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(JazzPlanet) The Incredible Jazz Guitar of Wes Montgomery (Eac Flac Cue) reseed

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Torrent File Content (15 files)

Description

°°°°°°°°°°°°°°°°°°°JazzPlanet°°°°°°°°°°°°°°°°



Wes Montgomery - The Incredible Jazz Guitar of Wes Montgomery (Eac, Flac single track, Cue)

















Artist: Wes Montgomery

Album Title: The Incredible Jazz Guitar of Wes Montgomery

Original Release Date: January 26, 1960

Number of Discs: 1

Label: Riverside/OJC

Label:

Riverside Records

Catalog: OJC20 036-2

Album, Reissue

Country: Germany

Genre: Jazz

Styles: Hard Bop





Extractor: EAC 0.99 prebeta 4 

Read mode               : Secure

Utilize accurate stream : Yes

Defeat audio cache      : Yes

Make use of C2 pointers : No

Codec: Flac 1.2.1;  Level 8  

Single File.flac, Eac.log,

File.cue (Noncompliant)

Accuraterip: not present in AccurateRip database

Size Torrent: 246 Mb

Cover included





Track Listing:



01 Airegin

02 D-Natural Blues

03 Polka Dots and Moonbeams

04 Four on Six

05 West Coast Blues

06 In Your Own Sweet Way

07 Mr. Walker (Renie)

08 Gone with the Wind





Personnel:



Wes Montgomery (guitar)

Tommy Flanagan (piano) 

Percy Heath (bass)

Albert Tootie Heath (drums)





Listen to sample



http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:axfqxqegldje





http://dailymotion.virgilio.it/video/x87yyv_gone-with-the-wind_music



http://www.goear.com/listen.php?v=0bf13e5



http://www.goear.com/listen.php?v=188b7ae



http://www.goear.com/listen.php?v=a03825d



http://www.goear.com/listen.php?v=2c18acb



http://www.goear.com/listen.php?v=fa22aff





review



Ask a dozen jazz guitar fans for their all-time top guitar albums and The Incredible Jazz Guitar of Wes Montgomery is
likely to be high on every list. If it isn't, chances are Montgomery's live set Full House (Riverside, 1962), recorded
two years later, will be. With these discs, Indianapolis-born Montgomery (1923-68) gave the guitar its biggest quantum
leaps forward, both stylistically and in terms of listener acceptance, since Charlie Christian in the late 1930s/early
1940s and Johnny Smith in the 1950s. Full House got the 24-bit remastering treatment in 2007 as part of Riverside's
Keepnews Collection series, supervised and annotated by label founder/producer Orrin Keepnews. Now The Incredible Jazz
Guitar joins it.



Almost entirely self-taught (initially by immersing himself in Christian's recordings with clarinetist Benny Goodman's
chamber groups), and unable to read a note of music, by 1959—when he was brought to Keepnews' attention by
saxophonist Cannonball Adderley, who'd been gigging in Indianapolis—Montgomery had developed a revolutionary new
approach to the instrument. His style featured three signature elements: he played with his thumb, never a pick, and he
improvised entire choruses using either octaves or pianistic block chords. None of these techniques were unique, but
until Montgomery came along no other guitarist had mastered them so completely (let alone combined them) or made them so
integral to sound and improvisation. An exception is Smith, whose Moonlight in Vermont (Roulette, 1953) and later albums
featured extended passages of block chording as beautiful and fluid as Montgomery's.



The Incredible Jazz Guitar burst onto the US scene in 1960 like a benign hurricane, and it still sounds like a gale
almost 50 years later. Over four bluesy originals, the standards "Polka Dots And Moonbeams" and "Gone With The Wind,"
Dave Brubeck's gorgeous "In Your Own Sweet Way" and a fast-paced reading of Sonny Rollins' "Airegin,"
Montgomery—empathetically accompanied by pianist Tommy Flanagan, bassist Percy Heath (then riding high with the
Modern Jazz Quartet), and drummer Albert Heath—makes the guitar sound like it never had before. It has sounded
similar since, of course, thanks to the legion of Montgomery-influenced players, but rarely so close to perfection.



In his revealing new extended liner notes, Keepnews, born within a few days of Montgomery and at 85 a fluent anecdotal
historian, paints a vivid portrait of Montgomery as a musician and as a private person. He expresses some regret that he
was unable to give Montgomery the big mainstream audience he achieved with producer Creed Taylor on Verve and CTI
1964-68 (but is proud that Montgomery's Riverside recordings made no attempt at pop crossover)—and some
embarrassment over the lack of alternate takes or bonus tracks (the reissued Full House by contrast had both), recalling
the many Riverside archive tape boxes he's come across with the original data crossed out and supplanted by something
later. But he doesn't beat himself up about it, and nor should he. At 43:58 divine minutes, The Incredible Jazz Guitar
endures, and will continue to do so.

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