- Montgomery, Wes
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orig. John Leslie Montgomeryborn March 6, 1923/25, Indianapolis, Ind., U.S.died June 15, 1968, IndianapolisU.S. jazz guitarist.He began playing guitar in his teens, and his principal early inspiration was the late-swing guitarist Charlie Christian. Montgomery was a member of Lionel Hampton's band (1948–50) before forming a small group with his brothers. His finest recordings are small-group efforts made after 1959, although he achieved commercial success using accompanying orchestras in the 1960s. His unconventional technique, using his thumb rather than a plectrum, made possible his frequent use of octaves and chords in solos. He was probably the most influential guitar improviser in modern jazz.
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▪ American musicianbyname of John Leslie Montgomeryborn March 6, 1923/25, Indianapolis, Ind., U.S.died June 15, 1968, Indianapolisblack American jazz guitarist (guitar), probably the most influential postwar improviser on his instrument.Montgomery began playing guitar in his late teens and played in the Lionel Hampton (Hampton, Lionel) band in 1948–50 and in Indianapolis during the 1950s, most often with his brothers Buddy (piano, vibes) and Monk (electric bass). In California in the late 1950s, he played with them in the Mastersounds and then as the Montgomery Brothers (1960–61).Most of Montgomery's finest recordings, including The Incredible Jazz Guitar of Wes Montgomery, Movin' Along, and Full House, date from 1959–63. In the early 1960s he played briefly in a John Coltrane (Coltrane, John) group that never recorded. Beginning in 1964 a series of recordings with string orchestra and big band accompaniments became best-sellers; in concerts and on international tours, however, he led small groups and worked in a quintet with his brothers for the rest of his life.Inspired by late-swing guitarist Charlie Christian (Christian, Charlie), Montgomery improvised in broken phrases and with a bop harmonic imagination. Instead of using a plectrum or fingers, he played guitar with the soft part of his thumb, resulting in a soft attack especially appropriate to his lyrical lines. He organized his solos by playing single-note melodies in initial choruses, in octaves in middle choruses, and in chords in climactic choruses. His solo forms especially were an influence on later guitarists, most prominently George Benson.* * *
Universalium. 2010.
