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Full House

Wes Montgomery Audio CD
3.5 out of 5 stars  See all reviews (4 customer reviews)
Price: 12.27
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Biography

Nearly thirty years after his death from a heart attack at age forty-five, John Leslie "Wes" Montgomery remains the standard for modern jazz guitarists. He is to his idiom what Segovia is to the classical form, B.B. King to electric blues, and Jimi Hendrix to rock. Although Wes’s original model, Charlie Christian (1916–1942), essentially wrote the Old Testament of jazz ... Read more in Amazon's Wes Montgomery Store

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Frequently Bought Together

Full House + Smokin' At The Half Note + Three Classic Albums Plus [The Wes Montgomery Trio / Montgomeryland / The Incredible Jazz Guitar]
Price For All Three: 29.29

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Product details

  • Audio CD (11 Sep 1998)
  • Number of Discs: 1
  • Label: Ojc
  • ASIN: B000026H8S
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  DVD  |  MP3 Download
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 281,800 in Music (See Top 100 in Music)

Product Description

Amazon.co.uk

Recorded live in performance, the 1962 Full House particularly benefits from remastering. Musical nuances come through with clarity and the sense of being in the midst of the highly appreciative audience is heightened. Wes Montgomery was first and foremost a live player, able to build long, sinewy solos, and the excitement only builds when tenorist Johnny Griffin jumps in. Fiery and articulate, Griffin was at the top of his game as his excellent solos on Montogomery’s "Cariba" and Dizzy Gillespie’s "Blue 'n' Boogie" testify. Add the Miles Davis rhythm section of Jimmy Cobb on drums, Paul Chambers on bass and the elegant Wynton Kelly on piano and you have some truly sparkling live jazz from the classic era. --Wally Shoup

Customer Reviews

3.5 out of 5 stars
3.5 out of 5 stars
Most Helpful Customer Reviews
3 of 3 people found the following review helpful
5.0 out of 5 stars A Sizzling Jazz Classic 22 May 2011
Format:Audio CD|Verified Purchase
This is an album that positively fizzes with energy. The musicianship is impeccable, the material excellent, and the players are among the finest jazz has ever produced. Although a live record, it should be mentioned that the sound quality is as good as anything cut in the studios at that time. One of Wes Montgomery's two or three finest albums, the addition of sizzling saxophonist Johnny Griffin (once legitimately credited as the fastest tenor in jazz) raises the excitement level and seems to really inspire Wes in his improvisations. The album leads off with the title track which is a 3/4 tune that really manages to swing. There is an infectious Montgomery original called Cariba, compelling fast versions of Blue & Boogie, and Wes' S.O.S. as well as a great version of the standard Come Rain Or Come Shine. Of particular interest to guitar lovers is Wes' intimate version of I've Grown Accustomed To Her Face, which he plays in chord-melody style, and for which Griffin sits out. It has a wonderful spanish tinged introduction.

At the time of this recording the rhythm section of Wynton Kelly, Paul Chambers & Jimmy Cobb was regarded as one of the finest in jazz, and they give the soloists immaculate and supple support. Wynton Kelly's own piano solos are excellent. All in all this album is a jazz classic, and represents one of the pinnacles of small group hard bop.
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6 of 7 people found the following review helpful
5.0 out of 5 stars One of the most beautiful pieces of jazz around... 26 April 2004
Format:Audio CD
...Jesus: this record is full of energy and poetry at the same time; theplayers cast is no less than stellar and for all the record there's one ofthe most intense interplay you'll ever heard, in a group ofmusicians.
Jimmy Cobb, Winton Kelly, Paul Chambers, Wes, Johnny Griffinplayed in '62 this record that you will definitely buy and enjoy for therest of your life. Trust me: I KNOW IT!!!! No further words needed.
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9 of 12 people found the following review helpful
1.0 out of 5 stars DONT BUY IT!!! 27 Sep 2007
Format:Audio CD
there are 2 cds entitled full house and they are both different. This one is a con as it is a compilation featuring half a concert from 1965 in paris. This is half the concert what is the point in that?!?

Buy the complete live in paris cd for the whole thing. Also get the PROPER full house live album which is a different concert recorded in 1962. This is just a stupid record label trying to make money by conning people, AGAIN.
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3.0 out of 5 stars Should have paid more attention......... 26 Aug 2013
Format:Audio CD|Verified Purchase
For the second time (the other was Herbie Hancock's Takin Off) I should have noted that this version is on the Hallmark label, so no track timings, no personnel listing, no recording dates, no nothin'. I don't know whether Hallmark have copyright problems with that kind of information or whether they're just too lazy or mean to include it, but either way for the serious jazz fan it's a nuisance. But the record is cheap and the sound quality is acceptable.
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.6 out of 5 stars  37 reviews
27 of 27 people found the following review helpful
5.0 out of 5 stars As Many Stars As There Are In The Sky.. 14 Sep 2003
By "douglasnegley" - Published on Amazon.com
Format:Audio CD
That's how many stars this incredible Live recording rates. There are so many special moments, musically, to treasure here that it's hard to know where to start. Wes' treatment of "I've Grown Accostomed To Her Face" is a solo showcase for his genius for musical dynamics - the way he thumb-strums the melody; the way he pauses and 'slurs down' on the two "words", referencing the lyrics; the way he intro's (and 'out-ros') in a different key...the next moment that comes to mind is in "Blue 'N Boogie". Wes gets off some machine gun licks, then hands it off to Wynton, Paul, and Jimmy. Listen to how Jimmy Cobb shifts the dynamic of the beat at the start of Wynton's third verse, bumping the off-beat and rim-clicking the 2/4 - literally creating a new level for Wynton to go to (which he does, with a Red Garland-esque block chord ending). The most amazing thing of all is that this is all a prelude to Johnnie Griffin's solo, followed by all around 'trading fours' to the end. It's a clinic in dynamics, group-style. On the next track, "Cariba", Wes gives a clinic on how to build, chorus after chorus, upon each previous statement. I think it may be one of his best solos of the night. Every track could be broken down into these kind of moments (I'll spare you...), but the point is that this band - specifically Wes with the Wynton Kelly trio, as Johnny Griffin is sweet icing on that cake, was one of the tightest, most dynamic jazz units to ever grace a stage. What a moment in Time that night must have been. What a CD this is.
27 of 27 people found the following review helpful
5.0 out of 5 stars Masterwork 28 Nov 2008
By johnzero - Published on Amazon.com
Format:Audio CD|Verified Purchase
Forget "The Incredible". This is Wes's masterwork, performed live with a band finally up to his genius. Despite all the praise he got as a player, I think this album makes the argument that he's STILL under-appreciated. His solo on "Blue N' Boogie" is as fine a piece of spontaneous composition as exists. If you like jazz guitar, if you like jazz... hell, if you like music, don't wait another second. Get it.
18 of 19 people found the following review helpful
5.0 out of 5 stars Wes' defining moment 27 Jan 2009
By Mark F. Montimurro - Published on Amazon.com
Format:Audio CD
I love guitar jazz. Real guitar jazz, not the watered down sap they play on 'smooth jazz' radio or the avantgarde dreck intellectuals play at their dinner parties. The category is chock full with wonderful players, both living and dead; alas, Wes is no longer with us, but his influence is all over the place. He was a great technician but also a brilliant interpreter who could achieve gorgeous tone, and sometimes slipping into schmaltzy pop modes. None of that on this disc, sparkling and freshly-remastered, that showcases Wes at the absolute top of his game...and of the guitar jazz heap.
10 of 10 people found the following review helpful
5.0 out of 5 stars Better Than "Smokin' at the Half Note"! 2 Jun 2010
By C. Denny - Published on Amazon.com
Format:Audio CD
"Smokin at the Half Note" is usually touted as Wes' best recorded work and understandably so. However, in my opinion, "Full House" makes for a much better record. "Smokin'" as orginally issued is a piecemeal recording. Only the first two cuts are recorded live. The other tracts were recorded later at the Van Gelder Studios. Subsequently, "Willow Weep for Me" was issued posthumously containing the other tunes from the Half Note dates but with the cuts unfortunately overdubbed with a horn section. The most exciting cut from the Half Note dates, "Impressions" was absent from both records, only to appear on a later Verve collection. Just way too much tampering with a live performance for my taste. Full House is unadulterated and Wes plays with just as much fire. The feeling of "actually being there" is much better represented by this record. My only complaint is the needless repetition of the same songs one right after the other. If you're going to put on alternate performances, put them at the end of the record for crying out loud! Still, Full House is so good in spite of this that I can't bring myself to give it anything less than five stars. If I could only own one Wes cd it would be this one.
10 of 11 people found the following review helpful
4.0 out of 5 stars Wes & Co. stretch out to devastating effect 1 July 2005
By Amazon Customer - Published on Amazon.com
Format:Audio CD
As one of the most influential jazz guitarists of all time (second only to perhaps Charlie Christian), Wes Montgomery created a vocabulary of techniques and mannerisms for jazzers similar to how Andres Segovia did for classical players. His trademarks - octaves, extended block chord solos, and above all, melodicism - blew many away in the forceful manner which Wes employed them. I feel that on this release, Full House, Wes demonstrates his talents as a bandleader and player better than most of his recordings, except for perhaps the legendary Smokin' at the Half Note.

The engineering on this record is superb; every instrument comes through in the mix loud and clear, yet retains a special spot in the audio spectrum and blends nicely with the other instruments. I personally own the 20-bit remaster, but it sounds to me like the basic mix itself was pretty good to begin with.

This is one of the most superb bands that jazz has perhaps ever seen. We have the esteemed Wynton Kelly trio, with Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums, to back up Wes, of course, and also on this occasion the formidable talents of saxophonist Johnny Griffin (who would pair with the same quartet on several later dates). Wes and Johnny often harmonize on the melodies, especially on "Cariba" and "S.O.S.", and it works quite well, especially with the notable difference in tone color between their instruments. Griffin has a sound that I can't quite pin down; to my ears, it doesn't sound distinctly like any of the sax masters, so it's a surprise that he isn't better known in the jazz canon. Regardless, his playing is superb and he goes toe-to-toe with Wes on nearly every cut.

The blues is in strong effect on this record, as with most Wes recordings; "Cariba", in fact, is at its core a basic 12-bar Latin blues, with a unique bassline that gives it a little bit of a distinctive sound. "Cariba" is also the cut with the best Wes solo (although "Full House" comes rather close as well). Really, the whole ensemble works together to make an overall appealing sound, and it's not just like the rhythm section is ticking away while the soloists blow. The drummer and Wynton are always in tune with the soloists, whether they're doing repeating riffs and Cobb comes in with a few synchronized cymbal hits, or the soloists step it up dynamically and the rhythm section follows them all the way. This is a little more evident on Smokin' at the Half Note, but that was several years later, when Wes had been playing with Wynton's trio on a regular basis; this is the genesis of their collaboration, and it's an impressive one.

So why only 4 stars if the record is overall incredible? Well, having multiple takes of the same song to fill space on a jazz record is not something I am particularly fond of. It makes it a little hard to listen to the record straight through multiple times and not get a little annoyed. Plus, each extra take is pretty routine. Also, the track selection is not quite perfect; "I've Grown Accustomed to Her Face" was not a good choice, as Wes's chord-melody playing is nowhere near his octave- or single-note talents. He is a master chord soloist, true, but he can't play chord-melody like Joe Pass or anything. Also, "Come Rain or Come Shine" is kind of a substandard tune on the record - not bad by any means, but every other track is killer, so it weighs down the others a bit.

This is still a very worthy purchase; the band is hot, and so are Johnny Griffin and Wes, and that's pretty much the fundamental selling point of any great jazz record. If multiple takes don't bother you much, this record is only more recommended. For everyone else, it's still a great album to just plain listen to; it's not boring like some jazz records, due to the incredibly dynamic playing of the band. Plus, hearing Wes live is pretty much the only way to go, and that's probably the best compliment I can give. I'm sure the club was a Full House on this night for sure.
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