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  • So Much Guitar! So Much Guitar! Quick View

    $21.99
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    So Much Guitar!

    Wes Montgomery appeared as leader or co-leader on a dozen Riverside albums, in a wide variety of formats
    ranging from organ trios to one with full string orchestra. Some of the most rewarding simply placed him in a studio with a superior rhythm section and let him deal with a mixture of ballads, blues, and swingers. This album, his fourth for the label, is a notable example of this straightforward approach. It features the flawless support of Ron Carter and Hank Jones.
    1. Twisted Blues
    2. Cotton Tail
    3. I Wish I Knew
    4. I'm Just A Lucky So And So
    5. Repetition
    6. Something Like Bags
    7. While We're Young
    8. One For My Baby (And One More For The Road)
    Wes Montgomery
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Full House Full House Quick View

    $21.99
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    Full House

    Full House is the seventh and first live jazz album by American jazz legend, guitarist Wes Montgomery. Newly reissued on vinyl, this is an essential
    addition to all jazz collections.
    1. Full House
    2. I've Grown Accustomed to Her Face
    3. Blue 'n' Boogie
    4. Cariba
    5. Come Rain or Come Shine
    6. S.O.S.
    7. Born To Be Blue
    Wes Montgomery
    $21.99
    Vinyl LP - Sealed Buy Now
  • Groove Yard Groove Yard Quick View

    $27.99
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    Groove Yard

    Import


    Limited 180gm vinyl LP pressing of this 1961 album including one bonus track. The Montgomery Brothers were one of the finest sibling-based groups in Jazz, featuring the inimitable guitarist Wes, pianist and vibraphonist Monk, and bassist Buddy. Wax Time.

    1. Bock To Bock
    2. Groove Yard
    3. If I Should Lose You
    4. Delirium
    5. Just For Now
    6. Doujie
    7. Heartstrings
    8. Remember
    9. Doujie (alt take (take 8)) *


    *Bonus track

    Wes Montgomery
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Smokin' At The Half Note Smokin' At The Half Note Quick View

    $24.99
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    Smokin' At The Half Note

    Smokin' at the Half Note is essential listening for anyone who wants to hear why Wes Montgomery's dynamic live shows were considered the pinnacle of his brilliant and incredibly influential guitar playing. Montgomery never played with more drive and confidence, and he's supported every step of the way by a genuinely smokin' Wynton Kelly Trio. On 180 gram vinyl.
    1. No Blues
    2. If You Could See Me Now
    3. Unit 7
    4. Four On Six
    5. What's New?
    Wynton Kelly Trio & Wes Montgomery
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Swingin' On The Korner: Live At Keystone Korner Swingin' On The Korner: Live At Keystone Korner Quick View

    $38.99
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    Swingin' On The Korner: Live At Keystone Korner


    One Of The Greatest Packages Ever Built For Red Garland: 150 Minutes Of Never-before Released Material From The Legendary Pianist


    Recorded December 6-10 1977 At San Francisco's Legendary Keystone Korner


    Featuring Bassist Leroy Vinnegar And Drummer Philly Joe Jones


    3 LP Limited Edition, 180g Black Vinyl, Deluxe Tri-fold Package With Insert


    A collection of all previously unissued recordings of the great jazz pianist, Red Garland, recorded live in concert at San Francisco's Keystone Korner. With
    virtuoso bassist, Leroy Vinnegar, and drum legend, Philly Joe Jones. Sixteen tracks and over 150 minutes of captivating piano trio recordings from one of
    jazz's most important and unsung heroes in an exhaustive package built to celebrate Garland's artistry. These recordings mark the only time this group
    ever-performed or recorded together. Tape recordings taken from the sound board the week of December 6th, 1977.
    Package designed by Burton Yount (Jimmy Giuffre New York Concerts, Bill Evans Live at Top of The Gate, Wes Montgomery Echoes of Indiana Avenue).

    1. Love For Sale
    2. I Wish I Knew
    3. It's Impossible
    4. Billy Boy
    5. Dear Old Stockholm
    6. If I'm Lucky
    7. Blues In Bebop
    8. On Green Dolphin Street
    9. Straight No Chaser
    10. On A Clear Day
    11. The Christmas Song
    12. The Best Things In Life Are Free
    13. Never Let Me Go
    14. Autumn Leaves
    15. Bag's Groove
    16. It's All Right With Me/The Theme
    Red Garland Trio
    $38.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • The Wes Montgomery Trio The Wes Montgomery Trio Quick View

    $21.99
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    The Wes Montgomery Trio

    The Wes Montgomery Trio is the third album by American jazz guitarist Wes Montgomery, originally released in 1959.
    1. 'Round Midnight
    2. Yesterdays
    3. The End Of A Love Affair
    4. Whisper Not
    5. Ecaroh
    6. Satin Doll
    7. Missile Blues
    8. Too Late Now
    9. Jingles
    Wes Montgomery Trio
    $21.99
    Vinyl LP - Sealed Buy Now
  • Boss Guitar Boss Guitar Quick View

    $21.99
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    Boss Guitar

    Before he moved away from straight-ahead jazz and starting playing what is now known as smooth jazz, Wes Montgomery was one of bop's finest guitarists. Montgomery's bop period ended much too soon, but thankfully, he recorded his share of rewarding bop albums when he was still bop-oriented -- and one of them is Boss Guitar, which Orrin Keepnews produced in 1963. It's a trio recording, employing Mel Rhyne on organ and Jimmy Cobb on performances that have held up well over time; Montgomery shows how expressive a ballad player he could be on the standards For Heaven's Sake and Days of Wine and Roses, but the fast tempo exuberance of The Trick Bag (a Montgomery original) serves him equally well. Montgomery swings the blues with pleasing results on Fried Pies (another Montgomery original), while Consuelo Velázquez's Besame Mucho (which is usually played at a slow ballad tempo) is successfully transformed into medium-tempo Latin jazz. Boss Guitar is among the bop-oriented Montgomery albums that should continue to be savored after all these years.


    - Alex Henderson (All Music Guide)

    1. Besame Mucho
    2. Dearly Beloved
    3. Days of Wine and Roses
    4. The Trick Bag
    5. Canadian Sunset
    6. Fried Pies
    7. The Breeze And I
    8. For Heaven's Sake
    Wes Montgomery
    $21.99
    Vinyl LP - Sealed Buy Now
  • In The Beginning In The Beginning Quick View

    $75.99
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    In The Beginning

    Hand-Numbered Slipcase With An 8-Panel Booklet With Notes By Ashley Kahn, Quincy Jones, Pete Townshend & Others


    Collector Postcards Of Never-Before-Published Photos


    Pressed By Record Technology Incorporated


    Mastered By Engineering Legend, Bernie Grundman


    Newly Discovered Live & Studio Recordings From 1949-1958


    In the Beginning features recordings of Wes Montgomery spanning the years from 1949 to 1958, the formative years when the six-string virtuoso was honing his craft in Southern Indiana. Since Wes Montgomery's passing in 1968, only two other albums of predominantly unreleased material have been released Willow Weep For Me (Verve 1968) and Echoes of Indiana Avenue (Resonance 2012). Resonance Records is pleased to introduce the third such archival offering with In the Beginning.
    The project began life in the wake of Echoes of Indiana Avenue. Even before that release, Buddy Montgomery's widow Ann approached Feldman and Resonance founder George Klabin with the Turf Club, Missile Lounge, and jam session recordings, looking for a respectful home for this never-released music. Philip Kahl, a 22 year old Butler College student had access to the brothers and recorded them at the before mentioned places with a portable tape recorder. 'In the Beginning started out early as a project exclusively focusing on the recordings received from Ann & Buddy Montgomery and evolved into an early years collection. There hasn't been a release like this in Wes's discography until now', says producer Zev Feldman.
    The 26-track collection will be available as 2-CD and 3-LP sets. These newly discovered live & studio recordings from 1949-1958, include a complete never-before-released 1955 Epic Records session produced by Quincy Jones, licensed from Sony Music Entertainment, newly discovered 78 RPM sides with Wes as a sideman recorded for Spire Records (1949), a live recording from the home of Ervena Montgomery, Indianapolis (1956), live recordings from the Turf Club (1956), the Missile Lounge (1958) in Indianapolis, and the C&C Music Lounge in Chicago (1957).


    This is presented on 180-gram vinyl mastered by engineering legend, Bernie Grundman, & pressed on 12inch LPs at 33 1/3 RPM by Record Technology Incorporated (R.T.I.) in a hand-numbered slipcase with an 8-panel booklet, and collector postcards of unpublished photos. In the Beginning features extensive liner notes, and meticulously designed artwork that have become the label's trademarks. The release is attractively designed by Burton Yount. This release is made possible with the help of Robert Montgomery, Wes's youngest son, and the head of the Wes Montgomery Estate who signed on as associate producer for the project. Feldman says, 'This is another chapter of previously undiscovered Wes, one which aficionados couldn't have even hoped existed a few short years ago. Resonance is proud to present another chapter in the legacy of Wes Montgomery.'

    LP1
    1. After You've Gone
    2. Fascinating Rhythm
    3. Brazil
    4. What Is There to Say?
    5. Four
    6. Wes' Tune
    7. My Heart Stood Still
    8. How High the Moon
    9. Django


    LP2
    1. Going Down to Big Mary's
    2. I Should Care
    3. Caravan
    4. Six Bridges to Cross
    5. Ralph's New Blues
    6. Soft Winds
    7. Robbins Nest


    LP3
    1. A Night in Tunisia
    2. Love for Sale
    3. Leila
    4. Blues
    5. Undecided
    6. Far Wes
    7. All the Things You Are
    8. King Trotter
    9. Carlena's Blues
    10. Smooth Evening

    Wes Montgomery
    $75.99
    200 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • So Much Guitar! So Much Guitar! Quick View

    $27.99
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    So Much Guitar!

    Limited 180gm audiophile vinyl repressing of this Jazz classic. So Much Guitar marked Wes' first recording with pianist Hank Jones. So Much Guitar was the only session on which both musicians could really interact. It was also Wes' first recording session with Ron Carter, with whom he would collaborate on three more albums. Wax Time.
    Twisted Blues
    Cotton Tail
    I Wish I Knew
    I'm Just a Lucky So and So
    Repetition
    Somethin' Like Bags
    While We're Young
    One for My Baby (And One More for the Road)
    'Round Midnight*


    *Bonus Track

    Wes Montgomery
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bashin' (Speakers Corner) Bashin' (Speakers Corner) Quick View

    $34.99
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    Bashin' (Speakers Corner)

    Right up until today rumour has it that Creed Taylor enticed the organist Jimmy Smith to leave Blue Note and change to the Verve label by means of a very large fistful of dollars. One things is clear, however: that Jimmy Smith never revealed a single word about this delicate matter; but it is also clear that the whole concept of his music took on new dimensions when he changed over to his new backer. Recordings with Wes Montgomery were just the beginning; large ensembles, superb arrangements by Oliver Nelson, and fine contributions by his soloists created a magnificent background for the 'new' Jimmy Smith on this and subsequent LPs.



    Despite its title, Bashin', there is absolutely nothing to criticise on this LP. The A side presents the new concept: a wonderful, swinging background against which Jimmy Smith can develop his full potential. Oliver Nelson's light and airy arrangements further enhance the standard themes: soloists are never confined within set limits but are gently guided; the riffs are presently precisely and cleanly, without ever sounding overloaded.



    The use of the organ is also quite fascinating: beautifully relaxed in Beggar For The Blues which is arranged for a trio; swinging in the title number Bashin', and cheerful in the style of an old cowboy song - I'm An Old Cowhand, whereby this version has no need to stand in the shadow of Sonny Rollins's almost classical version.



    The old Hammond B3 organ has experienced a revival over the past few years. Jimmy Smith, on the other hand, can look back on a great musical and commercial success story ever since the Fifties - as with Bashin'!



    Musicians:



    • Jimmy Smith (organ)

    • Phil Woods (saxophone)

    • Ernie Royal, Doc Severinsen (trumpet)

    • Jimmy Cleveland, Urbie Green (trombone)

    • Barry Galbraith (guitar)

    • George Duvivier (bass)

    • Ed Shaughnessy, Don Bailey (drums)




    Recording: March 1962 in New York by Rudy Van Gelder

    Production: Creed Taylor





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Walk on the Wild Side

    2. Ol' Man River

    3. In A Mellow Tone

    4. Step Right Up
    5. Beggar for the Blues
    6. Bashin'
    7. I'm an Old Cow Hand (From the Rio Grande)
    Jimmy Smith
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Incredible Jazz Guitar of Wes Montgomery The Incredible Jazz Guitar of Wes Montgomery Quick View

    $21.99
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    The Incredible Jazz Guitar of Wes Montgomery

    Airegin
    D-Natural Blues
    Polka Dots And Moonbeams
    Four On Six
    West Coast Blues
    In Your Own Sweet Way
    Mister Walker
    Gone With The Wind
    Wes Montgomery
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Let 'Em Roll Let 'Em Roll Quick View

    $19.99
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    Let 'Em Roll

    During the Blue Note 75th anniversary celebration the label released 100 essential Blue Note LPs and asked New York Times readers what titles they'd like to see make the list. This album is one of five new reissues that were hand-selected by Blue Note President, Don Was, based on New York Times reader recommendations.


    In an unusual setting for a groove/soul jazz setting, B3 organist extraordinaire big John Patton creates a band around himself that includes Grant Green, drummer Otis Finch, and vibraphonist Bobby Hutcherson. It's truly weird to think of vibes on a groove date, but the way Patton's understated playing works, and the way Green is literally all things to all players, Hutcherson's role is not only a clearly defined one, but adds immeasurably to both depth and texture on this date.


    What also makes this possible is the symbiotic relationship between Patton and Green. There is a double groove conscious swing happening on every track here, from the bluesed-out slip and slide of the title track which opens the record to a killer version of Hank Mobley's The Turnaround, which expands the blues vibe into solid soul territory because of Hutcherson's ability to play pianistically and slip into the funk groove whenever necessary. Green's deadly in his solo on the track, shimmering arpeggios through Patton's big fat chords and chunky hammering runs.


    Also notable are Patton's own tunes, the most beautiful of which is Latona, a floating Latin number with a killer salsa rhythm in 6/8. As Patton vamps through the chorus, Green slips in one of his gnarliest solos ever. It begins with a groove like run in the hard bop blues and then shoves itself into overdrive, capturing the cold sweat of a Bola Sete or Wes Montgomery in his groove years. But when Green goes for the harmonic edges, all bets are off: Hutcherson lays out, and he and Patton go running to the bridge and bring the melody back just in time to take it out.


    This is one of the least appreciated of Patton's records, and there's no reason for it; it is great.


    - Thom Jurek (All Music Guide)

    1. Let 'Em Roll
    2. Latona
    3. The Shadow Of Your Smile
    4. The Turnaround
    5. Jakey
    6. One Step Ahead
    Big John Patton
    $19.99
    Vinyl LP - Sealed Buy Now
  • Beyond The Blue Horizon: George Benson (Speakers Corner) Beyond The Blue Horizon: George Benson (Speakers Corner) Quick View

    $34.99
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    Beyond The Blue Horizon: George Benson (Speakers Corner)

    George Benson was the pupil, Wes Montgomery his teacher! And the sound of the great maestro, who played without the use of a plectrum, is quite unmistakable in this recording produced by CTI Records with George Benson in 1971. Producer Creed Taylor showed good judgement when he teamed Benson up with a small yet supremely talented group of musicians: Jack De Johnette on the drums takes Ron Carter's bass and Clarence Palmer's organ on a superb ride. Carter and Benson had met one another briefly during a Miles Davis recording session, but there the drummer was Tony Williams. Here, with Jack DeJohnette participating, the numbers on this LP gain real soul. But the lyrical side doesn't come too short either: Ode To A Kudu demonstrates this particular attribute of Benson's to perfection. And Somewhere To The East proves that he isn't afraid to experiment. All in all, this is a top album from George Benson's long and commercially successful career.



    Musicians:



    • George Benson (guitar)

    • Clarence Palmer (organ)

    • Ron Carter (bass)

    • Jack DeJohnette (drums)

    • Michael Cameron, Albert Nicholson (percussion)



    Recording: February 1971 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.




    This title is not eligible for discount.

    1. So What
    2. The Gentle Rain
    3. All Clear
    4. Ode To a Kudu
    5. Somewhere In the East
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bags Meets Wes Bags Meets Wes Quick View

    $21.99
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    Bags Meets Wes

    When Wes Montgomery made his first amazing impact on the New York jazz scene at the end of the 1950s, a great many established stars actively sought out to record with him. Milt Jackson was one of the few for whom the guitarist felt an equal affinity. For one thing, they shared a strong love for the blues and Wes had learned, through years of playing with his brother Buddy, to value the vibes/guitar sound. To support this memorable meeting of thoroughly compatible jazz masters, Riverside assembled one of the most cohesive recording rhythm sections of its day in Wynton Kelly, Sam Jones and Philly Joe Jones.
    1. S.K.J.
    2. Stablemates
    3. Stairway to the Stars (take 6)
    4. Blue Roz
    5. Sam Sack
    6. Jingles (take 9)
    7. Delilah (take 4)
    Milt Jackson & Wes Montgomery
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Bags Meets Wes! Bags Meets Wes! Quick View

    $27.99
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    Bags Meets Wes!

    Milt Jackson was 38 when, in December 1961, he co-led this superb hard-bop date with the distinctive guitarist Wes Montgomery. A jazzman who was as opinionated as he was gifted, Jackson wouldn't hesitate to tell you exactly what he thought of a musician -- so when he praised Montgomery, you knew his praise was genuine. Not surprisingly, the boppers prove to be quite compatible on Bags Meets Wes, which finds them co-leading an all star-quintet that also includes pianist Wynton Kelly, bassist Sam Jones, and drummer Philly Joe Jones (who shouldn't be confused with swing drummer Jo Jones). Although Jackson and Montgomery prove what lyrical ballad players they could be on the standard Stairway to the Stars, ballads aren't a high priority on this album. Instead, the improvisers put more of their energy into the blues -- and the 12-bar format serves them well on Sam Sack, Blue Roz, and S.K.J. Equally strong are hard-swinging versions of Montgomery's Jingles and Benny Golson's Stablemates.

    -All Music Guide
    1. S.K.J.
    2. Stablemates
    3. Stairway to the Stars
    4. Blue Roz
    5. Sam Sack
    6. Jingles
    7. Delilah
    8. Love Walked In*


    *Bonus Track

    Wes Montgomery
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Echoes of Indiana Avenue Echoes of Indiana Avenue Quick View

    $44.99
    Buy Now
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    Echoes of Indiana Avenue

    With a lot of sleuthing and a team of experts on the case, long lost tapes of Wes Montgomery have been discovered and restored. Resonance Records will release Echoes of Indiana Avenue, the first full album of previously unheard Montgomery music in over 25 years on March 6, 2012, which would have been Montgomery's 88th birthday. Over a year and a half in the making, the release will provide a rare, revealing glimpse of a bona fide guitar legend. The tapes are the earliest known recordings of Montgomery as a leader, pre-dating his auspicious 1959 debut on Riverside Records. The album showcases Montgomery in performance from 1957-1958 at nightclubs in his hometown of Indianapolis, Indiana, as well as rare studio recordings. The release is also beautifully packaged, containing previously unseen photographs and insightful essays by noted music writers and musicians alike, including guitarist Pat Martino and Montgomery's brothers Buddy and Monk.


    On this scintillating discovery, Montgomery plays it strictly straight ahead, swinging with a momentum and ferocity that is positively visceral, a clear display of Montgomery's bebop side. Listening to these recordings only reaffirms how Montgomery exerted such a profound influence over generations of guitarists from George Benson, Pat Martino and Joe Pass to John Scofield, Pat Metheny, Kevin Eubanks, and Russell Malone to Kurt Rosenwinkel.


    Joined by such Naptown colleagues as drummer Paul Parker and keyboardist Melvin Rhyne (who would later appear on Montgomery's first Riverside release), pianist Earl Van Riper, bassist Mingo Jones and drummer Sonny Johnson, as well as brothers Monk on acoustic bass and Buddy on piano (the brothers featured on one track), Montgomery swings with blistering abandon on a program of burners and ballads. Included here are renditions of Shorty Rogers' Diablo's Dance, Erroll Garner's Misty and Billy Strayhorn's Take The A Train as well as jazz standards Darn That Dream and Body and Soul. Montgomery also reveals some bluesy roots with an earthy improvised After Hours Blues, which has him playing with Guitar Slim-like nastiness. Elsewhere on Echoes of Indiana Avenue there's a stirring duet between Wes and organist Rhyne on a moody rendition of Thelonious Monk's 'Round Midnight and a faithful rendition of Horace Silver's Latin-tinged Nica's Dream. Montgomery and his brothers also tackle Thelonious Monk's Straight, No Chaser with bop-ish authority.


    Echoes of Indiana Avenue consists of three different sessions, one studio and two live. Four of the tracks were recorded at The Hub Bub, a long-forgotten jazz club in Indianapolis. The title of the collection refers to a longstanding popular commercial strip in Indianapolis, with historical roots. As Dr. Baker remarks, In Indianapolis during the 1940s and 1950s twenty or more clubs and other performance venues were operating at any given time. Generally speaking, the important clubs lay on or near main thoroughfares in predominantly black areas. The busiest and most notable area was known as 'The Avenue,' which was the portion of Indiana Avenue.


    How these long lost tapes from the early stage of Montgomery's solo career finally emerged after being on the shelf for more than 50 years is a tale of intrigue that will enthrall collectors and aficionados. Although the identity of the person who made the original recordings remains unknown, the tapes may have passed through several hands before they were eventually acquired in 1990 by a guitarist and Montgomery fan Jim Greeninger. Due to their fragile condition, he immediately made digital transfers of the original tapes and set out to make a deal with a record company. It wasn't until 2008 that Greeninger, who had tried selling the tapes on eBay, contacted Michael Cuscuna, the respected veteran producer who has had a long track record with Blue Note Records and is also the co-founder of Mosaic Records.


    In the summer of 2010, Cuscuna contacted Zev Feldman of Resonance Records, who served as a producer on the project. We had no idea when we got the tapes what they were exactly, Feldman recalls. All we knew was that Wes was on them. So between 2010 and 2011, I made three trips to Indianapolis where I interviewed and discussed the recordings with scholars, musicians and friends of Wes. It was a big mystery and we had to act like gumshoes in piecing it all together. It was actually in part because of label founder and president George Klabin's support that we were able to make this project possible.


    Resonance has created a hand-numbered, hand-assembled LP edition pressed by audiophile embraced Record Technology, Inc. (RTI) and with a deluxe gatefold LP jacket by Stoughton Press. The two 12 LP's were mastered by the legendary Bernie Grundman at 180g 45 RPM for the best sound.

    1. Diablo's Dance
    2. Round Midnight
    3. Straight No Chaser
    4. Nica's Dream
    5. Darn That Dream
    6. Take the A Train
    7. Misty
    8. Body and Soul
    9. After Hours Blues (Improvisation)
    Wes Montgomery
    $44.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • In Flight (Pure Pleasure) In Flight (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    In Flight (Pure Pleasure)

    Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician, whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format.


    Yet Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway, and it is his voice that has proven more marketable to the public than his guitar. Benson is the guitar-playing equivalent of Nat King Cole - a fantastic pianist whose smooth way with a pop vocal eventually eclipsed his instrumental prowess in the marketplace - but unlike Cole, Benson has been granted enough time after his fling with the pop charts to reaffirm his jazz guitar credentials, which he still does at his concerts.


    In the wake of This Masquerade, the balance of power shifted for the first time toward George Benson's suddenly marketable voice; four of the six tracks on In Flight are vocals. By this time, Benson was tailoring his tenor toward soulful pitch-bending à la Stevie Wonder on tunes as diverse as Nature Boy and The World Is a Ghetto, and the unison scatting with the guitar that caught fire with the public on Masquerade is now pulled out whenever possible. Benson's backing band from Breezin', still set in its funk mode, is intact, and Claus Ogerman again contributes gentle orchestral cushions. The two instrumentals, particularly Donny Hathaway's Valdez in the Country, prove that Benson remained a brilliantly inventive melodist on guitar, in full possession of his powers. Yet there is every indication here that Benson was set upon becoming primarily a pop star.


    - Richard S. Ginell (AllMusic)

    Musicians:



    • George Benson (vocal, guitar)

    • Jorge Dalto (clavinet, piano)

    • Ronnie Foster (electric piano, synthesizer)

    • Phil Upchruch (guitar, bass)

    • Stanley Banks(bass)

    • Harvey Mason (drums)

    • Ralph MacDonald (percussion)



    Recording: 1977 at Capitol Studios, Hollywood, by Al Schmitt

    Production: Tommy Lipuma



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.


    This title is not eligible for discount.

    1. Nature Boy
    2. The Wind And I
    3. The World Is A Ghetto
    4. Gonna Love You More
    5. Valdez In The Country
    6. Everything Must Change
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bringin' It Bringin' It Quick View

    $34.99
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    Bringin' It

    Iconic bassist Christian McBride has been doing what the title of his upcoming big band album implores for years: Bringin' It. This highly anticipated release, which follows the Christian McBride Big Band's 2011 Grammy® Award-winning debut, The Good Feeling, puts his status and skills as an all-around entertainer on full display. With a list of growing accolades including his recent appointment as Artistic Director at the Newport Jazz Festival, hosting shows on SiriusXM ("The Lowdown: Conversations with Christian") and NPR ("Jazz Night in America," as well as frequent online contributions to various programs including "All Things Considered"), speaking engagements, and occasional DJ performances under the alias DJ Brother Mister, he's more than just a bandleader: Christian McBride is transcending that title to something more complete.


    If it is true that jazz is a sponge for musicians to absorb and then squeeze out what they hear to produce their own sound, McBride has been "bringin' it" for quite a long time. From his amazing quintet, Inside Straight, to his avant-garde leaning quartet, New Jawn, the contemporary sound of his fusion group, A Christian McBride Situation, to the critically acclaimed music he's made with his trio, the bassist has always disseminated his own unique 360-degree view of jazz.


    While the music played by the Christian McBride Big Band is on the cutting edge of 21st century large ensemble music, the orchestra's presentation, like its sound, respects the past while looking forward. Danny Ray, the legendary stage announcer for James Brown, travels with the group to give the leader an old-school intro before playing his thoroughly modern music. "I love having the show aspect of it as well, with Danny Ray there, and being able to create somewhat of a show while also having Melissa there as our vocalist."


    That would be Melissa Walker, who graces Bringin' It on two tracks: "Upside Down," originally done by Brazilian superstar Djavan, and the unlikely slick arrangement of "Mr. Bojangles." In addition to maintaining a career in jazz, Walker is also the co-founder of Jazz House Kids, the award winning jazz education center and she's Mrs. Christian McBride.


    Only two tracks on this 11-song set were not arranged by the leader: the "Upside Down" arrangement was contributed by Norman Simmons, while "Optimism" is from the person he's known the longest in his band, trombonist Steve Davis. Davis has the distinction of being the very last Jazz Messenger that Art Blakey hired before he died in 1990.


    "I saw that last Jazz Messengers band that Steve was in," McBride remembers. "Blakey was a huge influence on me and because of that, Steve and I share the same compositional and arranging DNA. You see, even though I've been influenced by every great big band and every great arranger I've ever heard, three of my greatest influences - not just as composers but also as improvisers - are Freddie Hubbard, Wayne Shorter and Cedar Walton. I mean before, after and during the period when they were with Art Blakey & the Jazz Messengers."


    McBride played bass for Freddie Hubbard's quintet for nearly three years starting when he was 18. One of the songs he loved to play with the legendary trumpeter was "Thermo." A few years ago he brought this arrangement to a gig with Wynton Marsalis and the Jazz at Lincoln Center Orchestra. When the four trumpeters had to work hard to go over the riffs in the tune, McBride felt a certain pride. "I just thought that Freddie was somewhere up in heaven laughing," says McBride.


    Perennial poll-topping arranger Maria Schneider has also been an influence on McBride. He cites times when he'd just bug her for hours, peppering her with questions, particularly on a recent trip to Europe. He honors her with his rendition of "I Thought About You." "She has an arrangement of 'Giant Steps' where she arranged the melody over a D pedal so I said let me try something like that," McBride recounts. "That's where that came from. She really gave me a lot of information and has been a great influence on me."


    Another aspect that has helped the bassist find his voice as an arranger is the fact that, except for drummer Quincy Phillips, this is the exact same band that recorded with him six years ago. "These guys know my sound. They know my style. They know what my compositional and arranging DNA is. I've been able to keep the exact same unit, so like Duke Ellington used to do, I can write for my guys because I know their sound and style.


    "As for my originals, they all have been recorded with my small groups," he continues on about the tracks "Gettin' To It," "Youthful Bliss," and "Used'ta Could." "As an arranger I'm still in the early stages of my development so it seems to me the best way to really make my hopeful ascension into a better arranger is to obviously take a song I've already written and try to add to that and make it a worthy large ensemble song."


    While the Wes Montgomery smoker "Full House" isn't a McBride original, it is part of his development as an arranger - it's a big band chart he first created for guitarist Russell Malone at Jazz Aspen in 2009. He says he's tweaked it since then for his go-to guitarist Rodney Jones. For the McCoy Tyner classic "Sahara," the bassist channeled his 20+ years of playing with the legendary Chick Corea, for which McBride won two of his five Grammys. Another one of his Grammys came from a co-op project with Tyner. "I always thought of Chick, in his early years, as being a branch from the tree of McCoy Tyner, if you will," he commented.


    McBride's work ethic is evident in the challenge he set for himself on the steamy old ballad "In The Wee Small Hours of the Morning." "I decided to torture myself by writing that arrangement in the key of B. To me that's a very pretty key, but it is a very hard key for a double bass because I get to play no open strings," McBride explains. "When I play it live, every bass player in the house comes to me and says, 'is that in B? Why do you do that?' Maybe it's because I'm crazy, but I really wanted to do something difficult and keep myself on my toes."


    Planning to keep this group simmering while he simultaneously resurrects his Inside Straight band and introduces his new trio, Tip City, McBride is most excited to embrace the golden age of big bands while they continue bringin' it with more gigs and their first European tour. "With my big band I try to combine all of my journeys and goals as a musician and then try to put it in a wrapper of show business," the five-time Grammy® Award-winner comments. "I really think in that sense I'm following something of a big band tradition."

    1. Gettin' To It
    2. Thermo
    3. Youthful Bliss
    4. I Thought About You
    5. Sahara
    6. Upside Down
    7. Full House
    8. Mr. Bojangles
    9. Used 'ta Could
    10. In The Wee Small Hours Of The Morning
    11. Optimism
    Christian McBride Big Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Navigated Like The Swan Navigated Like The Swan Quick View

    $18.99
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    Navigated Like The Swan

    Young Moon aka Trevor Montgomery is a craftsman. By day he's a skilled tile setter, a job taxing to both the mind and body. By night he's an equally meticulous and hard working musician, coaxing just the right tones out of his vintage drum machines and synths to carry his tales of love and redemption. As a tile setter and as a musician, his job is the same: assembling things of beauty to fill empty spaces. It's those exact skills that are employed to great effect on this 13-song collection entitled Navigated Like The Swan.
    1. The Crystal Text
    2. Walk in White
    3. Winds Light
    4. Northern Earth
    5. March
    6. A Reason
    7. Ages of Youth
    8. Cold Day Solstice
    9. On the Verge
    10. Summit and Blue Air
    11. Emma Jane
    12. The Ponds
    13. Painting on Waves
    Young Moon
    $18.99
    Vinyl LP - Sealed Buy Now
  • Smokin' At The Half Note (Out Of Stock) Smokin' At The Half Note (Out Of Stock) Quick View

    $54.99
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    Smokin' At The Half Note (Out Of Stock)

    Mastered by George Marino at Sterling Sound


    ...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen! Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011


    A Tremendously Important Historic Jazz Record That Pairs Guitar Virtuoso Wes Montgomery With Miles Davis' Rhythm Section - Paul Chambers and Jimmy Cobb


    This is timeless music that has inspired innumerable jazz guitarists and aficionados. In fact, jazz guitar great Pat Metheny has said, I learned to play listening to Wes Montgomery's Smokin' At The Half Note. Metheny additionally said that the solo on If You Could See Me Now is his favorite of all time.


    This legendary session was recorded at a New York nightclub. It captures Montgomery at the height of his improvisational powers. Many consider it the best performance on record by one of the most inventive guitarists in jazz history.


    Highlights include the Miles Davis opener, No Blues and the following track, Tadd Dameron's If You Could See Me Now. And the album's versions of Unit 7 and Four On Six have helped to establish these songs as jazz standards.


    Wynton Kelly, piano

    Wes Montgomery, guitar

    Paul Chambers, bass

    Jimmy Cobb, drums


    This title is not eligible for discount.

    1. No Blues
    2. If You Could See Me Now
    3. Unit 7
    4. Four On Six
    5. What's New
    Wynton Kelly Trio
    $54.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Temporarily out of stock
  • Idle Moments (Out Of Stock) Idle Moments (Out Of Stock) Quick View

    $54.99
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    Idle Moments (Out Of Stock)

    Cut at 33 1/3 RPM by Kevin Gray at Cohearent Audio from the Original Rudy Van Gelder Blue Note Master Tapes


    Pressed 180 Gram Virgin Vinyl LPs by RTI


    Top Quality Gatefold Packaging with Laminated Covers & High Quality Session Photos


    Grant Green was, along with Wes Montgomery, the top new jazz guitarist to become prominent in the early 1960s. Due to his single-note style (Green rarely every played a chord) and his ability to create fast lines on the spot, Green was in some ways the Charlie Parker of the guitar. He gained experience playing in St. Louis in the 1950s including with Jimmy Forrest, Harry "Sweets" Edison and Lou Donaldson, moved to New York, and immediately became Blue Note's house guitarist. When it came to playing soul jazz with organ combos, jamming bebop with a quartet, caressing ballads or coming up with fresh approaches to Latin jazz and spirituals, the versatile Green was at the top of his field. But among his many recordings, Grant Green's most vital and adventurous was Idle Moments. With such inspiring sidemen as Joe Henderson, Bobby Hutcherson and Duke Pearson, Green is heard at the absolute apex of his creativity throughout this stunning set. He builds up statements like a masterful speaker, sounds both passionate and thoughtful at every tempo, and never runs out of brilliant and personal ideas to express. Every phrase leads to the next one yet all of his solos are spontaneous. While the other musicians are inspired and in top form, Idle Moments is particularly notable as the height of Grant Green's musical genius.


    Features:

    Limited Edition of Only 3500 Copies!

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!

    Remastered by Kevin Gray at Cohearent Audio

    Pressed 180 gram Virgin Vinyl LPs by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    Musicians:

    Joe Henderson, tenor sax

    Bobby Hutcherson, vibes

    Grant Green, guitar

    Duke Pearson, piano

    Bob Cranshaw, bass

    Al Harewood, drums


    This title is not eligible for discount.

    1. Idle Moments
    2. Jean De Fleur
    3. Django
    4. Nomad
    Grant Green
    $54.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • Exactly Like This (Out Of Stock) Exactly Like This (Out Of Stock) Quick View

    $49.99
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    Exactly Like This (Out Of Stock)

    200 Gram Double LP Plated And Pressed At Quality Record Pressings


    Understanding the importance of restraint to the blues, he skirts the predictable with fresh imagery in lyrics and his music is barb-wire sharp. - Down Beat Magazine


    Doug MacLeod is a unique, powerful guitarist with a rich and soulful voice, singing original songs based on his own life and experiences. This is Genuine Original Acoustic Music at its very best.


    His new album Exactly Like This is his third release with Reference Recordings. It's MacLeod at his very best, in a richly detailed recording by Grammy-winning engineer Keith Johnson, made at Skywalker Sound in Marin County, California.


    In live performance, Doug MacLeod assures his audience This song is going to go exactly like this. It's presented just for them, not a repeat of any performance he's ever given or will ever give. He records the same way, each of his original songs are offered with a fresh voice. Exactly Like This contains 11 new MacLeod originals reflecting and paying tribute to some of his diverse musical influences: Louis Jordan, Wes Montgomery, Jerry Reed, Tony Joe White, John Lee Hooker, and even a little Duke Ellington. In his previous 19 studio albums, several live records, compilations, a blues guitar instructional DVD and a live performance DVD, MacLeod has consistently earned raves.


    His songs have been covered by many artists including Albert King, Albert Collins, Joe Louis Walker and Eva Cassidy. He has co-written songs with Dave Alvin and Coco Montoya. MacLeod's songs have been featured in many TV movies and the hit show In the Heat of the Night. Two of his songs are on Grammy-nominated albums by Albert King and Albert Collins.


    Doug MacLeod isn't just a blues guy, he's a singer/songwriter/storyteller and serious guitarist. He is one of the few modern artists doing all original material and traveling the country like a troubadour. Just Doug, headed down the road in his Honda, baseball on the radio, Siri by his side and a trunk full of music!

    LP1
    1. Rock It Till the Crows Come Home
    2. Too Many Misses For Me
    3. Find Your Right Mind
    4. Ain't It Rough?
    5. Serious Doin' Woman


    LP2
    1. Ridge Runner
    2. New Morning Road
    3. Vanetta
    4. Raylene
    5. Heavens The Only Place
    6. You Got It Good (And That Ain't Bad)

    Doug MacLeod
    $49.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Temporarily out of stock
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