Wes Montgomery (1923-1968)

Wes Montgomery is the most influential bebop guitarist of past and present times. He came right after Charlie Christian. He's considered by many to be the logical sequel in jazz guitar history.

Wes was in fact very much inspired and influenced by Christian's playing. Both knew how to use the new bebop language with great tones, rhythms, dexterity and soulfulness.

Wes always had fresh, surprising melodic ideas as well a great chops. He never read a single note on paper but his ears and heart guided him dearly. Watch him on video, you'll understand!

Wes Montgomery is now part of this great tradition and still has an influence on young jazz guitarists. His music is worth studying carefully.

My favorite recordings of Wes are on the Riverside label. They are small group performances that are very much in the bebop (and post-bop) idioms. I looove Wes' playing in quartets and organ trios.

Wes used a Gibson L-5 throughout his career. It is a hollow-body carved-top (spruce top, maple back and sides) guitar and it was plugged into very clean sounding amplifiers.

Wes' sound is totally unique and original. He never liked the "noise" of the pick striking the strings. That is why he started plucking strictly with the fleshy part of his right thumb.

Another technique that gave Wes his personal sound is the use of octaves. He would play in and out of octave playing in most of his solos.

[See the last part of the video transcription below for an example.]

In summary, his signature sound opened the way for future generations. The use of the thumb and octave playing was revolutionary at the time. It is now in widespread use!

Wes' Solo on "Days of Wine and Roses"
from the Album "Boss Guitar"; 1963, Riverside RLP 459.

Please contact me with questions/comments/suggestions or if you would like to post your own Wes Montgomery transcriptions/licks here. 

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