(Hard Bop, Jazz-Pop, Soul-Jazz) Wes Montgomery - Tequila - 1966, FLAC (tracks+.cue), lossless

An affable, easy-going, unpretentious musician, Wes Montgomery is a success but he seldom seems to give it any thought. "I'm in the field because I love to play," he once told me. "If 1 hadn't made it, I would still be piaying."
There is little that is compulsive about Montgomery's approach to music; it closely resembles his way of life. He is sustained rather than intimidated by his art. Early in his career, he realized that playing improvisatory music is a challenging, life-long adventure — that all the pieces do not fall into place immediately, that much of the excitement of this type of work comes with progressively deeper self-exploration and realization.
For Wes Montgomery the act of playing is a joyful reminder of the many currents, other than electric, that are available to a man if he is open to them. Unlike some members of the jazz community, the guitarist has taken time to look up and around. Music is but one of the important aspects of his day-to-day experience; he doesn't want to be narrow. Recently he commented: "What sort of person would 1 be if I'd devoted all my time to the instrument and then gave up music? There are other things going on. you know." "I never planned to be a musician, had no thought of doing that," he said in answer to a query from British jazz critic Max Jones. "Charlie Christian was my inspiration. I heard his 'Solo Flight' (with Benny Goodman in
1943) and something about it made an impression. I should explain that 1 wasn't buying records at the time and wasn't exposed to jazz. I went to dances like any young man, but that was all. But when you hear something that sounds good you want to hear it over, and that happened to me with 'Solo Flight.'"
"And when you hear it over and it still sounds good, you want to make something like it. So I thought 'Why not?'... I had nothing but time, so 1 bought a guitar and started teaching myself."
Montomgery, 18, with a good, steady job as a welder in Indianapolis, his home town, bought "the whole works" — a new Gibson guitar, an amplifier and a box of picks. With Christian as his model, he practiced every night at home after work. Because he insisted on playing with the amplifier on, his musical evenings began to bother the neighbors. Following a barrage of complaints, young Mrs. Montgomery asked her husband to turn off the juice; he responded by playing more quietly, using his thumb as a plectrum. Montgomery never went back to using picks. Only when he came out on the scene did he realize that very few guitarists work without them.
After becoming thoroughly familiar with Christian's style and memorizing all his recorded solos, Montgomery found there was much more to playing. "It was obvious — I had to find myself," he said. "1 began working hard and experimenting with techniques, seeking out the ones that felt good and were
most expressive of my thoughts. My explorations continued for quite a while. My technique improved, developing out of particular playing situations. More and more of me passed through my amplifier to those who took time to listen."
Very few people were aware of Montgomery from the time he turned to music in 1943 until late in 1959. He left town only once, in 1948, to join Lionel Hampton, remaining on the road with this orchestra for two years. He matured at his own pace, away from the pressure of the big cities, staying on in Indianapolis to be close to his wife and six children, even after musicians had begun to talk about him.
Only mildly affected by guitarists other than Christian, Montgomery developed by working out his problems himself. "Don't get me wrong! I'm not against teachers" he explained. "Nor do I feel it's wrong to do things according to the book. My method holds for me. I developed without outside help because it was right for me."
A young musician, according to Montgomery, should be encouraged by teachers, or musicians he admires, to explore for himself, to try all kinds of music and to play things his own way. He insists, however, that teachers cannot provide the creative impulse. "It must come from within. Take my case. What I do might not be right technically, but the music comes out all the same. Why? Because I had to play and tell my story."
Montgomery's arrival on the national scene, as the 1950s came to a close, was widely heralded. The chroniclers of the day to day history of jazz found in his playing much that struck deeply and resounded in their minds. Not a reflection of his first idol, as are most of the guitarists of his generation, Montgomery had something original to offer.
"... his playing." New York Times critic John S. Wilson wrote, "does not have the loping flow that has been common since Christian. Instead it has a fierce jabbing intensity that has much in common with the attack of such present-day saxophonists as John Coltrane and Sonny Rollins... he has changed the guitar from an instrument producing a relatively delicate sound... to a remarkably strong, full-throated ensemble and solo voice.
The technical aspect of playing, though initially very important to Montgomery, long ago became subservient to feeling. To project his thoughts, positively and strongly, through the amplifier is his continuing concern. The manner in which he does this might well be considered "conventional" by the young Turks of jazz. Montgomery seeks no new freedom; he finds sufficient challenge in creating living improvisations within a framework.
Over a half decade has run past us since the emergence of Wes Montgomery. Quietly and without any big talk, he has continued to work steadily and record with his own groups; to develop as a cogent improvisor, regardless of tempo or type of material, and
to win support for a good cause — his own.
In this his latest Verve offering, he engages in a flirtation with some material from the world of pop music, performs a touching piece by Cannonball Adderley pianist Joe Zawinul and two of his own originals. He is assisted throughout by bassist Ron Carter, drummer Grady Tate and percussionist George Devens. On a few tracks, nine violins and two cell! provide a functional cushion of sound behind the guitarist who. as always, makes it interesting for the listener

556037348 35719868 01 - Tequila.wav
3829657900 26490620 02 - Little Child(Daddy Dear).wav
2900404162 52567244 03 - What The World Needs Now Is Love.wav
4003880474 48067868 04 - The Big Hurt.wav
3912567351 51069020 05 - Bumpin' On Sunset.wav
3863037528 40423868 06 - How Insensitive(Insensatez).wav
342541701 50833820 07 - The Thumb.wav
667711144 57271244 08 - Midnight Mood.wav
2074490342 31721468 09 - Wives And Lovers.wav
1640597096 35392940 10 - Bumpin' On Sunset (CD bonus).wav
1537071745 36844124 11 - The Big Hurt (CD bonus).wav
3917742687 27871244 12 - Tequila (CD bonus).wav
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
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