Wes Montgomery
Movin' Wes
Wes Montgomery, Guitar
Ernie Royal, Trumpet
Clark Terry, Trumpet
Snooky Young, Trumpet
Jimmy Cleveland, Trombone
Urbie Green, Trombone
Quentin Jackson, Trombone
Chauncey Welsch, Trombone
Don Butterfield, Tuba
Harvey Philip, Tuba
Bobby Scott, Piano
Bob Cranshaw, Bass
Grady Tate, Drums
Arranged and Conducted
by Johnny Pate
Produced by 
Recorded at
A&R Studios
New York City, New York
Phil Ramone, Engineer
Rudy Van Gelder, Re-recording Engineer
Recorded November 16, 18, 1964
Catalog Number:
314 521 433-2
Format: CD
Release Date: 1997
Label: Verve |
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Click on tracks
 to hear sound samples.
1. Caravan
(2:36)
2. People (4:20)
3. Movin' Wes, Pt. 1 (3:29)
4. Moca Flor (3:10)
5. Matchmaker, Matchmaker (2:50)
6. Movin' Wes, Pt. 2 (2:52)
7. Senza Fine (3:25)
8. Theodora (3:55)
9. In and Out (2:51)
10. Born to be Blue (3:38)
11. West Coast Blues (3:12) |
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Excellent, Per-i-od.
A superb Verve/Creed Taylor recording first produced in 1965.
Much has been said of the so-called "selling out" of jazzists – Wes was
a hard-bopper, originally – and this was to have been his white-washing
or sell-out album. That whole labeling thing, of course, is a bunch of BS.
Even hip-hoppers would not mind being accompanied by a full orchestra and
rhythm section. This is Wes' first with Verve, accompanied by an orchestra
arranged and conducted by the great Johnny Pate. The recording was engineered
by Phil Ramone and produced by Creed Taylor.
“Theodora" is pure heaven, and “Born to Be Blue” is simply perfect. But
I'm quite sure you'll find favorites among the nice selection presented
here... La Barb's “People,” Wes' “Movin' Wes.”
In the liner notes by Gene Lees, he tells how Wes developed his style of
playing. It is said he had an epiphany one day after listening to a Charlie
Christian record. So much so that he went out and purchased a guitar and
amp post haste and proceeded to strum the darn thing. He solicited the aid
of a buddy to show him some chords and he commenced to playing – loudly,
clumsily – with the aid of a guitar pick. His wife, being the person she
was, did not share in the epiphany and did not want Wes to be making that
noise in the living room. Can you imagine that? So she requested that he
move elsewhere in the house. He finds a corner and he plays some more. Nope
– still too loud for the lady of the house. So, he turns the amp down a
little. Nope, still too loud. So, he turns the amp down a li'l more, gets
rid of the pick and finds that thumb-strumming style we hear in all his
recordings. Talk about epiphany!
His wife finally, FINALLY approves and the rest is, as they say, history.
Thank God for that because the next step for ol' Wes may have been out on
the curb with nothing but a guitar, an amp and a guitar pick... and no electricity!
And we probably would have missed out on his greatness...
So, the moral of the story is, always, always give your spouse one more
chance, even if it is hard on the ears.
– yeargs, Cross Roads America
Big Band Plus Super-Guitar
Together with Tequila, this is Wes' best Verve album and his Verve albums
are loads better than the ‘purist' stuff he released on Riverside! To me,
talking of purism in jazz is a contradiction in itself – jazz has always
been integrative. On this record, Wes presents a collection of perfectly
played guitar sounds in a big band context. Listen, for example, to the
perfectly arranged "Born to Be Blue" or to the Latin passion of "Movin'
Wes" parts 1 and 2. An excellent introduction to the music of the classical
jazz guitarist.
– Charles de Coster
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Wes Montgomery
Creed with legendary trumpet player Ernie Royal
Photos by Chuck Stewart |
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