When I was in NEWPORT in 1967, WES played the NAPTOWN Blues in F with his brothers. He told me backstage "Günter, I'm not a guitarist, I - WES - only use the instrument as a tool and output for the music I have in mind."
Wes Montgomery fans owe you a great debt for posting this. The recordings of him playing balls-out jazz after 1965 are extremely rare. So rare that most people think he stopped playing straight-ahead jazz after he got into the Creed Taylor thing. Not that his playing on those pop tune albums wasn't great, but it's a shame there are no formal recordings of Wes playing like this after 1965. Obviously, he was still killing it, and he's really smokin' on this cut!
He wanted to make money, nothing wrong with that, after all he had done, he didn't have to prove anything to anyone. Obviously, while on tour, he was playing what he really liked.
Felipe Santos They made a movie about Hank Garland and there’s a short spot in it where Hank sees Wes playing on a club. Wes blew away all the others in my opinion. His entire work and family life and career would make a great movie. Somebody write a script! I think the financing would happen.
Heard the same line-up weeks later at the Bohemian Caverns in Washington, DC. Wes improvised for about 20 minutes in both sets on "The Shadow of Your Smile," that is 40 minutes in all. Out of this world! And straight ahead bebop.
What has always knocked me out about Wes Montgomery's playing is he's doing all that with just his thumb and no effects at all. My all time favorite Jazz guitarist. Peace.
Thank you for posting the great Wes Montgomery, he is so at home with his brothers and Grady. This is a wonderful and priceless recording and highlights the unique interplay between the musicians. Wes was simply a genius and a master guitar player with an individual and amazing tone and style.
This recording has been made available by the Bill Graham Archives. It's available as a digital download (I believe the OP got it the same way) - The full session is: Naptown Blues, Goin' Out of My Head and Tequila. For his appearance at the 1967 Newport Jazz Festival, the guitar great was joined by his brothers Monk on bass and Buddy on piano while drummer Grady Tate provided his always reliable swing factor to the proceedings. Following introductions by Newport impresario George Wein, the quartet launches into a spirited rendition of Montgomery's "Naptown Blues" (named for his hometown of Indianapolis). Buddy solos first on this jaunty uptempo swinger and Wes follows with a brilliant solo that showcases his bristling single note lines and inimitable use of swinging octaves. Brother Monk, a pioneer on electric bass, also gets in some licks of his own here on an extended walking bass solo. Next up is a mellow instrumental take on the Little Anthony & The Imperials hit, "Goin' Out of My Head," which was also the title track of Montgomery's highly successful 1965 album for Verve Records. The guitarist's smooth octaves carry the vocals on this familiar pop tune. They close out the Newport set with a lively rendition of "Tequila," the Latin-flavored rock tune introduced in 1958 by The Champs and which also served as the title track for Montgomery's best-selling 1966 Verve album. The guitarist's unparalleled octaves work is on full display on this vibrant jam.
Monumental wes...indescriptible ...sensitive rythmique extreme ... feeling unique... comment en est il arrivé là?...Tu es d une beaute musicale epoustouflante ...Merci
Wes used to live in my home town of Berkeley CA where he played at this club where he recorded the "Live at Tsubo" album! I was barely a teenager and playing the guitar then! My parents loved jazz music and had a lot of his hit records in the house. I was fortunate to have grew up listening to some good jazz music back then and it certainly has influenced my guitar playing and my music career!
Did you have the chance to see/hear Wes perform live before his untimely death? Regretfully, I did not - I was only seven years old when he died and hadn't yet discovered jazz. I have known two people here in the Chicago area who saw Wes live - one of whom is now deceased, and both described it as being almost a religious experience in its intensity and the feeling of being cleansed spiritually by his performance. You know, Wes had that effect on people - even seasoned jazz cats themselves. That's how Wes was originally signed to Riverside Records; when Cannonball Adderley happened to catch Wes performing in a club in Indianapolis and called label owner/producer Orrin Keepnews in the middle of the night, just totally knocked out by his playing. Of course, Cannonball was an all-time great himself, and not easily-impressed, one would imagine. The Adderley Brothers later recorded with Wes.
Unfortunately I didn’t get to see him perform live because I barely was aware of him in my early teens, I was still listening to Gerry Garcia! But my mother had some of his commercial hits! In fact my mother also had Miles Davis records, Dexter Gordon, Coltrane and others! Jazz music didn’t really hit me until shortly after my eighteenth birthday which is weird because me and father used watch Louis Armstrong and Nat King Cole on TV! I did get to meet George Benson backstage when his hit record Breezin was out but I followed him before then! George was a big fan of Wes and I think he bought his Gibson L5 after Wes died but now Pat Matheny has it! Wes was also the late great organist Jimmy Smith’s favorite guitar player, hence their recordings together! I met Jimmy when I played in a band that backed up singer Esther Phillips down in L.A., she and Jimmy were friends! Jimmy would come check our show out and he called me crazy on the guitar, if he liked what you played he called you crazy. After the show we would get together after hours and jam!
@@donmilland7606 Yea, some of my friends said they heard him practicing in a house on Oxford and Bancroft in Berkeley, he lived there temporarily while he was playing at the Berkeley club which was a live record!
ONE year ago I wrote a comment asking about the speed of this recording that seems exagerate . When I hear it at reduced speed 075 I can obtain the original key ( blues in F ) and erase the hurry stressed tone and phrasing that's not WES' signature .
That whole group of guitarists; PMartino, GBenson, WMontgomery is the best 4 me .. but I keep coming back 2 Wes’s single lines & language, his octaves gives me headaches just thinking about & his fantastic chord solos .. despite his protestations that he didn’t know many chords. Btw; nice 2 hear a raw, live un-mucked-around-with version of Naptown Blues
You’re obviously guitar player! lol Like George Benson, I try to understand why and how he was sooo good and played on a ridiculously high level. I figured it out! Its called genius
Fantastic ! Thanks ! I have some question about the accurate speed it was recorded and the reproduction ( blues in F# instead F the original pitch ) . I feel some faster restitution .
I have what I believe is the only existing tape of the Voice of America recording of Wes & Wynton Kelly trio from Newport 1965. Wondering where you got this?
Note to the poster of this tune, Edoardo Pizzuto, who wrote: "The only live recording found of Montgomery Brothers in the 60's!!" This is just not true. Check out "Live at Jorgies" from a jazz club in Gas Light Square, St. Louis, Mo, recorded in Aug. 19, 1961, by Wes and the Montgomery Brothers, featuring Billy Hart on drums. Look up the tune "There Will Never Be Another You - Wes Montgomery" on You Tube. Much better sound...
Absurdamente bom , desde a abertura até as concepções, abertura e fechamento de frases. Improviso construído como um saxofonista faria. Sem velocidade excessiva porém com um senso de swing maravilhoso
Ray Baretto was the conga player of choice for a lot of the top jazz cats....and the Montgomery Brothers used him on some of their studio recordings.... so maybe it was him. Don't know that as a fact, but it is possible.
Are you sure that this is Grady Tate on drums ? To me, it's really not him, not his style at all. Noboy is talking about the conga player. It might be Ray Barretto because Ray worked a lot with Wes in NYC and around.
Hi, Jean-Michel! Maybe Grady sounds different because he's playing with Monk and Buddy, live, rather than with Wes at a Verve studio date. Best Regards, Malcolm MacDonald.
When I was in NEWPORT in 1967, WES played the NAPTOWN Blues in F with his brothers.
He told me backstage "Günter, I'm not a guitarist, I - WES - only use the instrument as a tool and output for the music I have in mind."
Best guitarist ever existed. Period!
The very reason i started to play. No where as good but what an inspiration to all us jazz guitarist.
The God of jazz guitar!No one but Wes!
Wes Montgomery fans owe you a great debt for posting this. The recordings of him playing balls-out jazz after 1965 are extremely rare. So rare that most people think he stopped playing straight-ahead jazz after he got into the Creed Taylor thing. Not that his playing on those pop tune albums wasn't great, but it's a shame there are no formal recordings of Wes playing like this after 1965. Obviously, he was still killing it, and he's really smokin' on this cut!
well said brother
Agreed
It was released on Bill Graham's archives - you can have it as a digital download.
He wanted to make money, nothing wrong with that, after all he had done, he didn't have to prove anything to anyone. Obviously, while on tour, he was playing what he really liked.
@@LuisMarioOchoa-Artist 7:40
I could listen to Wes play the blues all day!
Excellent Performance ,
Very High Energy!
It's so extraordinary that it makes me imagine the possibility of a film about Wes!
Felipe Santos They made a movie about Hank Garland and there’s a short spot in it where Hank sees Wes playing on a club. Wes blew away all the others in my opinion. His entire work and family life and career would make a great movie. Somebody write a script! I think the financing would happen.
sounds like monk on his fender bass! my favorite jazz on fender bassist of all time.
God bless you Wes for being a great guitar player that was so inspiring that there are no words to describe the importance of you.
Heard the same line-up weeks later at the Bohemian Caverns in Washington, DC. Wes improvised for about 20 minutes in both sets on "The Shadow of Your Smile," that is 40 minutes in all. Out of this world! And straight ahead bebop.
Killin' the blues, Wes builds and builds...a natural jazzman. So great thanks for posting.
Thanks for posting. This is my first time him with his brothers. Must have been a fantastic set.
Wes is an eternal sunshine of the spotless mind.
What has always knocked me out about Wes Montgomery's playing is he's doing all that with just his thumb and no effects at all. My all time favorite Jazz guitarist. Peace.
Did you know Wess had a double jointed right thumb?
My Bro. and I bought all his LP's new..... Tiger from the 'Cellar" hipped us..... we've never looked back....we still say, "No one's cut 'em yet!"....
Thank you for posting the great Wes Montgomery, he is so at home with his brothers and Grady. This is a wonderful and priceless recording and highlights the unique interplay between the musicians. Wes was simply a genius and a master guitar player with an individual and amazing tone and style.
What a find! What a gift to the jazz community!
The best guitar player in the world and forever.
Praise be the analog foresight that this was recorded. Wasn't his brother known as an electric bass player?
This recording has been made available by the Bill Graham Archives. It's available as a digital download (I believe the OP got it the same way) -
The full session is: Naptown Blues, Goin' Out of My Head and Tequila.
For his appearance at the 1967 Newport Jazz Festival, the guitar great was joined by his brothers Monk on bass and Buddy on piano while drummer Grady Tate provided his always reliable swing factor to the proceedings. Following introductions by Newport impresario George Wein, the quartet launches into a spirited rendition of Montgomery's "Naptown Blues" (named for his hometown of Indianapolis). Buddy solos first on this jaunty uptempo swinger and Wes follows with a brilliant solo that showcases his bristling single note lines and inimitable use of swinging octaves. Brother Monk, a pioneer on electric bass, also gets in some licks of his own here on an extended walking bass solo. Next up is a mellow instrumental take on the Little Anthony & The Imperials hit, "Goin' Out of My Head," which was also the title track of Montgomery's highly successful 1965 album for Verve Records. The guitarist's smooth octaves carry the vocals on this familiar pop tune. They close out the Newport set with a lively rendition of "Tequila," the Latin-flavored rock tune introduced in 1958 by The Champs and which also served as the title track for Montgomery's best-selling 1966 Verve album. The guitarist's unparalleled octaves work is on full display on this vibrant jam.
We would like so much to get more and more rare post like that. Gone too early the Wes 🥲
Monumental wes...indescriptible ...sensitive rythmique extreme ... feeling unique... comment en est il arrivé là?...Tu es d une beaute musicale epoustouflante ...Merci
Music chooses happy few with a guitar .....Charlie Christian , Django Reinhardt , Wes Montgomery ....God's
school perhaps for self taught genius !
Wes used to live in my home town of Berkeley CA where he played at this club where he recorded the "Live at Tsubo" album! I was barely a teenager and playing the guitar then! My parents loved jazz music and had a lot of his hit records in the house. I was fortunate to have grew up listening to some good jazz music back then and it certainly has influenced my guitar playing and my music career!
Did you have the chance to see/hear Wes perform live before his untimely death? Regretfully, I did not - I was only seven years old when he died and hadn't yet discovered jazz. I have known two people here in the Chicago area who saw Wes live - one of whom is now deceased, and both described it as being almost a religious experience in its intensity and the feeling of being cleansed spiritually by his performance. You know, Wes had that effect on people - even seasoned jazz cats themselves. That's how Wes was originally signed to Riverside Records; when Cannonball Adderley happened to catch Wes performing in a club in Indianapolis and called label owner/producer Orrin Keepnews in the middle of the night, just totally knocked out by his playing. Of course, Cannonball was an all-time great himself, and not easily-impressed, one would imagine. The Adderley Brothers later recorded with Wes.
Ronald Boykin you are so lucky
I didn’t know he lived there!!!!!
Unfortunately I didn’t get to see him perform live because I barely was aware of him in my early teens, I was still listening to Gerry Garcia! But my mother had some of his commercial hits! In fact my mother also had Miles Davis records, Dexter Gordon, Coltrane and others! Jazz music didn’t really hit me until shortly after my eighteenth birthday which is weird because me and father used watch Louis Armstrong and Nat King Cole on TV! I did get to meet George Benson backstage when his hit record Breezin was out but I followed him before then! George was a big fan of Wes and I think he bought his Gibson L5 after Wes died but now Pat Matheny has it! Wes was also the late great organist Jimmy Smith’s favorite guitar player, hence their recordings together! I met Jimmy when I played in a band that backed up singer Esther Phillips down in L.A., she and Jimmy were friends! Jimmy would come check our show out and he called me crazy on the guitar, if he liked what you played he called you crazy. After the show we would get together after hours and jam!
@@donmilland7606 Yea, some of my friends said they heard him practicing in a house on Oxford and Bancroft in Berkeley, he lived there temporarily while he was playing at the Berkeley club which was a live record!
WES,Yyou are with me always,every day,and for ever and ever.Your light shines forever...R.I.P.
A treasure.
pure Wes and bros goodness,
Edoardo thanks so much for posting these memories i. Was in New York where he hit Or maybe it was a year before ...
Wes,every day your life is celebrated my me.!
ONE year ago I wrote a comment asking about the speed of this recording that seems exagerate . When I hear it at reduced speed 075 I
can obtain the original key ( blues in F ) and erase the hurry stressed tone and phrasing that's not WES' signature .
Thanks for tip
I found 3 songs from this concert on a site called 'concert vault' , not sure if they are still available there..
grande Edoardo....ottimo video e brano!!!Wes is the King
That whole group of guitarists; PMartino, GBenson, WMontgomery is the best 4 me .. but I keep coming back 2 Wes’s single lines & language, his octaves gives me headaches just thinking about & his fantastic chord solos .. despite his protestations that he didn’t know many chords. Btw; nice 2 hear a raw, live un-mucked-around-with version of Naptown Blues
You’re obviously guitar player! lol Like George Benson, I try to understand why and how he was sooo good and played on a ridiculously high level. I figured it out! Its called genius
Is there a whole recording available of this gig please?
Yes pls
Yes there is. The full recording as 3 tunes - available on Bill Graham's archives.
Only 40 years. Wes 's lived twice(three times) normal life.
Wes Montgomery. Yes
Fantastic ! Thanks ! I have some question about the accurate speed it was recorded and the reproduction ( blues in F#
instead F the original pitch ) . I feel some faster restitution .
Thanks for posting!
terrific
Grady Tate making it swing!
I have what I believe is the only existing tape of the Voice of America recording of Wes & Wynton Kelly trio from Newport 1965. Wondering where you got this?
Note to the poster of this tune, Edoardo Pizzuto, who wrote: "The only live recording found of Montgomery Brothers in the 60's!!"
This is just not true. Check out "Live at Jorgies" from a jazz club in Gas Light Square, St. Louis, Mo, recorded in Aug. 19, 1961, by Wes and the Montgomery Brothers, featuring Billy Hart on drums. Look up the tune "There Will Never Be Another You - Wes Montgomery" on You Tube. Much better sound...
Is there a full version? Pls post...
Absurdamente bom , desde a abertura até as concepções, abertura e fechamento de frases. Improviso construído como um saxofonista faria. Sem velocidade excessiva porém com um senso de swing maravilhoso
Sherry, how old are you? Sometimes you just need to shut it if you have nothing to say and enjoy the fantastic music.
モンゴメリーブラザーズの快演!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
BOING!
There's also a conga player here-any idea who it is???
Ray Baretto was the conga man of choice for dates with Wes; their sounds blended so well.
Ray Baretto was the conga player of choice for a lot of the top jazz cats....and the Montgomery Brothers used him on some of their studio recordings.... so maybe it was him. Don't know that as a fact, but it is possible.
Is he standing?
2:32-2:35!
Are you sure that this is Grady Tate on drums ? To me, it's really not him, not his style at all. Noboy is talking about the conga player. It might be Ray Barretto because Ray worked a lot with Wes in NYC and around.
yes it's him! www.concertvault.com/wes-montgomery/newport-jazz-festival-july-03-1967.html
Thanks Man for this great info. Wowww. it didn't sound like Grady that I know ... very interesting
Reisser Jean-Michel Elsewhere it was suggested that it was Billy Hart
Hi, Jean-Michel!
Maybe Grady sounds different because he's playing with Monk and Buddy, live, rather than with Wes at a Verve studio date.
Best Regards, Malcolm MacDonald.
ah, the youth today, proudly displaying their lack of education. Well, you win the prize. Good luck to you.
conga player could be CANDIDO
DJANGO CHRISTIAN WES JOE PASS and who else ?
Johnny Smith, Barney Kessel, Tal Farlowe, George Benson, Pat Martino, Danny Gatton to name a few.
and Lenny Breau- he's enough for a lifetime of study.
Ron Eschete, Grant Green, Hank Garland,
ed bickert
Ron Eschete
ブラックミュージックエバー
like most pretty women, when they open their mouths they seem a little less prettier
Pity that the pianist does not know how to accompany the Wes's Solo...
It is, what it is, man. Be cool. let the sound flow.
Rodapa .......Perhaps you don't hear correctly Buddy ......and the wrong speed of this Edoardo Pizzuto's post !!
@@jean-lucbersou758 the best that ever he was mr montgomery