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eBay ****Welcome to our listing, thanks very much for looking! ****Shipping cost is only an estimate – it depends on the actual weight and size of the package as well as the service required. We do not profit from shipping costs, so if we overcharge, we will refund the difference back to you. We will combine shipping for multiple items purchased. Background – FACTORY SEALED, from 1995….DCC products are all out of print. The company was well known for their outstanding sound and music on both the CD and LP formats. John Leslie “Wes” Montgomery (March 6, 1923 – June 15, 1968) was an American jazz guitarist. He is widely considered one of the major jazz guitarists, emerging after such seminal figures as Django Reinhardt and Charlie Christian and influencing countless others, including Grant Green, Pat Martino, George Benson, Russell Malone, Emily Remler, Kenny Burrell, Pat Metheny, Steve Howe, and Jimi Hendrix. According to jazz guitar educator Wolf Marshall, Montgomery often approached solos in a three-tiered manner: He would begin a repeating progression with single note lines, derived from scales or modes; after a fitting number of sequences, he would play octaves for a few more sequences, finally culminating with block chords. He used mostly superimposed triads and arpeggios as the main source for his soloing ideas and sounds. The use of octaves (playing the same note on two strings one octave apart) for which he is widely known, became known as “the Naptown Sound”. Montgomery was also an excellent “single-line” or “single-note” player, and was very influential in the use of block chords in his solos. His playing on the jazz standard “Lover Man” is an example of his single-note, octave- and block-chord soloing. (“Lover Man” appears on the Fantasy album The Montgomery Brothers.) Instead of using a guitar pick, Montgomery plucked the strings with the fleshy part of his thumb, using downstrokes for single notes and a combination of upstrokes and downstrokes for chords and octaves. Montgomery developed this technique not for technical reasons but for his wife. He worked long hours as a machinist before his career began and practiced late at night while his wife was sleeping. He played with his thumb so that his playing would be softer and not wake her. This technique enabled him to get a mellow, expressive tone from his guitar. George Benson, in the liner notes of the Ultimate Wes Montgomery album, wrote, “Wes had a corn on his thumb, which gave his sound that point. He would get one sound for the soft parts, and then that point by using the corn. That’s why no one will ever match Wes. And his thumb was double-jointed. He could bend it all the way back to touch his wrist, which he would do to shock people.” He generally played a Gibson L-5CES guitar. In his later years he played one of two guitars that Gibson custom made for him. In his early years, Montgomery had a tube amp, often a Fender. In his later years, he played a solid state Standel amp with a 15-inch (380 mm) speaker. So Much Guitar is the sixth album by American jazz guitarist Wes Montgomery, released in 1961. Recorded at Plaza Sound Studios, New York on August 4, 1961. Originally released on Riverside (9382). Includes liner notes by Orrin Keepnews. Digitally remastered by Steve Hoffman. While THE INCREDIBLE JAZZ GUITAR OF is perhaps the all-time classic Wes-with-piano-trio recording, SO MUCH GUITAR still has much to offer, including moments of almost vengefully straight-ahead bebop. The standout track is “Something Like Bags,” a cooking, mid-tempo minor blues written in tribute to Milt Jackson. After an impeccable Hank Jones solo, Wes stretches out for five choruses, making his trademark build from bluesy bop lines to effortless octaves. Montgomery and Jones get into some hip trading on Neil Hefti’s “Repetition;” for sheer virtuosity of blowing, see “Cotton Tail” and Montgomery’s one original of this set, “Twisted Blues.” “While We’re Young” is the obligatory (and gorgeous) unaccompanied guitar solo, “One For My Baby” the blues ballad and “I Wish I Knew” the album’s ballad proper. Ron Carter on bass and Lex Humphries on drums round out the rhythm section in classic early ’60s style, joined for five tracks by conga player Ray Barretto. Editorial Reviews – …this one’s a must-have for any guitar lover. – JazzTimes (1995,07,01) One of Wes Montgomery’s finest recordings, a Riverside date that showcases the influential guitarist in a quintet with pianist Hank Jones, bassist Ron Carter, drummer Lex Humphries, and the congas of Ray Barretto. All eight performances are memorable in their own way, with “Cottontail,” “I’m Just a Lucky So and So,” and a brief unaccompanied “While We’re Young” being high points. – Scott Yanow This listing is for a long out of print and very rare audiophile GOLD CD title – a FACTORY SEALED and assumed to be in MINT overall condition 24kt GOLD CD set PRESSED and ISSUED by DCC of a highly collectible title from the defunct DCC catalog – a superb title featuring – Wes Montgomery Gold CD Title – So Much Guitar! Track Listing – 1. Twisted Blues – Written-By – Wes Montgomery – 5:31 2. Cotton Tail – Written-By – Duke Ellington – 3:38 3. I Wish I Knew – Written-By – Warren, Gordon – 5:26 4. I’m Just A Lucky So And So – Written-By – Ellington, David – 5:57 5. Repetition – Written-By – Neal Hefti – 3:48 6. Somethin’ Like Bags – Written-By – Wes Montgomery – 4:44 7. While We’re Young – Written-By – Alec Wilder – 2:12 8. One For My Baby (And One More For The Road) – Written-By – Arlen, Mercer – 7:38 Credits, Performers, Other Information – • Bass – Ron Carter • Congas – Ray Barretto • Drums – Lex Humphries • Engineer [Original Recording] – Ray Fowler • Guitar – Wes Montgomery • Mastered By – Steve Hoffman • Piano – Hank Jones • Producer, Liner Notes – Orrin Keepnews • Recorded in New York City; August 4, 1961 • Barcode: 010963107821 The Gold CD is from the ultra-rare DCC series of audiophile, 24kt. GOLD CDs (long out of print). Gold CD re-mastered by Steve Hoffman 24kt. GOLD CD manufactured in the USA or Japan – can’t tell for certain until the item has been opened and the CD is physically checked. Jewel Case IS the original flip up type This item DOES come with the paper outer slip cover – it is complete. The original LP was issued on the RIVERSIDE record label, in 1961 The DCC Gold CD set was issued in 1995 Gold CD catalog # GZS 1078 The Gold CD, JEWEL CASE AND INSERTS are all assumed to be in MINT overall condition as this CD is actually FACTORY SEALED! This CD is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system). Do not let this rarity slip by!
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