Essential for guitarists and Wes completists only.
Samuel Chell | Kenosha,, WI United States | 03/01/2005
(5 out of 5 stars)
"Wes is admittedly more "aggressive" in his playing on this occasion, partly due to his band mates and the nature and length of the program. Unlike the grooving, always "in the pocket," rhythm section of "Smokin' at the Half Note" (Kelly, Chambers, Cobb), the Harold Mabern-led rhythm section gives the music a forward edge, or emotive quality, suggestive of Coltrane and McCoy. The result is often music based on tension and release rather than melodic inventiveness--leading to some purely "physical" playing and grandstanding on the parts of Mabern and tenor saxophonist Johnny Griffin (the two ballads opening the second disk are my favorite moments of the concert).
The audio is acceptable--and thankfully the balance favors Wes' guitar, which sounds as "fat" and consistent as ever. But I suspect this recording won't wear as well with me and other non-guitarists as his meetings with Wynton Kelley, Milt Jackson, and Jimmy Smith, not to mention the classic Riverside studio albums. If there were more of Wes on record, I'd give this one 4 stars. Pick it up only if you have "Smokin'," "Full House," and "The Incredible Artistry.""
Great Live CD
Ben Fernandez | Boston, MA | 11/10/2005
(4 out of 5 stars)
"I was skeptical at first. If the recording is so great, why hasn't it come out before now? But I bought the cd anyway and was pleasantly surprised. I don't know if it is better than "Live at the Half Note" or "Full House," but it is definitely on the same level as those two cd's. And if you consider that Wes' best playing seems to be what he does live, it is a must have for any jazz guitar fan."
Captures Wes live at the peak of his hard bop era
Eyal Ben Or | JLM, IL | 05/17/2008
(5 out of 5 stars)
"This particular recording (which was a rare bootleg for years, released partly a few years ago on some Wes compilations but here we get it in complete form) features Wes in top form, '65 was a very good year for him and his output in it is incredible. Supported by Harold Mabern on piano, Jimmy Lovelace on drums and bassist Arthur Harper, all in great shape and you can really here Wes stretching all their abilities to their limits. and sax giant Johnny Griffin, too! (Wes and Johnny had already a few sessions in the past together)
Wes plays some of his most complex tunes. You get the best version of Twisted Blues - a very interesting, slower than the original take on "So much guitar!" but again, Wes changed quite a bit over the years and you can here very interesting changes in his soloing form over those changes, from the original album in '61 to this one in '65.
To When (To Wane?) is another interesting composition and we get a very extended solo from Wes.
The highlights on this album for me are the definitive version of Wes' original "Jingles" - which starts with some of his most complex single note work ever, lightening fast, intense and continues to some very heavy chordal\octaves passage which lasts for about 4 minutes! the entire solo takes more than 6 minutes and it's filled with the cream de la cream of Wes Montgomery awesomeness! Harold Mabern manages to hold up to Wes with great comping patterns that are some of the best I've heard in any Wes recording. Not to mention Mabern's soloing abilities which, are great and very solidly built with hard bop vocabulary. Mabern is a truly great artist and isn't inferior to an established artist like Wynton Kelly.
You also get a great version to the modal "Impressions" which is taken similarly to the one on "Smokin'" and even longer.
on "Here's that rainy day" we get to hear him playing a complete, extended octave solo taken - instead with his thumb - using two finger fingerpicking. surprise indeed. That way you hear him playing some very different phrases, almost like a new side of Wes. The same track features the best solo I've ever heard from Harold Mabern - shows his deep and emotional side.
Recording quality is very good, on par with "Smokin'". Players are in top shapes and that session is VERY recommended.
If you're new to Wes' music or to jazz in general I'd suggest starting elsewhere though - "Movin' Wes" (1964), "Full House" (1962) and ofcourse "The Incredible Jazz Guitar" (1959)!
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