Talkin' Verve: Roots Of Acid Jazz

Performer: Wes Montgomery
Artist: Oliver Nelson; Paul Chambers; Ron Carter; Wynton Kelly; Grady Tate
Distributor: Universal Distribution

Notes: Personnel: Wes Montgomery (guitar); Don Sebesky (conductor, arranger); Jack Jennings (vibraphone); Wynton Kelly (piano); Jimmy Smith (organ); Paul Chambers, Ron Carter, Richard Davis (bass); Grady Tate, Jimmy Cobb (drums); Ray Barretto (conga). Johnny Pate's Orchestra includes: Johnny Pate (conductor, arranger); Ernie Royal, Clark Terry, Snooky Young (trumpet); Jimmy Cleveland, Urbie Green, Quentin Jackson, Chauncey Welsch (trombone); Bobby Scott (piano); Bob Cranshaw (bass); Grady Tate (drums). Claus Ogerman's Orchestra includes: Claus Ogerman (conductor, arranger); Bernard Eichen, Arnold Eidus, Paul Gershman, Emanuel Green, Julius Held, Harry Lookofsky, Joe Malin, Gene Orloff (violin); Abe Kessler, Charles McCracken, George Ricci, Harvey Shapiro (cello); Cedar Walton (piano); Grady Tate (drums); Ray Barretto (conga). Don Sebesky's Orchestra includes: Don Sebesky (conductor, arranger); Stan Webb (alto & baritone saxophones, English horn, clarinet); Ray Beckenstein (alto saxophone, flute, piccolo); Walter Kane (baritone saxophone, clarinet, bassoon); Mel Davis, Bernie Glow, Jimmy Nottingham (trumpet); Wayne Andre, John Messner, Bill Watrous (trombone); James Buffington (French horn); Don Butterfield (tuba); Arnold Eidus, Lewis Eley, Paul Gershman, Louis Haber, Julius Held, Harry Lookofsky, Joe Malignaggi, Gene Orloff, Sol Shapiro (violin); Harold Coletta, David Schwartz (cello); George Ricci, Charles McCracken (cello); Margaret Ross (harp); Herbie Hancock, Roger Kellaway (piano); Richard Davis, Bob Cranshaw (bass); Grady Tate (drums); Ray Barretto (conga). Oliver Nelson's Orchestra includes: Oliver Nelson (conductor, arranger); Jerry Dodgion (alto saxophone, flute, clarinet); Phil Woods (alto saxophone, clarinet); Bob Ashton (tenor saxophone, flute, clarinet); Romeo Penque (tenor saxophone); Danny Bank (baritone saxophone, flute, clarinet, bassoon); Clark Terry (trumpet, flugelhorn); Jimmy Maxwell, Joe Newman, Ernie Royal, Donald Byrd, Danny Moore (trumpet); Jimmy Cleveland, Dick Hixson, Quentin Jackson, Melba Liston, Wayne Andre, Tony Studd (trombone); Jerome Richardson (flute, clarinet); Jimmy Smith (organ); Richard Davis, George Duvivier (bass); Grady Tate (drums); Ray Barretto (conga). Compilation producer: Aric Lach Morrison. Principally recorded at Van Gelder Recording Studio, Englewood Cliffs, New Jersey between 1964 and 1966. Includes liner notes by Bill Milkowski. Personnel: Wes Montgomery (guitar); Margaret Ross (harp); Julius Held, Sol Shapiro, Arnold Eidus, Joseph Malin, Bernard Eichen, Gene Orloff, Paul Gershman, Emanuel Green, Harry Lookofsky (violin); David Schwartz, Harold Coletta (viola); Abe Kessler, Charles McCracken, Harvey Shapiro, George Ricci (cello); Danny Bank (flute, clarinet, bassoon, baritone saxophone); Bob Ashton (flute, clarinet, tenor saxophone); Jerome Richardson (flute, clarinet); Raymond Beckenstein (piccolo); Walter Kane (clarinet, bassoon, baritone saxophone); Phil Woods (clarinet, alto saxophone); Clark Terry (trumpet, flugelhorn); Ernie Royal, Jimmy Cleveland, Joe Newman , Mel Davis , Snooky Young, Bernie Glow, Jimmy Maxwell, Jimmy Nottingham (trumpet); James Buffington (French horn); Dick Hixson, Johnny Messner, Melba Liston, Quentin Jackson, Urbie Green, Wayne Andre, Bill Watrous, Tony Studd, Chauncey Welsch (trombone); Harvey Phillips, Don Butterfield (tuba); Herbie Hancock, Wynton Kelly, Roger Kellaway, Bobby Scott, Cedar Walton (piano); Jimmy Smith (organ); Jack Jennings (vibraphone); Grady Tate, H�lcio Milito, Jimmy Cobb (drums); Ray Barretto (congas); Willie Bobo (percussion). Liner Note Author: Bill Milkowski. Recording information: Gelder Recording Studios, Englewood Cliffs, NJ (11/18/1964-09/23/1966); New York C (11/18/1964-09/23/1966); Van Gelder Studios, Englewood Cliffs, NJ (11/18/1964-09/23/1966). Arrangers: Claus Ogerman; Don Sebesky; Johnny Pate; Oliver Nelson. The title of this compilation tries to make Montgomery viable for a younger generation, but it's not exactly "acid jazz." Rather, it's an anthology of some of Montgomery's better pop- and soul-oriented material from the mid-'60s. The 16 tracks show Montgomery in both orchestral and small combo settings, a few cuts taken from his collaborations with Jimmy Smith. Purists have long disdained this phase of Montgomery's career. But those who don't measure work by how straight-ahead it is will find much to enjoy here, in either the cuts with Oliver Nelson's orchestra, or the less elaborate sessions with the likes of Smith, Grady Tate, Ron Carter, and Ray Barretto. ~ Richie Unterberger

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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