Incredible Jazz Guitar

Wes Montgomery's Incredible Jazz Guitar is exactly what the title implies, the greatest jazz guitar album of all-time. Montgomery is unconscious during these sessions, starting out with the fast passed "Airegin," Montgomery improvises throughout a constantly changing chord progression that is to complicated for myself to even fathom. Wes is backed by Tommy Flanagan on piano, Percy Heath on bass, and Albert Heath on drums. But there is no doubt that this is the Wes Montgomery show.

Wes plays in his signature octave style throughout most of the album. His unorthodox technique with his strumming hand gives him a completely original sound. "Four on Six" is a jazz standard with the most recognizable jazz guitar riff around. Montgomery explores every part of the fretboard in the song and cleverly integrates octaves within his improvisation.

I have always thought that Montgomery was underrated in the world of guitar. Maybe not jazz, but when people talk about the all-time greatest guitarists, Montgomery's name usually does not get mentioned. The most obvious example is when Rolling Stone came out with a list of the 100 greatest guitarists, Montgomery's names was not even mentioned. The almost undisputed greatest jazz guitarist of all-time. Rolling Stone even put Grant Green and John McLaughlin on the list, but no Wes.

Nonetheless Incredible Jazz Guitar is a monumental album that continues to amaze me every time I listen to it.

Blue Train, Coltrane

John Coltrane's first major album as a band leader is also one is he finest. "Blue Train" was recorded in 1957 with a sextet of the most elite musicians of the time including trumpet legend Lee Morgan, Miles Davis vet Paul Chambers on bass, Kenny Drew on piano, Curtis Fuller on trombone, Philly Jones on drums, and of course the legendary Trane himself blowing on tenor sax.

The album jumps out hot right away with "Blue Train," entering with the most memorable riff on the whole album. Coltrane and Morgan harmonize as the piano enters with lightly plucked chords. Then Coltrane hits a solo as the piano, bass, and drums follow him up and down the scales. Coltrane is starting to find his voice onthis album, he keeps the fast pace Charlie Parker and Dizzy Gillespie played back in the beep bop days, but his horn is also starting to shriek and place more emphasis on key notes. His solos throughout the album are as well-built and alert as anybody in jazz history.

The rythum section is good but the horns are what makes the album a classic. Fuller has an excellent trombone solo in "Locomotion," and Morgan's trumpet contrasting with Coltrane is the backbone of the album.

The album is primarily fast paced but takes a slow turn with Johnny Mercer's "I'm Old Fashioned." In this tune, Coltrane's horn shoots out colors of emotion and proves himself as a once in a lifetime talent. His horn has an undeniably powerful sound this album is a sign of great things to come. Coltrane will eventually help progress jazz to other styles like avant-garde and modal jazz and produce many more albums including other classics such as Giant Steps, My Favorite Things, Impressions, and of course A Love Supreme.