Audio Copy\FLAC\FLAC.EXE
Opciones adicionales en línea de comandos : -6 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o %d


TOC del CD extraido

Pista | Inicio | Duración | Sector inicial | Sector final
––––––––––––––––––––––––––––––-
1 | 0:00.00 | 5:54.67 | 0 | 26616
2 | 5:54.67 | 9:11.13 | 26617 | 67954
3 | 15:06.05 | 3:50.65 | 67955 | 85269
4 | 18:56.70 | 2:57.27 | 85270 | 98571
5 | 21:54.22 | 6:04.30 | 98572 | 125901
6 | 27:58.52 | 4:32.10 | 125902 | 146311
7 | 32:30.62 | 6:43.58 | 146312 | 176594
8 | 39:14.45 | 3:38.40 | 176595 | 192984


Pista 1

Nombre de Archivo C:\DESCARGAS\Incoming\Wes Montgomery Trio - Guitar On The Go (1963) [Riverside]\Wes Montgomery Trio - Guitar On The Go - 01. The Way You Look Tonight (Alternate Take).wav

Longitud Pre-gap 0:00:02.00

Nivel Pico 100.0 %
Calidad de Pista 100.0 %
Copiar CRC AADFCCF4
Copia OK

Pista 2

Nombre de Archivo C:\DESCARGAS\Incoming\Wes Montgomery Trio - Guitar On The Go (1963) [Riverside]\Wes Montgomery Trio - Guitar On The Go - 02. The Way You Look Tonight.wav

Longitud Pre-gap 0:00:04.67

Nivel Pico 93.9 %
Calidad de Pista 100.0 %
Copiar CRC 651551FF
Copia OK

Pista 3

Nombre de Archivo C:\DESCARGAS\Incoming\Wes Montgomery Trio - Guitar On The Go (1963) [Riverside]\Wes Montgomery Trio - Guitar On The Go - 03. Dreamsville.wav

Longitud Pre-gap 0:00:02.50

Nivel Pico 50.5 %
Calidad de Pista 100.0 %
Copiar CRC 0B818166
Copia OK

Pista 4

Nombre de Archivo C:\DESCARGAS\Incoming\Wes Montgomery Trio - Guitar On The Go (1963) [Riverside]\Wes Montgomery Trio - Guitar On The Go - 04. Geno.wav

Longitud Pre-gap 0:00:02.28

Nivel Pico 86.4 %
Calidad de Pista 100.0 %
Copiar CRC CA48E6AA
Copia OK

Pista 5

Nombre de Archivo C:\DESCARGAS\Incoming\Wes Montgomery Trio - Guitar On The Go (1963) [Riverside]\Wes Montgomery Trio - Guitar On The Go - 05. Missile Blues.wav

Longitud Pre-gap 0:00:02.67

Nivel Pico 81.9 %
Calidad de Pista 100.0 %
Copiar CRC F6526D2A
Copia OK

Pista 6

Nombre de Archivo C:\DESCARGAS\Incoming\Wes Montgomery Trio - Guitar On The Go (1963) [Riverside]\Wes Montgomery Trio - Guitar On The Go - 06. For All We Know.wav

Longitud Pre-gap 0:00:02.25

Nivel Pico 47.9 %
Calidad de Pista 100.0 %
Copiar CRC A01C653F
Copia OK

Pista 7

Nombre de Archivo C:\DESCARGAS\Incoming\Wes Montgomery Trio - Guitar On The Go (1963) [Riverside]\Wes Montgomery Trio - Guitar On The Go - 07. Fried Pies.wav

Longitud Pre-gap 0:00:01.65

Nivel Pico 62.6 %
Calidad de Pista 99.9 %
Copiar CRC C5DDDDBE
Copia OK

Pista 8

Nombre de Archivo C:\DESCARGAS\Incoming\Wes Montgomery Trio - Guitar On The Go (1963) [Riverside]\Wes Montgomery Trio - Guitar On The Go - 08. Unidentified Guitar Solo.wav

Longitud Pre-gap 0:00:03.20

Nivel Pico 69.3 %
Calidad de Pista 100.0 %
Copiar CRC EB934103
Copia OK

Sin Errores

Final del Informe

[CUETools log; Date: 18.10.2011 17:50:55; Version: 2.0.9]
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[AccurateRip ID: 000e0a90-005bdca5-690a0d08] found.
Track [ CRC ] Status
01 [936cd777] (00/10) No match
02 [803a8854] (00/09) No match
03 [57754097] (00/10) No match
04 [38a4e11d] (00/10) No match
05 [b27458a3] (00/10) No match
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07 [2c74c22d] (00/10) No match
08 [9e198b74] (00/10) No match
Offsetted by 557:
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06 [c356b3c8] (02/10) Accurately ripped
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Offsetted by 659:
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02 [ab5b54f0] (03/09) Accurately ripped
03 [353d2355] (04/10) Accurately ripped
04 [94aaeffc] (04/10) Accurately ripped
05 [4fa3e31a] (04/10) Accurately ripped
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07 [eb17a6cd] (04/10) Accurately ripped
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Offsetted by 664:
01 [c8c98bb4] (04/10) Accurately ripped
02 [33f46e09] (04/09) Accurately ripped
03 [20bdd71a] (04/10) Accurately ripped
04 [c2f81061] (04/10) Accurately ripped
05 [b58f4814] (04/10) Accurately ripped
06 [b9155eae] (04/10) Accurately ripped
07 [31d3af9a] (04/10) Accurately ripped
08 [fee0c7d5] (04/10) Accurately ripped

Track Peak [ CRC32 ] [W/O NULL]
– 100,0 [500986D4] [70F1B968]
01 100,0 [AADFCCF4] [FE3E1333]
02 93,9 [651551FF] [1B555AA6]
03 50,5 [0B818166] [3F114626]
04 86,4 [CA48E6AA] [EFFF59F9]
05 81,9 [F6526D2A] [7E37399E]
06 47,9 [A01C653F] [C27B0C4A]
07 62,6 [C5DDDDBE] [15F06048]
08 69,3 [EB934103] [04381A12]

Thanks to the original releaser.
Wes Montgomery Trio - Guitar On the Go (1992)

(flac links are interchangeable, mp3@320 = single link)