Jazz Today: January 28, 1960 @ New York “THE INCREDIBLE JAZZ GUITAR”

Jan. 28, 1960 “Airegin” by Wes Montgomery, Tommy Flanagan, Percy Heath & Albert Heath at Reeves Sound Studios, NYC for Riverside/OJC (THE INCREDIBLE JAZZ GUITAR)

The first track of an album considered a monument to jazz guitar. The thrilling development of Wes Montgomery's guitar playing is unpredictable, leaving one wondering where it will land. His technique, which supports melodies that gush forth one after another as if from a spring, is second to none. The guitar's tone is thick and warm because he plucks the heavy strings with his thumb.

The composition is by tenor sax legend Sonny Rollins, and the title is “Nigeria” spelled backward. Another standard with a name spelled backward is “Nardis,” named after a person. Both have melodies and atmospheres associated with their names.

The recording quality is unfortunate, but a greatness that transcends it is captured here. From 1:31, for nearly thirty seconds, you can enjoy the octave chord technique that became Wes's trademark. In addition to Wes's guitar, Tommy Flanagan's piano performance is also excellent. Behind that piano solo, Wes provides subtle, chordal backing at a modest volume, creating a groove. Even as a debut, his extensive experience gives him the graceful, deep-seated confidence of a grand champion.

Even when Wes plays fast, there is no sense of struggle or showing off; he is so relaxed that the performance never feels rushed. His technical ability, his melodic sense filled with singing lines that avoid wasted notes, and his sense of timing in the spaces between notes are innate.

In this performance, one should also listen closely to the Heath brothers on bass and drums, whose understated, tight, and tasteful work is essential. The simple, responsive backing between Wes and Flanagan during the bass solo is also subtle and wonderful.

The January 1960 recording introduced here is the third track from this album. It symbolizes how rich jazz was during this period.

Furthermore, the combination of the Riverside label and Reeves Sound Studio recordings makes this the third track in January, following the songs introduced on January 13-14 and the work below. According to Riverside label owner Orrin Keepnews, the studio, which was used for recording music for film, was mainly used during the day, so they were able to contract it at a cheap, flat rate at night.

By welcoming jazzmen who had warmed up nicely after playing in the many jazz clubs in Manhattan to the studio late at night for recording, this ingenuity led to frequent use and made it the stage where Riverside's masterpieces were born.

The first recording of “Airegin” is on a Miles Davis work featuring the composer, Rollins himself. Percy Heath, the same bassist as on this album, also delivers a vibrant performance here, so please listen if you are interested.

Finally, please check out these articles introducing other great performances by Wes. Both are as wonderful as this album.