Wes Montgomery
The Incredible Jazz Guitar

****** 6 stars. 

A belated approach for me. Wes is a genius, a fine innovator who has sown magical pages of enchanting, biting music. Here I decide to personally face one of the fathers of modern jazz, the one from the sixties, which has pushed hundreds of artists captivated by the sense of jazz music in a precise direction. Listening to him doesn't just mean feeling filled with indescribable sensations, but it sprinkles a sense of gratitude due to the beauty of the sound, or as my former teacher Marino used to say, an anthem to the color of jazz music.

Recorded in 1960, "The Incredible Jazz Guitar" is, forgive the cheekiness, among the best jazz records of all time. 8 pure, effective, profoundly deep pieces (I reserve the right to explain later and calmly why). The title is emblematic. Incredible is indeed the sound Wes managed to give to his 6-string. Incredible because he was completely self-taught. A factory worker who, having fallen in love with the sound of another great guitarist, Charlie Christian, decided to buy a guitar and an amplifier to try to reproduce everything that had impressed him. Wes was only 19 years old and spent the day in the workshop, the night with the guitar in his hands. The noise of the electric disturbed the neighbors and to solve the unpleasant inconvenience, he abandoned the pick and started using his thumb. And that's how an apparent stylistic flaw turned into an original characteristic that became a point of strength. Many guitarists tried (and try) to imitate him (among these is my idol Metheny, who is said to have been strongly inspired by the genius of Montgomery).

Let's return to the rounded and powerful sounds that make the whole a fascinating and spectacular package. For example, "Four On Six" is orgasmic. I'm not kidding: this piece is a product of a genius that creates the right emotional tension, emits alien vibrations, and activates synapses. Enjoy the progression of the initial theme that will make you jump from one note to another as if you were in a situation of decisive, uncomfortable, and stealthy reflection. An aspect easy to identify and not less imitated than his style is the frequent use of octave passages close to tied note passages and chords, both in the expositions and in the improvisations (as in "D-natural Blues", "Polka Dots", and "And Moonbeams", the more substantial part of the album, but without the slightest fall in style and emotional intent).

The first record, Wes recorded at 34 years old. The second, which I'm writing about, a few months later. The success from critics and audiences arrived, finally and rightly, warm and fruitful. Wes didn't just appear as a technical innovator; he expressed melodic sense (enjoy the opening track "Airegin", absolutely among my favorites), lyricism and compelling swing. His inclination to blues was on par with any possible rival, and somehow, it made the modern cut of his harmonic skills more accessible.

Returning to "Airegin", written by Sonny Rollins (excellent and well-assorted piano by Tommy Flanagan in all parts), listen to the perfect improvisation that will accompany you (you will feel jazz-savvy) without creating the slightest perplexity, listen to the use of octaves that seem like true orchestral riffs and completely alien to any embellishment (simple and effective). I'm not exaggerating. As you listen to these pieces, you'll notice that behind this sound is a sense of playful and joyful living. The guitar becomes an appendage that acts as a propeller for sensations of harmony, joy, a desire to play and have fun. It closes with the soft "Gone With The Wind", which appears like a dreamy impressionistic painting and gives its best with its full and serene sound. Additionally, the piece recalls tracks written later and has the flavor of an absolute standard.

Wes died at 43, with hundreds of recordings in only 9 years. I can't go on further, but I want to close with an appeal: find a way to have him. It is unthinkable to deprive oneself of such a work.