Wes Montgomery’s The Incredible Jazz Guitar of Wes Montgomery is a masterclass in jazz guitar playing. What immediately sets Montgomery apart is his signature technique: instead of using a pick, he played with the soft pad of his thumb. This wasn’t just a stylistic quirk but a practical solution, he wanted to practice without disturbing his family late at night. The result, however, was a uniquely mellow tone that made his guitar sing with an intimacy few could replicate. Add to that his love for octaves (playing the same note in two pitches simultaneously), and Montgomery’s sound became both instantly recognizable and endlessly influential. Backed by pianist Tommy Flanagan, bassist Percy Heath, and drummer Albert “Tootie” Heath, Montgomery delivers a set that is as technically brilliant as it is deeply expressive. Revered for its technical brilliance, smooth melodic phrasing, and a sound as warm as it is intricate, this album remains a masterclass in subtlety and innovation. As part of Craft Recordings ongoing Original Jazz Classics, Montgomery’s seminal album is being reissued on 180-gram vinyl cut from a stereo tape copy by Kevin Gray at Cohearent Audio.
The album opens with a blistering take on Sonny Rollins’ “Airegin”, where Montgomery’s fleet-fingered runs dance over Tootie Heath’s crisp, ride-heavy swing. Flanagan responds with punchy chord stabs and nimble right-hand flurries, locking in with Heath’s nimble bass.
One of the album’s true standouts is Montgomery’s own composition, “West Coast Blues.” The rhythm section settles into a hip, strolling swing, Percy Heath’s bass bouncing while Montgomery’s bluesy phrases unfold. Flanagan’s comping is light and playful, his solo a mix of crisp, ringing notes and swirling flourishes. The melody circles back, Montgomery adding subtle variations with each pass. Montgomery’s take on Dave Brubeck’s “In Your Own Sweet Way” is effortlessly lyrical, his octaves giving the melody warmth as he stretches his solo with fluid, unhurried phrasing. Percy Heath’s walking bass and Tootie Heath’s soft brushwork provide a steady, unobtrusive pulse. Tommy Flanagan’s solo is light and expressive, his crisp lines and delicate chords complementing Montgomery’s melodic approach. On “Polka Dots and Moonbeams,” Montgomery’s touch is impossibly delicate. His octaves breathe warmth into every note, while Heath’s brushes whisper against the snare. “Four on Six” brings a deep sense of groove and momentum. Montgomery’s stabbing, syncopated melody rides atop a deep pulsing bass rift from Percy Heath. The guitar solo is electrifying with rapid, horn-like lines cascading across the fretboard answered in turn by a swinging piano solo.
The recording quality on this album does justice to Montgomery’s rich tone and the ensemble’s tight chemistry. The 180-gram vinyl pressing brings out nuances in the mix, highlighting the delicate brushwork of Tootie Heath and the warm depth of Percy Heath’s bass lines. When it was first released, The Incredible Jazz Guitar of Wes Montgomery was a revelation, an album that not only established Montgomery as a giant in the jazz world but also expanded the language of the guitar itself. It’s no wonder that it was later inducted into the National Recording Registry by the Library of Congress for its enduring cultural and artistic significance. Even over six decades later, the album feels fresh, vital, and full of new discoveries waiting to be made. Whether you’re a lifelong jazz enthusiast or just dipping your toes into the genre, this record remains essential listening and an incredible showcase of a jazz guitar master at his peak.
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One correction: octaves are not playing two pitches simultaneously; they consist of playing the same note in two different registers.