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Wes Montgomery All The Things You Are "Rare Recording" Live at Half Note
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- เผยแพร่เมื่อ 29 ธ.ค. 2011
- Wes Montgomery with Wynton Kelly Trio Recorded live at The Half Note during a Live matinee radio broadcast. Nov. 6, 12, 1965 Wes Montgomery - Guitar, Wynton Kelly - piano, Jimmy Cobb - drums, bassist not sure Ron Carter, Larry Ridley are the only bassists mentioned on the recording. I believe this is the only recording of Wes playing "All The Things You Are" which is special to me. His solo is a masterpiece. Enjoy!
Doesn’t matter here in Indy in my hometown he was always around & because I heard Wes a lot along with.others . But after he left for NY & later came back home The Turf club had a copy of of his first album sitting on the bar in front the bandstand . Like always Wes ask everyone if we liked it . Wes was one of the nicest musician you could ever be around no booze no drugs his brothers used to call him Rev. Montgomery ..All the musicians in Indy were nice & easy to know … thanks for your comments 👍
I am a jazz guitarist with two cd's out. when I was younger in my early twenties my first jazz gig was with Wamon "Punchy" Atkinson, who played sax on Wes' first two albums. this was an honor for me. he spoke about him the same way you are and said he was the nicest man you'll ever meet. to me this comes out in his playing. it's so great to hear these stories first hand. it makes it more real. thanks for sharing! you and everyone else had to be thrilled when he came back after the whole world recognized his greatness!
I recently put up a you tube of one of my originals called "Traveling" and there's also one of me playing Wes' "Road Song" w a big band you might enjoy.
Wes is playing with the changes, swingin', never a wrong note. He's always played methodically and in it, but not quite as fast as he's playing here, wow! It's not annoying and fast, he's flawless. And the Chord solos could not be duplicated as an improvisational solo. Amazing Wes recording!
there's no "wrong note" in jazz
@@fankitonkizonki not entirely correct. You have to really know what you do on the guitar as a jazz player to say such thing, meaning you will always know where to go- to which chord change, which chord extension, which chord tone.(and by knowing I don’t necessarily mean knowing rationally but also listening and experiencing and feeling the notes). If you know all that, then yes, you will always know where to take your playing and incorporate a lot of colors to your playing. But at the beginning when learning jazz, in my experience, there is ALOT of bad notes, lol
@@fankitonkizonki LOL .. sure there are, like in any music... but maybe you just tried to be sarcastic ;)
I counted 8 choruses of blowing on this tune here by Wes. Plus the two melody renditions. Huge amount of musical information. What a fast tempo.
Yeah I just got done working through the standard, can play and connect several arpeggios over each chord... Time to learn wes' take on it! I'll be lucky to finish transcribing half of this in a year.
It’s great that this is inspired you to take it seriously! Keep it going!
Wow, what a chord solo by Wes. Not even the great Barney Kessel would have been able to top it. Unreal.
a high point in the history of jazz solos
I totally agree. I’m grateful to have found this version that isn’t on any of his lps as an up tune w him burning like this!
Also, Wes did a live radio broadcast playing Autumn Leaves. There is a copy floating around but difficult to get. @@teddypantelas
That is orders of magnitude above what one normally hears
in a good guitar solo. Wes was channeling some awesome lines. . .
Yes he was! Effortlessly too. Just amazing. This is the only recording of him playing this tune as an up tempo tune playing a solo on it too. I’m glad you enjoyed it.
it makes me so happy that so many have enjoyed Wes playing all the things you are.I'll post the rest of what I have from these matinee recordings. Was will always be King in my book.
Thanks for the post Teddy.Jim Leihenseder.
Thanks very much for the post Teddy. Wes is amazing on this, as always!
teddypantelas Really love Wes Montgomery. Those were my first intros to Jazz guitar, but of recent, the last 20 years leaning more towards Grant Green and Kenny Burrell.
No one's cut him yet! Great post Teddy.
@cranglepiano absolutely
The dexterity and musical knowledge required to improvise chords that quickly.... Wow.
I totally agree!
Ear knowledge, heard everything he played. Natural,,,
Just getting recognized by general public after releasing on A& M label .Out of my head hit then poof gone at 43 yrs old 😢😢😢😢
I just love his non-octave playing. The octaves are always great, but when he's flying on the single note--as though with a pick...oh man..
I’m totally agree with you!!
He even plays better and more fluent than most with a pick...
in german language -- WES spielt hier nur downstrokes mit dem DAUMEN .. plays only downstrokes .. no up strokes with thumb when sinlenote playing .. never a pick . Upstrokes too when playing Oktaves and Chords ..
Rick Beato has excellent video breakdowns of Wes' single line and multi-line solos.
hell yes, man!
Nobody could cook up musical ideas like Wes. Everything he plays is fresh and new. I have never heard his equal.
When I started playing guitar i couldn’t use a pick very well. Wes M was my go to and man I’m glad I went…George Benson is another great just using his fingers alone..amazing stuff…
All the things you are - the greatest song ever written.
Certainly one of the top 10 all time tunes, no doubt.
@@icecreamforcrowhurst You might enjoy Gene Harris playing this at Berne Jazz Festival with Johnny Griffen, Martin Drew and others, on TH-cam. It's a marathon marvel.
I was able to catch him live with his brothers and Grady in Boston just prior to his passing. He was playing downstairs and Ahmad Jamal upstairs simultaneously. Fortunately I caught most of the greats live (sadly not Jim Hall). Wes, in my eyes, was the king then and still is now.
I agree totally that wes was king and still is of jazz_guitar!
How lucky
Fantastic!, like EVERYTHING from Wes 🤳👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼
It just pours out of him . Pure jazz .
This is tough tune to swing with and tell a new story - but Wes and his band make it sound ever so easy and delightful. They were geniuses of jazz, all of them. To this day, Wynton Kelly remains my ideal for a jazz pianist, and Paul Chambers and Jimmy Cobb the all-time tastiest rhythm section. As great as the Wynton Kelly Trio were for Miles Davis, they were even better with Wes Montgomery.
I’d have to agree with you. I always associate that rhythm section with Wes Montgomery because it’s a perfect fit!
@@teddypantelas - It's such a terrible shame that three of the four members of this sublime group would be dead by the early 1970s - Wes in 1968, Chambers in early 1969, and Kelly himself in 1971. Jimmy Cobb lived a long life and died at the age of 91 in 2020. But imagine the music all of them could have made together had they had more time to play together!
man...Wes is smokin on that tune...could only imagine what it must've been being there. phenomenal! thanks for posting
I hear you!
Wes being from hometown & my being friends with David Baker I got to hear Wes & his brothers plus many other greats . This was before Cannonball Adderley heard Wes at a favorite after hours club called The Misslle Club & managed to get Wes a recording contract with Riverside Records .
It had to be an honor to witness Wes at that time! To see the genius sounding great already and still developing into what he became. I appreciate you sharing your experience with us!!! Now we have a miracle in seeing him thru technology.. A dream come true for me, even though it's not the same as what you got to see and feel at the same time.
Man oh man......Ive been listening to Wes for years and this upbeat version is fantastic.....What a genius.....Im blown away.......gotta listen to this a hundred more times.........Thanks for posting
Wes stands up to repeated listening, over and over again, because his playing and the playing of his bandmates, was so deep and packed with musical content. It's a rare jazz musician who can legitimately make that claim.
@@GeorgiaBoy1961 Do we always have to agree so much ? 😉 I guess so, the reason is right
This is a phenomenal recording of one of the most timeless pieces. I'm not a guitarist, but you don't have to be one to appreciate the exceptional musical qualities of this unique musician. I have an anecdote for you.
Wes was interviewed once to explain how and why he had developed his famous "thumb technique" (one of the things he was famous for). He said that in the beginning his wife used to complain about the noise he made practicing with the pick. So he put it down, strummed the guitar with his thumb and asked her if that was better. She agreed. The journalist asked Wes: "but to play the way you do Wes, you must have practiced for hours. It must have been very painful. Did it hurt?". Wes replied: "Yes, on days when I spent long hours playing, I used to get bad headaches!".
Long live the memory of this Giant, one of God's gifts to Music.
musamor7
How fortunate for us, his fans, that Wes innovated such a unique way to play his chosen instrument. Although he played guitar, Wes was influenced a great deal by horn players and pianists in his conception of jazz. He was also highly-influenced by big band jazz, as one can hear when he does a block-chord solo or passage not unlike the "shout" chorus of the brass section in a big band. Wes' brothers were also superb musicians; I am convinced that Wes would have been a star on any instrument he chose. He chose guitar, and to the instrument, he is not unlike Charlie Christian was to alto sax. The man everyone studied and tried to figure out and emulate, to the degree possible anyway. No one has ever copped Wes's style accurately - not a single person. A few like George Benson have come close at times, but in the end, Wes remains utterly unique.
@ musamor75: That story of how Wes started playing with a pick may be apocryphal, or not - but it is now part of the Wes legend. He was a notorious night owl, too, staying up to all hours either playing gigs or practicing so the story may well be true. Wes related in interviews that he tried at various times to learn to play with a pick, but that he just couldn't get on with it.
George Benson, who - along with Pat Martino was one of Wes' proteges during the early-mid 1960s - said that Wes' RH thumb was unusual anatomically in that the tip of his thumb extended well beyond the nail bed. Benson called it a corn, but regardless of what it was - it gave Wes the ability to play not only down-strokes, but up-strokes as well. He could alternate pick with his thumb!
Wes had that popping Clifford Brown articulation jazz soloists strive so hard to achieve. It's very very difficult to do on guitar, but Wes made it happen via his unique approach to playing with his thumb, plus his extensive repertoire of hammer-ons, pull-offs, glisses, slides, ghost notes, rhythmic accents, and sweeps. He was also very adept at what classical guitarists call a rest stroke, to add emphasis or attack to a given note or passage. Wes also managed to achieve a very wide dynamic range, playing the softest of quiet passages well, as well as the shout section/climatic portion of any tune.
Last but not least, the thumb - being flesh - gives a warm, round, fat tone that it is very difficult to achieve with a plectrum/pick.
Of course, none of the technique stuff would matter if not for the genius of Wes' musical imagination and vision, his "big ears," (that's how jazz cats describe someone who simply 'hears it' and can play the music at a very high level), and his ability to bring even the most-trite melodies and hackneyed themes to life.
One time, the guys in the band thought they'd sand-bag Wes by counting off the most low-down, gut-bucket old blues groove they could, thinking whatwill he be able to do with that?? Wes turned the tables and surprised them by turning that number into something memorable and beautiful. That's the kind of special he was. After his untimely death, someone asked his frequent playing companion and fellow Indiana native, bassist Larry Ridley, about Wes, and he said, "What Wes had, only God can give a man." Now whether you believe in the deity or not, we can probably all agree that he was 'touched' in a very special and rare way.
Wes was a great player , one of my faves ,taken tragically young from the universe,though he lives on in recordings like this...x
I totally agree. As I said before I feel that Wes is King when it comes to jazz guitar. Thanks for checking this post out.
"the supporting players can make the gig easy or hard" thats the truth. great quote!
Wes always surrounded himself with great players. He also had that magic - every note was golden. He was a powerful force in jazz at the time. You are so right, they are all playing like one!
@@teddypantelas always had rhythmic hits/motifs in his solos that the rest of the band would catch on and play with too . awesomem
Winton became so alive here with Wes... so nice to hear how they played over each other never coming in way, magic 🤩
Wes did play this song as a ballad on Fingerpickin' in 1958. His brother Buddy was featured on the whole tune and Wes just comped. This is the first time we're hearing Wes play it at a nice moving tempo and soloing like there's no tomorrow!
The best that ever e was
Wes the monster on the guitar uni c
Master Montgomery was One of the Greatest Electric Guitarests of His Generation , a Lifetime!
yes he was. I'm also amazed how he played on Live in Paris. His double octave solo on Here's That Rainy Day hits me every time. It's all around that same time period. When it comes to Jazz guitar I always gravitate to the one who got me into it in the first place - The King Wes!
The very first hardcore modern jazz recording I ever purchased was the vinyl record of the complete "Smoking at the Half Note" recording, plus a few studio sides. That was around 1978 - and it still blows my mind today - forty years later.
What a genius.
So many GREAT Jazz guitarists cover this song! It's like the perfect song for improvisation at the same time it's one that is demanding melodically, harmonically and even in terms of accompaniment. Very chordy piece indeed. Wes has to be one of the greatest ever with a style all his own of his own invention out of necessity. Hank Garland's version is also incredible considering his huge impact on George Benson who also has an awesome version of the song!
No "lose of spontanaity in the recording studio" here!
in terms of structure and fluent melodic hookups that are often spontaneously created within his solo ...great!
Always amazes me. Melodic at any tempo.
I'm knocked out every time I hear it. this is the first recording of him taking the lead and blowing over all the things. Historic!
This song is a big fkn deal!!!!!...
Haven't heard this version in yrs!!!
Thank you thank you thank you!!!
🎸😎🎸😎♨♨♨♨♨
You’re welcome.
Amazing Wes... His solo is astonishing
Absolute terror absolute apotheosis of a human being what in the world was that, thank you for sharing a recording
wes is truly my alltime favorite jazz player (not only guitar) but while this take on all the things you are is fabulous, its not one of his best solos in my opinion, not even close. his best solos, for me, are in "south of the border", "lover man", "born to be blue", "dangerous" and "just for now" - after all those years i still get back to each and every one of those solos and amaze myself each time.
@Leo in my opinion every note Wes played was golden. Every solo he took was my favorite solo. Everyone has the right to their own views that's what makes life so beautiful. I posed this because it's the only version of Wes playing this tune anywhere as the lead instrument and at this tempo. It's Killin'! In my opinion bursting with life and beautiful burning lines. I had to make sure veryones got to hear this gem. Peace. Feel free to listen to my you tube of an original for Bill Evans called Bill's Peace. Take care and thanks for listening.
@@teddypantelas we need more from that gig....please
My top three of all time ( across all instruments, and in no particular order), Wes, Tatum, and Clifford.
The phrasing and drive, always melodic.wow! Totally unique. Thanks my friend.
Everything Wes did was a masterpiece! I've always liked his recordings with Wynton Kelly best, and this one's very special. Thanks for sharing!
I would have to agree that Wes plus the Wynton Kelly Trio were pretty much the ultimate, but I'd also have to award a tie to his bands on the 1965 European tour, in particular Harold Mabern, Art Harper and Jimmy Lovelace, and the Pim Jacobs Trio in Holland. Wes' performances with both groups rank as some of the finest playing of his career.
@@GeorgiaBoy1961 Oh no.... you again ;) and I dont have to add a single word... as they say, great minds think alike ;)
Beyond Words..Jazz Genius..
Great song Jimmy Cobb takes a gnarly solo on this one
Wes is King, indeed!!!
I believe this is one of the best WM recordings.
Talk about about 'tearin' it up'! What a great player.
He sure is like no other! Wes is king!!!
The G.O.A.T. SMH!!
This Bass players melodic style here helped Wes tremendously on this, I met Wes with one of his brothers on one of his early (1961) visits to Ronnie Scotts -London & amazing lucky chance to interview him backstage.He told me many things I wanted to know as a young guitarist starting out. The truth is Talent shines thro',but as he said the supporting players can make the gig,easy-or hard or even Inspire,as on this occasion..Truly enjoyable- Thanks a million Teddy.!
It's great that you met Wes! What an honor! I totally agree with what he said to you. It's all about the music and listening to one and other so the group plays as ONE. this way new things can happen thane are truly fresh because of the ability of letting go! Your more than welcome too btw it's my privilege to share this.
Thanks for sharing your experience with Wes Montgomery personally! You are more than welcome, I want as many people that can hear Wes play “all the things you are”!
Heaven would be . . .
jazzguitar31 being fully high and listening to this
"Not annoying and fast"- perfect description!!
Thanks for posting this. Essential Wes. You might also know that my old friend Ron McClure also played with Wes and Wynton for quite a while in those days.
Wow, that was nice!
The half notes recordings are the best.
Thanks !! Each note of Wes is Musical perfection !
Thanks for sharing this.
Holy living shit. Wes remains untouchable.
The Greatest!!!
What a player! How could Wes do it all with his thumb. Dig the Naptown sound.
the greatest
He and Warren Nunes were my mentors and both are gone but still influencing heart and facility. guitarist Jimmy Martin
+James martin Wes was your mentor? Seriously? How did he teach?
Warren Nunes' very approachable books opened my ears and fingers to jazz chords and how they relate. I treasure my old worn copies, and go back to them often, even after many years. I regret that they're no longer in print for young players.
man oh man pure magic
go wes go
Agreed, gnarly indeed
@Musicenthusiasm yes he was! I also loved when he played with his brothers. There's a certain vibe in the music you don't hear even with the high level of this group. Thety were family and his playing blows me away on those older recordings.
Thank you so much for this absolutely rare treat and further document as to his genius.
Awesome!!! Thanks again.....
ES175jazz is the Supreme best guitrist of all time ever
The best musician end guitar player that ever lived
great recording ! thanks for sharing this.
Great stuff. Thanks for the upload!!!
The Greatest of All Time!!!!!
Thanks for posting that because i've never heard him play all the things you are. So that's great!
Oh man, i like this!
Sublime.
I can't really understand Wes' chords solo. He was really awesome. My favorite jazz guitarist!
Wes had a very advanced harmonic sense and could compose and play on the spot very sophisticated and hip reharmonizations to jazz standards. He was also super-imposing scales and arpeggios over chords to create altered chord sounds for tension and release effects, pretty much before anyone else. A few pianists were doing it then, but Wes was almost alone amongst jazz guitarists in doing it. Example - using a melodic minor scale a half-step above a five (V) chord to produce altered V-chord sounds to resolve to the I chord. Quite common now, but not in those days - and Wes' fluent use of these sounds is evident even today. The guy was just a complete master of the jazz art - one of the handful of the very best musicians the music had/has to offer.
I would think it probably was Paul Chambers on bass. Since he was part of Wynton Kelly's Trio.
@ Byron Atkins: The Wynton Kelly Trio - normally Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums - occasionally did gigs without Kelly during this era. He was usually replaced by Ron McClure. McClure was not as big a name, obviously, as Paul Chambers, but a very capable and wonderful player in his own right. These sessions, if they belong to the 1965 gigs at the Half Note, I'd bet were done with Chambers on bass. The just-issued sessions from 1965 in Seattle, however, were done with McClure.
What a find...thanks for putting this up!!!
Very good
100 miles per hour man He was speeding in 1960
muito obrigado por disponibilizar!!!!!
I hear you man.
UNIQUE
Obrigada
Out fucking standing, thank you so much for the upload.
I assume the bass player is Paul Chambers, unless he wasn't there that night for some reason. He was the bassist for the Wynton Kelly trio (and formerly played for Miles with Wynton Kelly and Jimmy Cobb), and he is on every track of Wes' Smokin at the Half Note, which was recorded in 1965 and may include tracks from this night as far as I know.
voila une leçon de guitare!!!
I'm really glad you fot a hold of them. His playing sounds so timeless. The Tune Beaux Arts on Groove Brothers written buy Buddy his brother sounds so Modern it's hard to believe it was written way back then. Also playing with his brothers has a serious goove in and of itself. Do you have Live at Jorgie's? They re released it with some new tunes on it. Thanks for responding back. Greetings fron Ohio.
en effet il est!
I looked it up, and the Smokin at the Half Note dates were in late June 1965, whereas this was in November 1965 according to the post.
What a master...!!! Im 63yrs old and am soo thankful I found him at an early age and able to enjoy his gifts. I had an album..Bumpin, To hear The Shadow of Your Smile in jazz form took my breath away and still does. Here Comes That Rainy Day is another favorite. I must admit its hard to choose..so I listen to all I can find😃 Music has helped me survive , when I had nowhere else to go it was and is always. there for me . THANK YOU SOO MUCH FOR THIS WEBSITE💝Angie
That same band, minus Chambers and with Ron McClure on bass, did some live recordings in Seattle in 1965.
This was from an afternoon matinee that was recorded live for Radio.
I agree with most of your opinions... I'm also very glad to share opinions with fellow musicians or dilettants... but certainly not the best solo or cantabile...if you're able to sing a couple of bars of this solo you certainly deserve a master in sol-fa.. but if you want to hear Wes at his best check out Boss Guitar....M.Vico , musician and English teacher from Havana.
I bet this is the most covered Jazz song. I litterally have seen that so many jazz musicians have covered this song.
next time you friend tells you that clapton is god, make him listen to this....
I was 18 in 1973 and wanted to be Eric Clapton. Then one night I picked up a Cincinnati radio station by way of "skip" and heard a guitar player who totally changed my life. I couldn't believe what I was hearing. I had never been exposed to actual, legit jazz and was baffled at how he knew how to do what he was doing, how a mortal could speak that language and make a guitar sound so sexy. It was blues, but it was so much more than blues. I didn't know for a few years, but I had heard Wes Montgomery for the first time. I spent the following thirty years trying to be Wes Montgomery. I have only been stricken that way by two musicians, the second one being Charlie Parker. If Wes is not a "guitar God" then no one is.
Hehehe great comment !
It's funny you mention that, because after Wes died, his good friend and old partner from Indianapolis, bassist Larry Ridley, said, "Wes Montgomery had something that only God can give a man..."
You’re right about that!
You see ? Clapton ? Ha ha Django reinhardt Wes Montgomery Joe pass
@ES175jazz your more than welcome.
Probably Paul Chambers.
How's the chord work before the drum break? Great clip, thanks, B
sounds like ron carter on bass big fat tone there
It's Larry Ridley on bass:
Tracklist
1 -Wes Montgomery, Wynton Kelly Trio Impressions 6:11
2 -Wes Montgomery Mi Cosa [unaccompanied Guitar] 3:34
3 -Wes Montgomery, Wynton Kelly Trio Blues #1 5:45
4 -Wes Montgomery, Wynton Kelly Trio Birks’ Works 5:41
5 -Wes Montgomery, Wynton Kelly Trio Laura 6:46
6 -Wes Montgomery, Wynton Kelly Trio Cariba 8:48
7 -Wes Montgomery, Wynton Kelly Trio Blues #2 3:04
8 -Wes Montgomery, Wynton Kelly Trio Four On Six 8:07
9 -Wes Montgomery, Wynton Kelly Trio Blues #3 / Closing announcements 1:26
10 -Wes Montgomery, Wynton Kelly Trio All The Things You Are 6:43
11 -Wes Montgomery, Wynton Kelly Trio I Remember You 7:21
Credits
Bass - Larry Ridley (tracks: 4-11), Ron Carter (tracks: 1-3)
Drums - Jimmy Cobb
Guitar - Wes Montgomery
Piano - Wynton Kelly
Thanks for sharing that. I heard his name on one of the other songs from the broadcast. I appreciate it.
5 people didn't like this ???
I find it hard to believe too. How could anyone that loves jazz or even is guitarist not like this! His playing is incredible on this tune. This is the only recording of him playing a solo on this tune too to boot!
this reminds me of pat metheny's version on question and answer.
Pat Methany is a talented musician, but he is nowhere near to being in the same league with Wes. Sorry, Pat, keep trying - you ain't there yet!
Contrary!
The great thing about Wes is that he dares to do things that are normally considered impossible.
Play with your thumb only.
Play in octave style.
It would have taken great courage to throw away the pick.
why.
I wonder if he didn't like the change in tone when transitioning from single note to octave.
Teddy, is this "rare" recording available? Please & thank you!
Smoking 👍
How is that guitar playing even possible?
It’s mind boggling!
It’s not!
@ icecreamforcrohurst: Re: "How is that guitar playing even possible?"
That's the very question people were asking in amazement when Wes burst onto the music scene around 1960 or so. He was doing things which had never been done before - which had been considered impossible, until he showed they weren't. Like taking entire solo choruses in block chords, for example, or playing at those ridiculous tempos with just his thumb. How was it possible? The man was a genius, the real deal.
@@GeorgiaBoy1961 yes indeed a musical genius
@@icecreamforcrowhurst - The word "genius" gets overused a great deal in music, but it is wholly justified in the case of Wes Montgomery, because he was the genuine article.
were you able to check out some more Wes with his Brothers?
He plays with muscle