Goin' Out Of My Head - Wes Montgomery

 

Chim Chim Cheree

Goin' Out Of My Head

Wes Montgomery

Arranged and Conducted by Oliver Nelson

Produced by Creed Taylor

Cover Photo: Charles Stewart

Director Of Engineering: Val Valentin

Recorded December 7, 8 and 22, 1965 at Van Gelder Studios, Englewood Cliffs, New Jersey

Verve V6-8642

1966

Trombones: Wayne Andre, Jimmy Cleveland, Quentin Jackson, Danny Moore & Tony Studd

Tumpet: Donald Byrd, Joe Newman & Ernie Royal

Bass: George Duvivier

Saxophone, Clarinet and Flute: Bob Aston

Alto Saxophone and Clarinet: Phil Woods

Alto Saxophone, Clarinet, Flute and Piccolo: Jerry Dodgion

Tenor Saxophone, Flute, Clarinet, English Horn, Oboe and Piccolo: Romeo Penque

Bari-Sax, Flute and Alto Flute, Bass Clarinet: Don Bank

Drums: Grady Tate & Sol Gubin

Piano: Herbie Hancock & Roger Kellaway

Conga: Candido

From the inside cover: Wes Montgomery has on several occasions over the at few years been deserved as the greatest guitarist in the whole history of jazz, which is a very large statement, but is very possibly true. It is unquestionably true, I'd say, that he is the most astounding of all guitar players. This record, on which some very unusual Oliver Nelson arrangements emphasize the lyrical-and-melodic aspect of the Montgomery talent, helps to demonstrate both points.

"Possibly" is far enough to go with regard to greatness because the whole of jazz involves so many different styles and contexts. Even the function of the guitar has changed greatly over the years, so that it's really impossible to create Wes on any absolute scale alongside an Eddie Lang, who had to fight his way out of the clunky rhythm section sound of his day, or an intuitively inventive genius like Charlie Christian. There are also questions like the relative value of technique. I know one well-trained and mechanically-impeccable guitarist who pints to the undeniable fact that Montgomery is an unorthodox and often "improper" stylist and wonders aloud about how even-more-incredible Wes might have if he really had more formal mastery of his instrument. But there are other who suspect that much of his strength is in the non-orthodoxy and lack of musical schooling. (It is by now a cliche that Wes does things that are literally "impossible" on the guitar, but it remains true, and it is also more than likely that he wouldn't eve have attempted such things in the first place if he'd been inhibited by having "known" better.)

All in all it is best – as it usually is – to lay aside inconclusive debates about "greatest" and concentrate on those things that are certain. Which in this case include the fact that Wes Montgomery is a most moving performer (literally, when those fin poppers and toe-tappers make his listeners move physically; and emotionally, on any ballad or blues), and that he is consistently astounding and has been that way for as long as anyone has known about him.

To begin with, Wes was one of those back-country legends that almost always turn out to be overblown. In the late 1950's virtually every jazz musician (and very few other people) could tell you about the fabulous self-taught guitarist who scarcely ever left his home town (where he had a non-musical day job, a night gig, an after-hours-club gig, and a wife and six children), but could palsy all those impossible block-chord and octave things and could also play big circles around any other guitarist you ever heard. The first time I heard Wes, in his native Indianapolis in 1959, I was astounded to discover that it was all true (except that he had been forced to give up the day job). I also found that, despite my 20/20 vision, the guitarist's right thumb moved so fast it blurred before my eyes. And of course the fact that it was his naked thumb itself, without a pick, was another astonishing item and one that would shortly (once Wes was persuaded to come out into the world to work, record, and in general upset other guitar players) wreak havoc with profits in the guitar-pick industry.

One could continue to pile up odd or astounding data. As one kind of example, there's the unprecedented swiftness of his rise from virtual obscurity to international recognition as top man on his instrument. As another, there is the still vague path by which a boy whose given names are John Leslie becomes a man known exclusively as "Wes," But to turn to the matter closest at hand, there is the rather astonishing fact demonstrated on this album – that this musician, usually though of as a master of blues and funk, is also a brilliant melodist.

Arranger Oliver Nelson has noted that his primary goal here was to show Wes off "as a melody instrument, rather than as a soloist." On occasion, Nelson felt, the guitar should appear as the lead voice in the band ensemble; at other times Wes should carry the melody line by himself, with the band playing the sort of countermelodies "you might expect the guitar to play." Not very long ago, such an assignment wouldn't even have been dreamed of for this one-time rhythm instrument. Even today, it's not something that many guitarist could carry off with any degree of success. But of course Wes Montgomery is something else. He is a man who can swing and drive hard with just a rhythm section behind him, who can improvise with great beauty in front of a lush violin background, and can also do just about anything you can think of between those extremes. This particular exercise in – for the most part – the fine art of using the jazz guitar as a vehicle for strong and lovely melodic creativity should, therefore, surprise no one. It is no more (and no less) than another caapter in the continuously and consistently astounding saga of Wes Montgomery, very possible the greatest of them all. – Orrin Keepnews.

From Billboard - March 5, 1966: Wes Montgomery plays some fine jazz guitar. Some of the material, like "Boss City" and "Twisted Blues," is original. Most, though, is familiar. There's "Golden Earrings." "It Was A Very Good Year"and "Chim Chim Cheree." Arrangements are Oliver Nelson's and they serve as a fit showcase for Montgomery's talent.

Goin' Out Of My Head

O Morro

Boss City

Chim Chim Cheree (from Walt Disney's "Mary Poppins")

Naptown Blues

Twisted Blues

End Of A Love Affair

It Was A Very Good Year

Golden Earrings