Talk with Wes Montgomery

Wes Montgomery, born John Leslie Montgomery on March 6, 1923, in Indianapolis, Indiana, was an influential American jazz guitarist. He is widely regarded as one of the greatest guitarists in the history of jazz. Montgomery was known for his distinctive playing style, which included the use of his thumb instead of a pick to pluck the strings, giving his music a warm, rounded sound that became his trademark.

Montgomery's professional career accelerated in the late 1950s when he joined Lionel Hampton's band. However, he achieved greater fame in the 1960s with a series of albums on the Riverside label, showcasing his skills in a small group setting. Albums like "The Incredible Jazz Guitar of Wes Montgomery," along with others like "Full House" and "Smokin' at the Half Note" (with the Wynton Kelly Trio), are classics in the jazz genre and display his virtuosity and creativity.

His playing style featured complex chord sequences typical of bebop and an innovative use of octaves, which became a highly influential aspect of jazz guitar performances. Despite his relatively short career—he passed away on June 15, 1968—Montgomery had a profound impact on the evolution of jazz guitar. His influence is still felt today, as he inspired countless musicians with his technique, musicality, and soulful improvisations.

Wes Montgomery's playing style saw a significant evolution throughout his career, marked by several distinct phases that reflected his varying influences, opportunities, and explorations in the jazz genre.

1. Early Years (late 1940s – early 1950s): In his initial phase, Montgomery was heavily influenced by guitarists like Charlie Christian and Django Reinhardt. He performed in local clubs and developed his technique during his tenure with Lionel Hampton's band (1948-1950), though recordings from this period are sparse.

2. Development of Personal Style (mid-1950s – late 1950s): Montgomery started to gain attention in his hometown of Indianapolis and among visiting jazz artists. During this period, he developed his distinctive playing style characterized by the use of his thumb instead of a pick, which gave his sound a warm, mellow quality. He also pioneered the technique of playing octaves (playing the same note on two strings one octave apart), which became a hallmark of his style.

3. Riverside Records Period (1959-1963): His time with Riverside Records marked his emergence as a major jazz artist. Albums like "The Incredible Jazz Guitar of Wes Montgomery" (1960) showcase his extraordinary improvisational skills and command over hard bop idioms. His ability to blend sophisticated melodies with complex chord progressions was well received.

4. Commercial Success with Verve and A&M (1964-1968): Montgomery's move to Verve Records and later to A&M Records marked a shift towards a more commercially viable sound involving orchestral arrangements and a softer, smoother approach. This period includes collaborations with arrangers like Don Sebesky and albums such as "Goin' Out of My Head" (1965) and "A Day in the Life" (1967). Although these projects brought him mainstream success, some jazz purists were critical of this move away from his more intricate bebop roots.

5. Exploration of Different Genres: Throughout his career, particularly in his later years, Montgomery showed a keen interest in exploring various musical genres beyond traditional jazz, including bossa nova, as seen in his collaboration with Antonio Carlos Jobim.

Montgomery’s style evolved from hard-swinging, virtuosic bebop to more accessible and commercially successful formats, adapting to the larger orchestral settings and the broader musical tastes of the 1960s audience. Nevertheless, the core elements of his technique, especially his unique thumb picking and octave playing, remained consistent and influential, underlining his legacy as one of the most important and distinctive guitarists in jazz history.

Wes Montgomery was born on March 6, 1923, in Indianapolis, Indiana. Growing up in a family with a musical background significantly shaped his future in music. His brothers, Monk and Buddy Montgomery, were also talented musicians, with Monk playing the bass and Buddy, the piano and vibraphone. This environment undoubtedly fostered his musical development from an early age.

Montgomery's actual initiation into playing guitar, interestingly, started relatively late. He was not formally trained in music and did not take up the guitar seriously until he was almost 20 years old, inspired by the recordings of jazz guitarist Charlie Christian. This late start is particularly remarkable considering the level of mastery he eventually attained.

His early life’s work experiences, which included numerous mundane jobs, from working in a factory to being a welder, reflected the realities of many African American communities during that time and influenced his approach to music as an essential escape and form of personal expression. The economic and social conditions Montgomery endured likely imbued his music with a sense of depth and resilience, characterized by his emotive playing style and innovative techniques, such as his extensive use of octaves.

Overall, his upbringing in a musically inclined family, combined with the socio-economic background he navigated, shaped his unique style and his approach to music, which was rooted in passion and a largely self-taught expertise. His influences range from the immediate — his brothers and early jazz figures like Charlie Christian — to the broader cultural dynamics of his time, all contributing to his development as one of the most influential jazz guitarists of the 20th century.

Wes Montgomery did not have formal music education. He was largely self-taught, learning to play the guitar by ear. His unique playing style, particularly his use of octaves and thumb-picking technique, was developed without formal training, showcasing his natural talent and innovative approach to jazz guitar.

Wes Montgomery, celebrated for his innovative guitar techniques, also had a distinctive approach to composition and arrangement that has left a lasting impact on jazz music. His approach was intuitive, centered on melody and often sparked by improvisations. Montgomery had an extraordinary ability to develop complex ideas while maintaining an accessible and engaging style.

One of Montgomery's notable contributions to composition was his use of octaves and block chords, which became a hallmark of his style. He often constructed melodies within these frameworks, which not only added a rich harmonic texture but also allowed him to create fuller, more resonant sounds. This technique was especially evident in his arrangements, where he seamlessly integrated these elements into the larger context of his band's dynamics.

Montgomery's arrangements often featured a dynamic interplay between his guitar and the rhythm section. He was skilled at arranging pieces in such a way that they provided ample space for each instrument to contribute to the overall sound, while still ensuring that his guitar work stood prominently in the foreground. This balance helped to create a cohesive and harmonious sound that was both sophisticated and accessible.

His work frequently involved rearranging jazz standards and pop songs, imbuing them with his unique stylistic signatures—subtle yet intricate rhythms, a smooth blend of single-note lines with octaves and chords, and an overarching emphasis on melody. Montgomery's ability to reimagine these pieces contributed to his reputation as an innovative arranger.

In summary, Wes Montgomery's approach to composition and arrangement was marked by a focus on melody, innovative use of octaves and chords, and a balanced interplay between his guitar and other instruments, all woven together through his spontaneous and fluid improvisational style. This approach not only defined his personal music but also influenced the broader realm of jazz guitar.

Wes Montgomery was not just a good guitarist; he was widely considered one of the greatest jazz guitarists of the 20th century. His innovative technique—especially his use of octaves and chord melodies—his lyrical solos, and his smooth tone set new standards in jazz guitar performance. His contributions to the genre have influenced countless musicians and he remains a seminal figure in jazz history.

Wes Montgomery recorded and released a considerable number of albums during his career. He released more than 20 studio albums as a leader, including influential titles like "The Incredible Jazz Guitar of Wes Montgomery," "Full House," "Movin' Along," "So Much Guitar," and "Smokin' at the Half Note." Additionally, there are numerous compilations, live recordings, and posthumous releases that feature his work, bringing the total number of albums with his involvement much higher.

Yes, Gibson did produce a Wes Montgomery model of the L5 guitar. The Gibson L5 Wes Montgomery model is a highly regarded archtop guitar, designed in tribute to the legendary jazz guitarist. It reflects many of the specifications and design elements that Montgomery favored, including a single '57 Classic humbucker pickup at the neck position, which is significant as he often preferred to play using only the neck pickup for a warmer sound. This model is known for its high quality of craftsmanship and its ability to produce the rich, full tones that are ideal for jazz music.

Wes Montgomery was born on March 6, 1923. Like everyone, he was zero years old when he was born.

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