Wes Montgomery: Live In '65 DVD 2007 Dolby Stereo Jazz Icons Series B&W Footage

Wes was in the midst of his celebrated Verve years when he played these quartet sets in Holland, Belgium and England. These rare studio performances come complete with rehearsals and between-song banter; song-by-song analysis by Pat Metheny joins Nica's Dream; Boy Next Door; Impressions; Full House; Four on Six; Twisted Blues; West Coast Blues , and more! 

Wes Montgomery's (guitar) revolutionary approach to the electric guitar and the instrument's place in jazz can not be overstated. His Jazz Icons entry consists of three separate full-length gigs from the early spring of 1965. As he toured throughout Europe the performances were occasionally captured for telecast. Modern consumers are treated to a trio of such programs -- the length of which vacillate between 25 to 30 minutes. The self-titled Wes Montgomery offers a rare insight into his interaction with Han Bennink (drums) and siblings Pim Jacobs (piano/bandleader) and Ruud Jacobs (bass). The opening finds Montgomery and Pim discussing the ambient sensitivities that guitars and pianos must endure with regard to staying tuned. This short banter then segues into the mid-to-uptempo "I Love Blues." Modern eyes and ears can capture priceless shots of Montgomery's singular playing style. Even during the pianist leads, Montgomery remains in full command of the unit's timbre and dynamics. The Horace Silver standard "Nica's Dream" is preceded by a conversation as the musicians spontaneously score the piece prior to unraveling the tune with loose precision. Lengthier banter then introduces "The End of a Love Affair."

The admittedly self-taught stringman has considerable knowledge of the technical side of arranging as he easily and efficiently communicates his desires. The four selections filmed for the Belgian Jazz Prisma -- two days later on April 4, 1965 -- finds the Wes Montgomery Quartet with the N.Y.C.-based musicians Harold Mabern (piano), Arthur Harper (bass), and Jimmy Lovelace (drums). They dive into a take of John Coltrane's "Impressions" displaying a remarkable second nature that would suggest all parties are quite comfortable with their musical surroundings. The first of the two respective takes of Montgomery's "Twisted Blues" stands out for the lingering close-up shots of Montgomery's right-hand approach. "Here's That Rainy Day" -- incorrectly credited as "There's That Rainy Day" -- works well as a samba or light bossa nova. "Jingles" kicks the beat up several notches and the hearty, syncopated tune is flawlessly executed by Montgomery's nimble and remarkably robust phrasing. This is a treat for those enthusiasts who have always wondered how he could possibly make such a complicated sound appear so deceptively simple. The final segment is from the British series Tempo with the installment in question appropriately named "Boss Guitar: The Art of Wes Montgomery." Legendary British jazz figure Ronnie Scott offers spoken word intros to the five tunes as Montgomery rises to the occasion of fronting another group with Stan Tracey (piano), Rick Laird (bass), and Jackie Dougan (drums). They run through excellent -- yet not overly inspired -- attempts at the Montgomery originals "Four on Six" and "Full House" -- both containing studies in counterpoint. "Here's That Rainy Day" and "Twisted Blues" are indifferent when compared to the Belgian footage of the same. Sadly the most precious and revelatory camerawork comes during the minute-long "West Coast Blues" running beneath the credit roll. The particular angle is unique as it is from Montgomery's point of view. In the accompanying 20-page liner booklet, Pat Metheny has an analysis of the contents, while Carlos Santana offers an homage to the influence of the great Wes Montgomery. ~ Lindsay Planer, Rovi

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