Smokin' at the Half Note [PA]

Performer: Wes Montgomery
Artist: Paul Chambers; Jimmy Cobb
Distributor: E1 Distribution (USA)

Notes: Personnel: Wes Montgomery (guitar); Wynton Kelly (piano); Paul Chambers (bass); Jimmy Cobb (drums). Recorded live at the Half Note, New York, New York and Van Gelder Studios, Englewood Cliffs, New Jersey in June and September 1965. Smokin' at the Half Note is essential listening for anyone who wants to hear why Montgomery's dynamic live shows were considered the pinnacle of his brilliant and incredibly influential guitar playing. Pat Metheny calls this "the absolute greatest jazz guitar album ever made," and with performances of this caliber ("Unit 7" boasts one of the greatest guitar solos ever recorded) his statement is easily validated. Montgomery never played with more drive and confidence, and he's supported every step of the way by a genuinely smokin' Wynton Kelly Trio. In 1998, Verve reissued the complete show on disc two of Impressions: The Verve Jazz Sides, although the scrambled track order and some non-essential cuts don't diminish the appeal of the original album. ~ Jim Smith This album is the live equivalent of the INCREDIBLE GUITAR album--Wes Montgomery cooking with a seasoned and communicative piano trio on a set of jazz compositions, standards, and original material. INCREDIBLE GUITAR has Tommy Flanagan, Percy Heath, and Albert Heath; SMOKIN' has the Wynton Kelly trio, with Paul Chambers on bass, and Jimmy Cobb on drums. Not only had the same trio served as one of Miles Davis' great rhythm sections, but Kelly was considered by many to be the most gifted accompanist of his time. Miles Davis's "No Blues" is in fact an utterly relentless blues, with Montgomery nailing each single-note, octave, or block-chord phrase with passionate conviction. Bassist Sam Jones's "Unit 7" is another uptempo blues. "Four on Six," which debuted on INCREDIBLE GUITAR, gets an edited version of the head and a slightly faster treatment overall. Kelly takes the lead on the first ballad, "If You Could See Me Now," Montgomery on the second, framing the melody to "What's New" in octaves over Cobb's late-night brushes. The excellent sound quality and almost complete lack of audience noise throughout makes SMOKIN' feel like eavesdropping of the best kind.

Wes Montgomery's warm sound and hard-driving swing are, for many listeners, the epitome of jazz guitar. Rising from relative obscurity in the late 1950s, he became a huge sensation in the '60s, to the point that his recording career veered increasingly into commercial realms. Montgomery could tear off exhilarating solos with effortless grace, and in his relatively brief career he left an enduring legacy of brilliant playing.

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