For those unaware, Wes Montgomery, born in Indianapolis, Ind., in 1923, was one of the most renowned guitarists in post-war modern jazz, using an unusual technique of using his thumb to pick the notes rather than a plectrum, and making extensive use of octaves.

Himself a disciple of Charlie Christian, he started playing in Indianapolis clubs in post-war years, joining Lionel Hampton’s band in 1948 and building a reputation with Hampton and various other bands during the 1950s, both live and in the studio.

The albums featured here were among his first as a leader. This 38-track 3CD collection comprises the tracks from the original releases of his albums on Riverside from these years The Wes Montgomery Trio - A Dynamic New Sound, The Incredible Jazz Guitar of Wes Montgomery, Movin’ Along, SO Much Guitar! and Full House.

It includes performances across the various trios, quartets and quintets featured on the recordings with pianists Tommy Flanagan, Victor Feldman, Hank Jones & Wynton Kelly, bassists Percy Heath, Sam Jones, Ron Carter & Paul Chambers, drummers Paul Parker, Albert Heath, Louis Hayes, Lex Humphries & Jimmy Cobb, tenor saxophonists James Clay and Johnny Griffin and organist Melvin Rhyne.

It’s a mighty fine substantial showcase for his noted compositions and his highly distinctive guitar artistry and technique.

John Leslie Wes Montgomery is the most influential bebop guitarist of past and present times. Basically, he’s the one that changed both the mentality of players that followed and the way the instrument is played. It’s hard to hear anything Jazz Guitar and not associate with a hint of Wes Montgomery behind it! He came right after Charlie Christian and he’s considered by many to be the logical sequel in jazz guitar history.

Wes was in fact very much inspired and influenced by Christian’s playing. It is said that early on, Wes was actually hired to play Christian’s solos during live concerts. He learned them all (by ear ... Wes was not a reader) to the point that the vinyl started to disintegrate!

In the end, both Montgomery and Christian contributed to the then new bebop language with great tones, rhythms, dexterity and soulfulness. Wes always had fresh, surprising melodic ideas as well a great chops. He never read a single note on paper but his ears and heart guided him dearly.

Wes Montgomery is now part of this great tradition and still has an influence on young jazz guitarists. His music is worth studying carefully. Most (if not all) jazz guitarists that came after cite Wes as an influence. Which it is hard not to.

The great Pat Metheny goes further and says: Wes and Miles, [...] the two guys who have left a sonic residue that has pervaded all of music, not just jazz. It’s true. When listening to both of these masters, we almost hear the conscious edition that is going on in their musical minds: they leave out all the extra notes and keep only the essential. We know that Wes was a huge perfectionist, perpetually dissatisfied with his solos, keeping only the good stuff in take after the take in the studio.

Disc 1:
1. ’Round Midnight; 2. Yesterdays; 3. The End Of A Love Affair; 4. Whisper Not; 5. Ecaroh; 6. Satin Doll; 7. Missile Blues; 8. Too Late Now; 9. Jingles; 10. Airegin; 11. D-Natural Blues; 12. Polka Dots And Moonbeams; 13. Four On Six; 14. West Coast Blues

Disc 2:
1. In Your Own Sweet Way; 2. Mister Walker; 3. Gone With The Wind; 4. Movin’ Along; 5. Tune Up; 6. I Don’t Stand A Ghost Of A Chance; 7. Sandu; 8. Body And Soul; 9. So Do It!; 10. Says You; 11. Twisted Blues; 12. Cotton Tail; 13. I Wish I Knew

Disc 3:
1. I’m Just A Lucky So-And-So; 2. Repetition; 3. Somethin’ Like Bags; 4. While We’re Young; 5. One For My Baby (And One More For The Road); 6. Full House; 7. I’ve Grown Accustomed To Her Face; 8. Blue ’N’ Boogie; 9. Cariba; 10. Come Rain or Come Shine; 11. S.O.S

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