Beruflich Dokumente
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WES MONTGOMERY
A BIOGRAPHY
Indianapolis, capital of Indiana, is a city of half a million inhabitants. The State of Indiana is bounded by Illinois
to the west, Ohio to the east, Michigan to the north and Kentucky to the south. It is not a state known primarily
for its great gifts to jazz (although there can be few jazz musicians who have never played the tune Back
Home Again In Indiana). The inhabitants are known as "Hoosiers" and hoosiers enjoy a nation-wide
reputation for friendliness and hospitality to visitors. John Gunther, in his 1946 survey of the United States
("Inside USA", Hamish & Hamilton) found Indianapolis "an unkempt city, unswept, raw, a terrific place for
baseball and auto racing, a former pivot of the Ku-Kluxers, and in it you may see the second ugliest
monument in the world." John Leslie Montgomery was born in this city in 1925, and died there, of a heart
attack, on June 15, 1968. During the forty-three years in between he established a world-wide reputation as a
guitarist. Wes Montgomery did not turn to music until the late war years, and when it was simply a hobby.
Wes was nineteen, just married, and had heard some jazz records which he liked, including some by Charlie
Christian. "I didn't know what to think" he told Ike lsaacs (Crescendo Magazine), " I hadn't heard anything like
that. I hadn't even heard Django Reinhardt yet".
"Christian got me all messed up. I didn't play at all then - so he got me into it. I liked his sound and approach
so well that I said - I'll buy me a brand new guitar and amplifier and I can do it, because he's probably playing
on an old one. I thought all you had to do was to get an instrument, put your hands on it and it would come
out right. I didn't know about any of the fundamentals or nothing". Although Wes came from a musical family
(his elder brother Monk Montgomery plays bass while Buddy Montgomery doubles on piano and vibes) the
guitarist was largely self-taught. In fact this is almost certainly the reason for his very personal style and
sound. He told Bill Quinn of Down Beat, "I started off practising with a plectrum. I did this for about thirty days.
Then I decided to plug in my amplifier and see what I was doing, The sound was too much even for my next
door neighbours, so I took the back room in the house and began plucking the strings with the fat part of the
thumb. This was much quieter. To this technique I added the trick of playing melody line in two different
registers at the same time, the octave thing; this made the sound even quieter"
Guitar playing was still some thing of a hobby but his local reputation was spreading. In 1948 he joined Lionel
Hampton's big band and remained for two years before the constant touring proved too much for him and he
returned to his native Indianapolis. During his term of service with Hampton a number of important musicians
were also in Lionel's band, including Fats Navarro, Charlie Mingus, Britt Woodman and Milt Buckner. But
much as Wes enjoyed playing with the band he had a strong sense of responsibility to his wife and family and
"The Rev" (as the band called him, due to his teetotalism) handed over to Billy Mackel. "What I wanted to do
didn't matter as much as what I had to do" explained Wes, philosophically. But if the years on the road with
Hampton were strenuous they were nothing to be compared with the work schedule that Wes set himself
back in Indianapolis. For several years he succeeded in working daily in a radio components factory from 7 a.
m. until three in the afternoon. From nine in the evening until 2 a.m. he played at a club called the Turf Bar.
When the Turf Bar closed Wes lugged amplifier and guitar across to an after hours club, the Missile Room,
where he played from 2.30 a.m. until five. Two hours later he was back at the factory bench, and another long
day stretched before him. This hectic routine was not an occasional stint; Wes kept up the three-jobs-a-day
arrangement for six years. In 1957 Wes's brothers, Buddy and Monk, were working in San Francisco with a
quartet called The Mastersounds (completed by drummer Benny Barth and pianist Richie Crabtree). The
Mastersounds had made two LPs for Dick Bock's World Pacific label in September 1957 and Bock had
agreed to record all three Montgomery brothers, plus some other local Indianapolis musicians, after the Xmas
holiday. The resultant album "The Montgomery Brothers Plus Five Others", was a turning-point in Wes' life
(the same LP also featured a nineteen-year old Freddie Hubbard, making his recording debut). Critics were
unanimous in their praise of Montgomery's guitar playing and a few months later Bock, recorded Wes again,
as group leader, then as a member of the Mastersounds unit. The Mastersounds were dissolved at the
beginning of 1960, Buddy, Monk and Wes, plus a variety of drummers, went on the road under the by-line
The Montgomery Brothers and Wes was voted New Star Guitarist in Down Beat's 1960 poll largely on the
strength of his record appearances. Apart from the albums for Bock, Wes had made two LPs under his own
name for Riverside, the first with a trio (Mel Rhyne on organ and Paul Parker on drums. both from Wes' home
town) and "The Incredible Jazz, Guitar" (with Tommy Flanagan, Percy Heath and Al Heath). The Riverside
contract came about largely as a result of Cannonball Adderley. "He opened the door for me" Wes told Bill
Quinn. "He called Riverside Records once, when he was in Indianapolis, and just raved about me to Bill
Grauer and Orrin Keepnews. Two days after Cannonball left town, I got a call from Keepnews. He had never
heard me, but on the strength of Cannonball's recommendation he guaranteed me a record date. I told him
that it was just fine with me but, for everybody's sake, I thought that he should come out and hear me once
himself just to be satisfied. He was satisfied". But one cannot live by plaudits alone. The Montgomery
Brothers finally admitted defeat in 1962 and Wes returned home. During that standstill period - it was about
nine or ten months I didn't know which direction to go. The Montgomery Brothers really wanted to make it, but
it didn't pay off for us. In March 1963 Wes came to New York to make two albums for Riverside "Boss
Guitar" (reissued as "This Is Wes Montgomery") reactivated the first trio LP instrumentation with Rhyne again
on organ but this time Jimmy Cobb on drums. Later in the year, back in Indianapolis, Wes played a gig,
lasting four weeks, at the Hubbub club with Rhyne and drummer George Brown, from Grand Rapids. Wes
enjoyed those four weeks, succeeded in finding more work for the group, and managed to keep the trio
together for over eighteen months. In 1965 he commenced a year-long partnership with pianist Wynton Kelly.
Wes, Wynton, Paul Chambers and Jimmy Cobb appeared at night-clubs and jazz festivals all over the United
States and it was about this time that his first big band LP, "Movin' Wes", was released on Verve. He came to
London to play at the Ronnie Scott club in the spring of 1965 and his audience invariably included a high
percentage of local guitarists, fascinated by his unorthodox technique and the beauty of his playing. The
success of "Movin' Wes" was followed by "Bumpin'" then, in the early months of 1966, came the big breakthrough with his "Goin' Out Of My Head" album. Oliver Nelson directed a big band through a series of scores
featuring Montgomery ranging from Bossa Novas to Jazz tunes. The album was awarded the NARAS
"Grammy" award for the "Best Instrumental Jazz Performance of 1967" and Wes knew then that he was
reaching the widest possible audience with his musicianly blend of melody and rhythm. He never lost his
interest in playing jazz and up until the closing weeks of his life was fronting a quintet completed by his
brother Buddy on piano, brother Monk on bass, Billy Hart on drums and Alvin Bunn on conga drum. He
succeeded in keeping a sense of proportion and even when he had three of his LPs in the best-sellers lists of
"Billboard" magazine he was cautious. "When you start to make it slightly" he told Bill Quinn "everyone talks
like you're a millionaire. But let's not forget that this isn't the Beatles or somebody - nobody ever makes it that
big in jazz. I can't retire for some time yet". The last sentence was prophetic. By the time the magazine
containing Quinn's interview appeared on the bookstalls Wes was dead. He had just returned to Indianapolis
after a tour with his quintet. He left a wife, two sons and five daughters and was mourned by thousands of
jazz lovers all over the world. In his decade or so as a recording artist Wes Montgomery proved that the guitar
was still capable of development. Future jazz historians will doubtless trace a line taking in all the major
influential figures including Lonnie Johnson, Eddie Lang, Charlie Christian and Django Reinhardt but the end
http://www.gould68.freeserve.co.uk/wesbio.html (2 di 5)07/11/2005 2.37.59
of the line for some time to come is likely to be Wes Montgomery. It is inconceivable that another talented
individualist of such magnitude will emerge for many years.
ALUN MORGAN
ALEXIS KORNER.
issue in a review of the first Montgomery LP to be released in Britain. "Wes Montgomery still strikes me as
potentially the finest jazz guitarist to emerge since the death of Charlie Christian", it read, "His technique is far
from perfect, but, and this seems much more important - his ideas are fresh and exciting. Jazz guitar playing,
it seems fair enough to say, has been in the doldrums ever since the 1940s. The scene only really began to
brighten about a couple of years ago when Jim Hall appeared and now Wes Montgomery has joined him.
Both men are guitarists whose solos cut really audacious patterns, who are not content just to rip out a string
of semi-quavers. Traces of Django Reinhardt, of Teddy Bunn, of Charlie Christian, even of Albert Casey, can
be discovered in Montgomery's playing, but these separate influences have become reconciled within a quite
individual and remarkably resilient style". Hindsight often turns out to be a daunting corrective, but this is an
occasion when a critic can only confirm what he felt and wrote ten years ago.
CHARLES FOX (1970)
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