1. "A Day in the Life"   (John Lennon, Paul McCartney) 	5:45
2. "Watch What Happens"   (Jacques Demy, Norman Gimbel, Michel Legrand)   2:43
3. "When a Man Loves a Woman"   (Calvin Lewis, Andrew Wright) 	2:52
4. "California Nights"   	(Marvin Hamlisch, Howard Liebling) 	2:29
5. "Angel"   	(Wes Montgomery) 	2:46
6. "Eleanor Rigby"   	(Lennon, McCartney) 	3:04
7. "Willow Weep for Me"   (Ann Ronell) 	4:31
8. "Windy"   	(Ruthann Friedman) 	2:20
9. "Trust in Me"   (Milton Ager, Arthur Schwartz, Jean Schwarz, Ned Wever)   4:25
10. "The Joker"   (Leslie Bricusse, Anthony Newley) 	3:26

Personnel
    Wes Montgomery – guitar
    Herbie Hancock – piano
    Ron Carter – bass
    Grady Tate – drums
    Ray Barretto – percussion
    Jack Jennings – percussion
    Joe Wohletz – percussion
    Ray Alonge – French Horn
    Phil Bodner – woodwind
    Julius Brand – violin
    Peter Buonconsigilio – violin
    Mac Ceppos – violin
    Lewis Eley – violin
    Harry Glickman – violin
    Harry Katzman – violin
    Leo Krucczek – violin
    Sylvan Shulman – violin
    Gene Orloff – violin
    Tosha Samaroff – violin
    Jack Zayde – violin
    Harry Urbont – violin
    Harold Coletta – viola
    Emanuel Vardi – viola
    George Marge – flute
    Joe Soldo – flute
    Romeo Penque – flute
    Margaret Ross – harp
    Alan Shulman – cello
    Charles McCracken – cello
    Stanley Webb – flute, woodwind

By the time Wes Montgomery recorded this album (his debut for A&M), he was a major name in the pop world. Montgomery's melodic renditions of current pop hits caught on and were played regularly on Top 40 radio. In most cases the guitarist did little more than play the melody, using his distinctive octaves, and it was enough to make him saleable. Of his three A&M recordings, A Day in the Life (the first one) was by far the best and, although the jazz content is almost nil, the results are pleasing as background music. "Windy" was a bit of a hit; the other selections (which find Montgomery backed by muzaky strings arranged by Don Sebesky) include "Watch What Happens," "California Nights," "Eleanor Rigby" and the title cut. ---Scott Yanow, Rovi

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01. A Day In The Life (5:45)
02. The Shadow Of Your Smile (2:18)
03. Up And At It (4:15)
04. Bumpin' On Sunset (4:50)
05. The Joker (3:27)
06. Movin' Wes (Pt. 1) (3:30)
07. Impressions (5:05)
08. Milestones (4:10)
09. The Surrey With The Fringe On Top (5:20)
10. Angel (2:48)
11. Sunny (4:04)
12. O.G.D. (Road Song) (6:07)
13. Tequila (3:22)
14. 13 (Death March) (5:22)
15. Caravan (2:38)
16. The Other Man's Grass Is Always Greener (2:32)
17. What The World Needs Now (4:59)

Once again, the Japanese prove that they know how to assemble compilations infinitely better than we do here in the United States -- even though there is no particular reason for it, since Universal, who owns the rights to all this material by Wes Montgomery, operates here in the U.S as well as in Japan. This whopping 17-cut collection by über guitarist Montgomery will be of interest not only to hardcore fans (for its amazing sound) but also for the beat hunters, soul-jazz fans, and groove collectors everywhere. The material was all recorded between 1964 and 1968. It features Montgomery during one of his most creative periods, when he was working at making his own brand of sophisticated soul-jazz marketable to a larger orchestra -- sometimes to the chagrin of dedicated hard bop fans. The experimentation, in terms of material as well as production, is staggering as evidenced here. Some of the players backing Wes include trombonist Urbie Green, drummer Grady Tate, conga legends Ray Barretto and Candido, percussionist Willie Bobo, pianist Herbie Hancock, bassists Richard Davis and Ron Carter, vibraphonist Mike Manieri, flutist Hubert Laws, organist Jimmy Smith, and the Miles Davis rhythm section of Wynton Kelly, Paul Chambers, and drummer Jimmy Cobb, just to name a few. He is also featured in the company of arrangers Don Sebesky, Oliver Nelson, and on a 1964 recording and arrangement of Duke Ellington's and Juan Tizol's "Caravan," by Johnny Pate! There are many hits here including Montgomery's signature cover of Lennon and McCartney's "A Day in the Life," and Bobby Hebb's "Sunny," as well as Gary McFarland's moody "13 (Death March)." Check his takes on Richard Rodgers' and Lorenz Hart's "Surrey with the Fringe on Top" and Burt Bacharach's and Hal David's "What the World Needs Now." Virtually every cut on this 70-minute set is dynamite and showcases Montgomery at his groove-laden peak. It may be pricey, but it's the single-disc collection of his work that is most desirable by far. ---Thom Jurek, Rovi

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01 Full House
02 I've Grown Accustomed to Her Face
03 Blue 'N' Boogie
04 Cariba
05 Come Rain or Come Shine (take 2)
06 Come Rain or Come Shine (take 1)
07 S.O.S. (take 3)
08 S.O.S. (take 2)
09 Born to be Blue

Wes Montgomery (Guitar)
Johnny Griffin (Tenor Saxophone)
Wynton Kelly (Piano)
Paul Chambers (Double Bass)
Jimmy Cobb (Drums)

I can't think of many jazz tunes in 3/4 that groove as hard as Wes Montgomery's "Full House." Recorded live in California, this date boasts a powerful line-up, with tenor saxophonist Johnny Griffin adding some nice spice to the mix. Montgomery regularly recorded with the rhythm section of Kelly, Chambers and Cobb and as usual, the captured sound is some of the best straight ahead jazz to come out of the 1960s. Montgomery's solo is lively, full of octaves and steady movement. When Griffin takes his solo, he combines upper register notes with rapid mid-register runs, enticing the listener for more. Griffin was a top notch soloist, hands down.

Wynton Kelly swings and brings everything home with his blues filled piano lines. He also variates his rhythms just enough to get the listener interested in every note he is going to play. He also adds some chordal strikes during his solo, not something he usually did with Montgomery. This is a solid example of the swing factor. Montgomery and company get straight As on this one! Check out the nice little Bossa nova turn around at the end. ---Jared Pauley, jazz.com

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1 Blue Grass 4:49
2 Glass of Cool Wine 7:41
3 The Leopard Walks 6:56
4 Here's That Rainy Day 8:13
5 Four on Six [Live] 6:15
6 Blue Monk 6:23
7 Twisted Blues 5:11
8 West Coast Blues 4:09

Musicians:
Wes Montgomery – guitar
Martial Solal – piano
Johnny Griffin – tenor sax
Hans Koller – tenor sax
Michel Gaudry – double bass
Ronnie Ross – baritone sax
Ronny Stephenson - drums

The material on this Italian CD should greatly interest Wes Montgomery fans since the music has not been made available domestically. Recorded at a 1965 concert, Montgomery is heard with pianist Martial Solal in a quartet on three numbers, tenor saxophonist Johnny Griffin is added on "Blue Monk," and there are also four tunes with an octet also including Hans Koller and Ronnie Scott on tenors and baritonist Ronnie Ross in addition to Griffin and Solal. The performances are reasonably well-recorded and consist of "Blue Monk," three Wes Montgomery songs (including "Four on Six" and "West Coast Blues"), "Here's That Rainy Day," and three originals by Ross or Griffin. A valuable addition to Wes Montgomery's discography. –-Scott Yanow, Rovi

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01. Tequila				play
02. Little Child (Daddy Dear)
03. What the World Needs Now Is Love
04. The Big Hurt			play	
05. Bumpin' on Sunset
06. Insensatez (How Insensitive)
07. The Thumb
08. Midnight Mood
09. Wives and Lovers
10. Tequila (alternative take)
11. The Big Hurt (alternative take)
12. Bumpin' on Sunset (alternative take)

Personnel: 
Wes Montgomery (guitar); 
Claus Ogerman (arranger); 
Bernard Eichenm Arnold Eidus, Paul Gershman, Emanuel Green, Julius Held, Harry Lookofsky,
 Joe Malin, Gene Orloff (violin); 
Abe Kessler, Charles McCracken, George Ricci, Harvey Shapiro (cello); 
George Devens (vibraphone); 
Ron Carter (bass); 
Grady Tate (drums); 
Ray Barretto (congas).

On two of the songs included on Tequila, "Tequila" and "The Thumb," Wes Montgomery had an opportunity to jam a bit while backed just by bassist Ron Carter, drummer Grady Tate and the congas of Ray Barretto. The other six selections utilize a string section arranged by Claus Ogerman but, even with a throwaway version of "What the World Needs Now Is Love," there are memorable renditions of "Bumpin' on Sunset" and "Insensatez" that uplift this album quite a bit beyond the guitarist's later A&M recordings. ---Scott Yanow, Rovi

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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 Heath (drums).

The incredible Wes Montgomery of 1960 was more discernible and distinctive than the guitarist who would emerge a few years later as a pop stylist and precursor to George Benson in the '70s. On this landmark recording, Montgomery veered away from his home Indianapolis-based organ combo with Melvin Rhyne, the California-based Montgomery Brothers band, and other studio sidemen he had been placed with briefly. Off to New York City and a date with Tommy Flanagan's trio, Montgomery seems in his post- to hard bop element, swinging fluently with purpose, drive, and vigor not heard in an electric guitarist since bop progenitor Charlie Christian. Setting him apart from the rest, this recording established Montgomery as the most formidable modern guitarist of the era, and eventually its most influential. There's some classic material here, including the cat-quick but perhaps a trifle anxious version of the Sonny Rollins bop evergreen "Airegin," the famous repeated modal progressive and hard bop jam "Focus on Six," and Montgomery's immortal soul waltz "West Coast Blues," effortlessly rendered with its memorable melody and flowing, elegant chiffon-like lines. Flanagan, at a time shortly after leaving his native Detroit, is the perfect pianist for this session. He plays forcefully but never overtly so on the bop tracks, offering up his trademark delicacy on the laid-back "Polka Dots and Moonbeams" and easy-as-pie "Gone with the Wind." With the dynamic Philadelphia rhythm section of brothers Percy Heath on bass and drummer Albert Heath, they play a healthy Latin beat on the choppy and dramatic melody of Montgomery's original "Mr. Walker." Montgomery is clearly talented beyond convention, consistently brilliant, and indeed incredible in the company of his sidemen, and this recording -- an essential addition to every jazz guitarist fan's collection -- put him on the map. --- Michael G. Nastos, Rovi

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01 – Diablo’s Dance
02 – Round Midnight
03 – Straight No Chaser
04 – Nica’s Dream
05 – Darn that Dream
06 – Take the A Train
07 – Misty
08 – Body and Soul
09 – After Hours Blues

Personnel: 
Wes Montgomery (guitar); 
Melvin Rhyne (piano, organ); 
Earl Van Riper, Buddy Montgomery (piano); 
Sonny Johnson, Paul Parker (drums).

Among jazz guitar aficionados there are few whose playing is as esteemed as that of the late Wes Montgomery (1925-1968). Although he was a clean man, and never succumbed to the many vices available to jazz musicians, Montgomery’s heart gave out at the early age of 43. Sadly, he was just hitting his prime, both commercially and creatively. The melodic sound he brought to jazz with his smooth playing was an inspiration to an entire generation of guitarists.

Resonance Records has just released Echoes of Indiana Avenue by Wes Montgomery, and it will be a must for his fans. These previously unreleased tapes were discovered back in 1990, and were digitally transferred for preservation. They sat in the owner’s archives until 2008 however, until a deal was cut to finally release them. Although the owner had the foresight to transfer the decaying masters to the digital medium, there was still a great deal of work to be done in remastering them for release.

Resonance has done an excellent job with this, for the music sounds great. The tapes were recorded prior to Montgomery’s debut recording for the Riverside label in 1959. It is believed that these tapes were recorded as something of a demo in 1957 and 1958, to secure a record deal for him. A lot of research was needed for the project, to discover who the sidemen on the various nine tracks are. Fortunately, the folks at Resonance were up to the task, and according to the liner notes, “Have made our best efforts to properly identify the musicians, locations, and years from speaking with various musicians, scholars, and experts.”

One thing is certain, Wes Montgomery’s singular style was already well developed by the time these recordings were made. Among the seven sidemen identified as playing are Montgomery’s two brothers, Buddy (piano) and Monk (bass). --- blogcritics.org

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1. Far Wes
2. Leila
3. Old Folks
4. Wes' Tune
5. Hymn For Carl
6. Montgomeryland Funk
7. Stompin' At The Savoy
8. Monk's Shop
9. Summertime
10. Falling In Love With Love
11. Renie

Personnel:
Wes Montgomery: guitar, 
Monk Montgomery: bass, 
Buddy Montgomery: piano, 
Harold Land: tenor sax, 
Pony Poindexter: alto sax,
Louis Hayes: drums
Tony Bazely: drums.

This historical CD contains some of guitarist Wes Montgomery's first recordings; in fact only three small-group songs predate these performances. Far Wes music CDs The then-obscure guitarist is heard in two different quintets, both of which include his brothers Buddy (on piano) and Monk (playing electric bass). Far Wes songs The earlier set has Harold Land's tenor as a lead voice while altoist Pony Poindexter takes his place on the later date, Wes's sound was already quite recognizable and he contributes six originals which alternate with Harold Land's "Hymn for Carl" and four standards. --- Scott Yanow, Rovi

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1. Round About Midnight
2. Says You
3. Sandy
4. Body and Soul
5. Tune Up
6. So Do It!
7. Moving Along
8. Ghost of a Chance

John Leslie “Wes” Montgomery was born March 6, 1923 in Indianapolis, Indiana and was a jazz guitarist. Born into a musical family with brothers who played bass guitar and piano, Montgomery grew up around jazz performers. The brothers released a number of albums together as the Montgomery Brothers.

Montgomery had the ability to play music by ear and learn complex melodies. At the late age of 20 he began to learn to play the six string guitar by listening to the recordings of guitarist, Charlie Christian. Christian’s gypsy style of jazz playing heavily influenced Montgomery’s developing style.

Montgomery got his start playing in local clubs at night, while working a day job. Cannonball Adderley heard Montgomery in an Indianapolis club and introduced him to record producer Orrin Keepnews who helped to secure Montgomery a recording contract with Riverside Records. Adderley and Montgomery would later go on to work together on the album, “Pollwinners.” Montgomery also recorded with his brothers and other musicians, such as the Wynton Kelly Trio in the early stages of his career. John Coltrane extended a place in his band to Montgomery after a jam session; however, Montgomery continued to lead his own band.

Montgomery recorded the bulk of his successful work throughout the 1960s, a time when he was most prolific. His second album, “The Incredible Jazz Guitar of Wes Montgomery” earned him Down Beat magazine's New Star award in 1960.

1965 saw Montgomery nominated for two Grammy Awards for his album, “Bumpin’.” He received a Grammy Award for “Goin' Out of My Head,” for Best Instrumental Jazz Performance by Large Group or Soloist with Large Group in 1966. 1968 marked another nomination for “Eleanor Rigby” and “Down Here on the Ground,” and again in 1969 for “Willow, Weep for Me.”

Montgomery's recordings up to 1965 were focused on a hard-bop jazz sound. From 1965 onwards he moved more towards a soft jazz sound. In 1968 Montgomery awoke and told his wife that he did not feel well and then collapsed minutes later, dying of a heart attack. Montgomery was at the height of his career when he died. --- starpulse.com

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Live in Holland 1965
-I Love Blues
-Nica’s Dream 
-"Love Affair" Rehearsal
-The End Of A Love Affair

Wes Montgomery (Guitar)
Pim Jacobs (Piano)
Ruud Jacobs (Bass)
Han Bennink (Drums)

Live in Belgium ‘65
-Impressions
-Twisted Blues
-Here’s That Rainy Day
-Jingles
-Boy Next Door

Wes Montgomery (Guitar)
Arthur Harper (Bass) 
Harold Mabern (Piano)
Jimmy Lovelace (Drums)

Live in England
-Four On Six
-Full House
-Here’s That Rainy Day
-Twisted Blues 
-West Coast Blues

Wes Montgomery (Guitar)
Rick Laird (Bass) 
Stan Tracey (Piano)
Jackie Dougan (Drums)

These three sessions, produced for Reelin' In The Years Productions in Europe, feature guitarist Wes Montgomery with three different piano trios. Filmed in black and white for television, the images are clear and crisp, sonically re-mastered for DVD, and provide an excellent window into the persona and musicianship of the legendary guitarist. As Pat Metheny mentions in his extensive liner notes, Montgomery is captured on film while setting up "The End of a Love Affair in rehearsal with his Dutch quartet, demonstrating his fluency in the "traditional nomenclature of harmony and relating his thoughts to the other musicians eloquently.

Close-ups of Montgomery reveal many of the secrets to his beautiful sound. The thumb, the harmonic adventure, the natural sense of swing, and the ease with which he gets along with the other players, several of whom he had not worked with before, show why he was such an influential guitarist and a memorable musical voice and jazz soloist.

The first three pieces are from an April 2, 1965 session in Holland with pianist Pim Jacobs, bassist Ruud Jacobs and drummer Han Bennink. They groove comfortably and provide a genuine look at how happy working musicians can be when they're doing what they love.

The April 4 session in Belgium is much more serious. With pianist Harold Mabern, bassist Arthur Harper and drummer Jimmy Lovelace, the guitarist moves faster with a steely drive. Dressed in dark suits with skinny 1960s neckties, his quartet interprets five songs while exhibiting an inner fire and drive. "Here's that Rainy Day simmers comfortably as a bossa nova, and "Boy Next Door rambles moderately as a beautiful ballad, while the other tunes drive with plenty of heat.

The final five numbers on the program were filmed May 7 in England with pianist Stan Tracey, bassist Rick Laird, and drummer Jackie Dougan. This session is quite different from the other two in that it includes commentary from club owner Ronnie Scott, who explains the career and music of Wes Montgomery as if he were giving a lecture. The music, of course, features more of Montgomery's great stuff with personable glimpses at each of the artists. The quartet swings and seems to enjoy every minute of the show. The guitarist's "West Coast Blues, in particular, makes this video stand out as an unforgettable piece of jazz history. ---Jim Santella, allaboutjazz.com

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