Wes Montgomery
Tequila
Wes Montgomery, Guitar
George Devens, Vibraphone
Ron Carter, Bass
Ray Barretto, Conga
Grady Tate, Drums
Arranged and Conducted
by Claus Ogerman
Produced by 
Recorded at
Van Gelder Studios
Englewood Cliffs, New Jersey
Rudy Van Gelder, Engineer
Recorded March 17, 1966
Catalog Number:
547769-2
Format: CD
Release Date: 1999
Label: Verve |
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Click on tracks
 to hear sound samples.
1. Tequila
(3:20)
2. Little Child (Daddy Dear) (2:28)
3. What the World Needs Is Love (4:57)
4. The Big Hurt (4:31)
5. Bumpin' On Sunset (4:49)
6. Insensatez (How Insensitive) (3:46)
7. The Thumb (4:49)
8. Midnight Mood (5:21)
9. Wives and Lovers (2:57)
10. Tequila (alternative take) (2:37)
11. The Big Hurt (alternative take) (3:26)
12. Bumpin' On Sunset (alternative take) (3:17) |
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Here we are the close of this century, and to my ears, Tequila sounds as
if it could have been recorded yesterday – a tribute not just to the players
but to Creed Taylor's production values and, of course, to the brilliant
engineering of Rudy Van Gelder.
I can't describe what a thrill it was the first time I was called to play
on one of Taylor's productions and arrived at Van Gelder's studio in Englewood
Cliffs, New Jersey. Known to all jazz fans as the site of his brilliant
contributions to the recorded history of the music as documented on Blue
Note, Impulse, Verve and many other labels, Van Gelder's studio stands as
a modern monument to all the great masters whose talents have graced this
most special of rooms. Walking into the room, I could not help but see visions
and hear the strains of my many heroes who had recorded there: John Coltrane,
Miles Davis, Bill Evans, Herbie Hancock – the list is endless. Standing
alone in the center of the room, you can really feel the presence of all
the great musicians who have come before. The beautiful, swinging notes
of Wes Montgomery still fly around that room. I know this; I've felt them.
With Tequila available for the first time in 24-bit resolution, we now have
only to get comfortable and enjoy, with greater clarity than ever, the brilliance
of one of the great guitar voices of this or any time. You can enjoy this
recording for its content and its depth, or it can serve as the background
music for your dreams, as it did for mine. I adore Wes Montgomery, the man
and his music, as much today as I did when I was a teenager. The passage
of time cannot change the impact of this most singular of musicians. Wes,
how wonderful you are and always will be! And what a wonderful birthday
present it was for me to have been asked to contribute these notes to your
recording!
– Steve Khan
Music Like Good Tequila
For years, for decades, Wes's Verve records have been criticized by so-called
jazz purists. Praising his Riverside output, they didn't come to grasp the
fact that what Wes did on Verve was FUSION, in the truest sense of the word.
I prefer this masterpiece of laconic, sparse, deceptively simple guitar
music to the tinny and sometimes tedious sounds he released on Riverside.
Just one telling example: take the title track, on which he turns the Champs'
pop instrumental into a stark, dynamic masterpiece. The band is excellent,
too: the combination drums-congas (played by the Great Barretto himself!)
works out splendidly. Best US jazz guitar album ever?
– Charles de Coster
Review
If you're a fan of Wes' Verve sessions, this is another one to add to your
collection. For those who know Wes only as a be-bop guitarist, this album
might surprise you. For my money, the greatest guitar solo I've ever heard
on a jazz record is on his version of “What the World Needs Now.” I've actually
never heard this CD – I own the LP, so I'm only commenting on the music
itself.
– a music fan
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Wes Montgomery
Ron Carter
Grady Tate
Photos by Chuck Stewart |
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