Guitarist Wes Montgomery starts off our week with the beatific beauty of his thumb caressing six strings. London-based, Nigeria-heritage emcee Lyric L follows with verbal brilliance. We close out with six versions of drummer Tony Williams’ “Sister Cheryl” featuring Wynton Marsalis, John B. Williams, Jacky Terrasson, John Stetch, Sunny Sumter, and The Tony Williams Quintet.
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I am not a purist when it comes to Wes Montgomery. I think much of the work he did in the popular vein is not only masterful, his playing is also unmatched by many others who tried to fill Wes’ shoes when Wes died of a massive heart attack on June 15, 1968 at the relatively young age of 45. Coltrane had been only 40 when he died on July 17, 1967, a year and a month before Montgomery. I am linking Montgomery and Coltrane precisely because I believe they had a comparable impact on their chosen instruments.
While it is easy to assert that Wes sold out and did not make quality jazz in the second half of his short career, I think that’s an elitist view. While it is true that Wes was not playing straight ahead jazz during the Verve and A&M years, that doesn’t mean there was no substance to Wes’ work. The truth is Wes Montgomery had no peer as a popular guitarist.
Although many tried, no one else was able to make a guitar sing (and weep) like Wes Montgomery whether playing single notes, chords or octaves. Certainly no other guitarist was able to combine all three techniques in one solo the way Wes Montgomery could. Moreover, Wes was not just a cold technician, he also played with emotional warmth. On the straight ahead sides Wes was generally accompanied by wonderful professional jazz musicians and Wes’ popular music was arranged by masters of their trade. I’ve included a healthy selection of songs that feature the big band arrangements of Oliver Nelson, another heavy jazz musician who ended up pursuing popular music.
—kalamu ya salaam