(JazzPlanet) The Incredible Jazz Guitar of Wes Montgomery (Eac Flac Cue) reseed torrent

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Wes Montgomery - The Incredible Jazz Guitar of Wes Montgomery (Eac, Flac single track, Cue)

Artist: Wes Montgomery
Album Title: The Incredible Jazz Guitar of Wes Montgomery
Original Release Date: January 26, 1960
Number of Discs: 1
Label: Riverside/OJC
Label:
Riverside Records
Catalog: OJC20 036-2
Album, Reissue
Country: Germany
Genre: Jazz
Styles: Hard Bop

Extractor: EAC 0.99 prebeta 4
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1; Level 8
Single File.flac, Eac.log,
File.cue (Noncompliant)
Accuraterip: not present in AccurateRip database
Size Torrent: 246 Mb
Cover included

Track Listing:

01 Airegin
02 D-Natural Blues
03 Polka Dots and Moonbeams
04 Four on Six
05 West Coast Blues
06 In Your Own Sweet Way
07 Mr. Walker (Renie)
08 Gone with the Wind

Personnel:

Wes Montgomery (guitar)
Tommy Flanagan (piano)
Percy Heath (bass)
Albert Tootie Heath (drums)

Listen to sample

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:axfqxqegldje

http://dailymotion.virgilio.it/video/x87yyv_gone-with-the-wind_music

http://www.goear.com/listen.php?v=0bf13e5

http://www.goear.com/listen.php?v=188b7ae

http://www.goear.com/listen.php?v=a03825d

http://www.goear.com/listen.php?v=2c18acb

http://www.goear.com/listen.php?v=fa22aff

review

Ask a dozen jazz guitar fans for their all-time top guitar albums and The Incredible Jazz Guitar of Wes Montgomery is likely to be high on every list. If it isn't, chances are Montgomery's live set Full House (Riverside, 1962), recorded two years later, will be. With these discs, Indianapolis-born Montgomery (1923-68) gave the guitar its biggest quantum leaps forward, both stylistically and in terms of listener acceptance, since Charlie Christian in the late 1930s/early 1940s and Johnny Smith in the 1950s. Full House got the 24-bit remastering treatment in 2007 as part of Riverside's Keepnews Collection series, supervised and annotated by label founder/producer Orrin Keepnews. Now The Incredible Jazz Guitar joins it.

Almost entirely self-taught (initially by immersing himself in Christian's recordings with clarinetist Benny Goodman's chamber groups), and unable to read a note of music, by 1959—when he was brought to Keepnews' attention by saxophonist Cannonball Adderley, who'd been gigging in Indianapolis—Montgomery had developed a revolutionary new approach to the instrument. His style featured three signature elements: he played with his thumb, never a pick, and he improvised entire choruses using either octaves or pianistic block chords. None of these techniques were unique, but until Montgomery came along no other guitarist had mastered them so completely (let alone combined them) or made them so integral to sound and improvisation. An exception is Smith, whose Moonlight in Vermont (Roulette, 1953) and later albums featured extended passages of block chording as beautiful and fluid as Montgomery's.

The Incredible Jazz Guitar burst onto the US scene in 1960 like a benign hurricane, and it still sounds like a gale almost 50 years later. Over four bluesy originals, the standards "Polka Dots And Moonbeams" and "Gone With The Wind," Dave Brubeck's gorgeous "In Your Own Sweet Way" and a fast-paced reading of Sonny Rollins' "Airegin," Montgomery—empathetically accompanied by pianist Tommy Flanagan, bassist Percy Heath (then riding high with the Modern Jazz Quartet), and drummer Albert Heath—makes the guitar sound like it never had before. It has sounded similar since, of course, thanks to the legion of Montgomery-influenced players, but rarely so close to perfection.

In his revealing new extended liner notes, Keepnews, born within a few days of Montgomery and at 85 a fluent anecdotal historian, paints a vivid portrait of Montgomery as a musician and as a private person. He expresses some regret that he was unable to give Montgomery the big mainstream audience he achieved with producer Creed Taylor on Verve and CTI 1964-68 (but is proud that Montgomery's Riverside recordings made no attempt at pop crossover)—and some embarrassment over the lack of alternate takes or bonus tracks (the reissued Full House by contrast had both), recalling the many Riverside archive tape boxes he's come across with the original data crossed out and supplanted by something later. But he doesn't beat himself up about it, and nor should he. At 43:58 divine minutes, The Incredible Jazz Guitar endures, and will continue to do so.

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