The Incredible Jazz Guitar of Wes Montgomery in Bloomington, MN

The incredible
Wes Montgomery
of 1960 was more discernible and distinctive than the guitarist who would emerge a few years later as a pop stylist and precursor to
George Benson
in the '70s. On this landmark recording,
Montgomery
veered away from his home Indianapolis-based organ combo with
Melvin Rhyne
, the California-based
Montgomery Brothers
band, and other studio sidemen he had been placed with briefly. Off to New York City and a date with
Tommy Flanagan
's trio,
seems in his post- to hard bop element, swinging fluently with purpose, drive, and vigor not heard in an electric guitarist since bop progenitor
Charlie Christian
. Setting him apart from the rest, this recording established
as the most formidable modern guitarist of the era, and eventually its most influential. There's some classic material here, including the cat-quick but perhaps a trifle anxious version of the
Sonny Rollins
bop evergreen
"Airegin,"
the famous repeated modal progressive and hard bop jam
"Four on Six,"
and
's immortal soul waltz
"West Coast Blues,"
effortlessly rendered with its memorable melody and flowing, elegant chiffon-like lines.
Flanagan
, at a time shortly after leaving his native Detroit, is the perfect pianist for this session. He plays forcefully but never overtly so on the bop tracks, offering up his trademark delicacy on the laid-back
"Polka Dots and Moonbeams"
and easy-as-pie
"Gone with the Wind."
With the dynamic Philadelphia rhythm section of brothers
Percy Heath
on bass and drummer
Albert Heath
, they play a healthy Latin beat on the choppy and dramatic melody of
's original
"Mr. Walker."
is clearly talented beyond convention, consistently brilliant, and indeed incredible in the company of his sidemen, and this recording -- an essential addition to every jazz guitarist fan's collection -- put him on the map. ~ Michael G. Nastos