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Artist:Wes Montgomery
CD Grading:Mint (M)
Number of Discs:1
Record Label:DCC Compact Classics
Occasion:none
Case Type:Jewel Case: Standard with Paper Slipcover
Custom Bundle:No
MPN:DCC GOLD CD GZS-1109
Inlay Condition:Mint (M)
Format:CD (Gold)
Release Year:1997
Style:Hard Bop
Features:24k Gold Disc,Import,Remastered,Sealed,Audiophile Collectible,LONG Out of Print,Pictures are of the actual item,COMPLETE – NOTHING MISSING,Limited Edition,Reissue,Special Edition
Release Title:Full House – Recorded ‘Live’ at Tsubo, Berkeley, California
Color:Gold
Case Condition:Mint (M)
Catalog Number:GZS-1109
Modified Item:No
Edition:GOLD CD,Collector’s Edition,Deluxe Edition,Limited Edition
Type:Album
Producer:Orrin Keepnews
Era:1990s
Instrument:Guitar
Genre:Jazz
Country/Region of Manufacture:United States
****Welcome to our listing, thanks very much for looking!FACTORY SEALED, from 1997….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. Full House is the seventh and first live jazz album by American jazz guitarist Wes Montgomery, released in 1962. The performance was recorded live at Tsubo in Berkeley, California on June 25, 1962. The session featured a quintet that included Wynton Kelly on piano, Johnny Griffin on tenor saxophone, Paul Chambers on bass, and Jimmy Cobb on drums. The original release was on the Riverside Records label. There have been a number of reissues of the recording, most including alternate takes of several tracks. Recorded live at Tsubo, Berkeley, California on June 25, 1962. Originally released on Riverside (9434). Includes liner notes by Orrin Keepnews. Digitally remastered by JVC using XRCD (Extended Resolution Compact Disc) technology. For starters, it is impossible to go wrong with the personnel on FULL HOUSE. With a rhythm section comprised of alumni from Miles Davis’s first quintet (Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums) and the blazing tenor saxophone of Johnny Griffin complementing Wes Montgomery’s bop leads on guitar, listeners will know they are in for a wild ride even before the album begins. Add to this an enthusiastic audience in a Berkeley jazz club in 1962 (where the performance was recorded), and one has a full house in more ways than one. Post bop with a soulful, bluesy edge is the flavor of the day here, and the group works out accordingly on Dizzy Gillespie’s “Blue ‘N’ Boogie” and on Montgomery’s own compositions, the title track and “Cariba,” both of which meld shuffle-boogaloo rhythms to bop pyrotechnics, casting the whole in a soul-jazz vibe. A beautiful, smoothed-out read of “I’ve Grown Accustomed to Her Face” is a showcase for Montgomery’s cool, melting tone. Listeners will undoubtedly wish they were in the audience in Berkeley that night; but listening to FULL HOUSE is the next best thing. This live set is notable for teaming guitarist Wes Montgomery and the Wynton Kelly Trio (comprised of pianist Kelly, bassist Paul Chambers, and drummer Jimmy Cobb) with the fiery tenor of Johnny Griffin. As with the OJC release, six selections (highlighted by “Blue ‘n’ Boogie” and Montgomery’s “S.O.S.”) are augmented by “Born to Be Blue” and a pair of alternate takes. – Scott Yanow This is one of my top 5 greatest jazz guitar records, and one of the most exciting live records ever issued. First, there is the rhythm section. Is there a harder swinging section than Paul Chambers, Wynton Kelly and Jimmy Cobb? Thank you Miles. Check out how they lock into the groove, especially on Full House, S.O.S. and Blue N Boogie. Wes’ playing here is some of his absolute best on record. Hard-charging, beautiful melodies, incredibly well-crafted solos, it’s all here and then some. You even get a beautiful, mostly unaccompanied rendition of I’ve Grown Accustomed to Her Face. Then there is the absolute smoking Johnny Griffin, the Little Giant, who contributes solos and that work beautifully to compliment and contrast Wes’ own. So in conclusion, I can’t recommend this session enough. It’s a gorgeous recording made when these players were at the absolute peak of their powers. – Lance Goler On this sizzling live date, guitar great Wes Montgomery is joined by the Wynton Kelly Trio (Wynton Kelly/piano, Paul Chambers/bass and Jimmy Cobb/drums) and the under-rated Johnny Griffin on sax who absolutely tears up this set. Kelly, always a tasteful player, demonstrates his delicate touch while soloing or in support; you could focus your total listening attention on him through the length of the album as he populates the tunes with colourful details. Chambers, who is captured here with great fidelity, takes the opening solo on ‘Cariba’ and is nothing less than captivating. On the steam-rolling ‘S.O.S.’ Johnny Griffin and Wes Montgomery share front-line duties and sparks fly. Griffith’s solo is acrobatic and thrilling which inspires a scintillating turn from Montgomery. The unaccompanied version of ‘I’ve Grown Accustomed To Her Face”, all creamy surfaces and finesse, is mesmerising, sharing his infectious joy of discovery with the enraptured audience. Throughout the entire album his virtuosity seems effortless, which is why he has been so loved through the decades to the present day. – Adam MaloranoThis 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 DCC catalog, featuring – Wes Montgomery Gold CD Title – Full HouseRecorded “LIVE” at TSUBO, Berkeley, California Track Listing – 1. Full House – Written-By – Wes Montgomery – 9:13 2. I’ve Grown Accustomed To Her Face – Written-By – Lerner-Loewe – 3:25 3. Blue ‘N’ Boogie – Written-By – Dizzy Gillespie – 9:39 4. Cariba – Written-By – Wes Montgomery – 9:40 5. Come Rain Or Come Shine – Written-By – Mercer-Arlen – 6:57 6. S.O.S. – Written-By – Wes Montgomery – 5:03 Special bonus tracks: 7. Born To Be Blue – Written-By – Torme, Wells – 7:23 Alternate takes: 8. Come Rain Or Come Shine (Take 1) – Written-By – Mercer-Arlen – 7:16 9. S.O.S. (Take 2) – Written-By – Wes Montgomery – 2:45Credits, Performers, Other Information -• Bass – Paul Chambers • Design [Album] – Ken Deardoff • Drums – Jimmy Cobb • Engineer [Recording] – Wally Heider • Guitar – Wes Montgomery • Mastered By – Steve Hoffman • Photography By [Back Liner Photos] – Jim Marshall • Piano – Wynton Kelly • Producer, Liner Notes – Orrin Keepnews • Tenor Saxophone – Johnny Griffin • Barcode: 010963110920 • Matrix / Runout: GZS1109-2 MASTERED BY NIMBUS • Mastering SID Code: IFPI L125 • Mould SID Code: IFPI 2401 The 24kt Gold CD is from the 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 1962 The DCC Gold CD set was issued in 1997 Gold CD catalog # GZS 1109 The 24kt 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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