Wes Montgomery: l’élégance réinventée de la guitare jazz
Guitariste autodidacte à l’oreille exceptionnelle, Wes Montgomery reste l’une des figures les plus influentes du jazz moderne. Né John Leslie Montgomery dans une famille modeste, il découvre la guitare à dix-neuf ans après avoir été bouleversé par Solo Flight de Charlie Christian. Il se forme dans les clubs d’Indianapolis avant de rejoindre, en 1948, le big band de Lionel Hampton, où il croise Charles Mingus, Fats Navarro et accompagne même Billie Holiday.
Avec ses frères Buddy et Monk, il forme The Montgomery Brothers, enregistre plusieurs albums et se fait remarquer par Cannonball Adderley, qui facilite sa signature chez Riverside. Son premier album solo, Fingerpickin’ (1958), révèle son jeu tout en subtilité et en invention.
Mais c’est The Incredible Jazz Guitar of Wes Montgomery (1960) qui consacre son style unique: pouce à la place du médiator, octaves chantantes, phrasé fluide et articulation exemplaire, comme en témoignent les morceaux West Coast Blues ou Four on Six.
Montgomery collabore ensuite avec George Shearing, participe au Monterey Jazz Festival, joue avec John Coltrane, puis enregistre avec le pianiste Wynton Kelly le célèbre Smokin’ at the Half Note (1965), souvent considéré comme l’un des plus grands albums live de jazz. Récompensé d’un Grammy Award pour Goin’ Out of My Head la même année, Wes Montgomery parvient à combiner exigence artistique et succès populaire, sans jamais sacrifier la musicalité.
Il laisse une empreinte indélébile dans l’histoire du jazz, ayant redéfini la guitare jazz par une approche à la fois technique, émotionnelle et résolument moderne.
Wes Montgomery: la elegancia reinventada de la guitarra jazz
Guitarrista autodidacta de oído excepcional, Wes Montgomery sigue siendo una de las figuras más influyentes del jazz moderno. Nacido como John Leslie Montgomery en una familia modesta, descubrió la guitarra a los diecinueve años tras quedar impresionado por Solo Flight de Charlie Christian. Se formó en clubes de Indianápolis antes de unirse en 1948 a la big band de Lionel Hampton, donde coincidió con Charles Mingus, Fats Navarro e incluso acompañó a Billie Holiday.
Con sus hermanos Buddy y Monk, fundó The Montgomery Brothers, grabó varios álbumes y llamó la atención de Cannonball Adderley, quien le ayudó a firmar con Riverside. Su primer disco en solitario, Fingerpickin’ (1958), reveló un estilo delicado e inventivo.
Pero fue The Incredible Jazz Guitar of Wes Montgomery (1960) el que consagró su voz única: pulgar en vez de púa, octavas vocales, fraseo fluido y articulación impecable, como demuestran West Coast Blues y Four on Six.
Montgomery colaboró luego con George Shearing, actuó en el Monterey Jazz Festival, tocó con John Coltrane y grabó con el pianista Wynton Kelly Smokin’ at the Half Note (1965), considerado uno de los mejores discos de jazz en directo. Ese mismo año ganó un Grammy por Goin’ Out of My Head. Wes Montgomery supo combinar exigencia artística y éxito popular sin renunciar a la musicalidad.
Dejó una huella permanente en la historia del jazz, redefiniendo la guitarra jazz con un enfoque técnico, emocional y decididamente moderno.
Wes Montgomery: l’eleganza reinventata della chitarra jazz
Chitarrista autodidatta dall’orecchio eccezionale, Wes Montgomery è una delle figure più influenti del jazz moderno. Nato John Leslie Montgomery in una famiglia umile, scopre la chitarra a diciannove anni dopo essere rimasto colpito da Solo Flight di Charlie Christian. Si perfeziona nei club di Indianapolis prima di unirsi nel 1948 alla big band di Lionel Hampton, dove incontra Charles Mingus, Fats Navarro e accompagna perfino Billie Holiday.
Con i fratelli Buddy e Monk fonda The Montgomery Brothers, incide diversi album e attira l’attenzione di Cannonball Adderley, che lo introduce alla Riverside. Il suo primo album da solista, Fingerpickin’ (1958), rivela un tocco sottile e creativo.
Ma è The Incredible Jazz Guitar of Wes Montgomery (1960) che consacra il suo stile inconfondibile: pollice al posto del plettro, ottave cantabili, fraseggio fluido e articolazione esemplare, come dimostrano West Coast Blues e Four on Six.
Successivamente collabora con George Shearing, si esibisce al Monterey Jazz Festival, suona con John Coltrane e registra con il pianista Wynton Kelly il capolavoro Smokin’ at the Half Note (1965), uno dei migliori album live di jazz. Nello stesso anno vince un Grammy per Goin’ Out of My Head. Wes Montgomery riesce a unire rigore artistico e successo di massa senza rinunciare alla musicalità.
Lascia un’impronta indelebile nella storia del jazz, ridefinendo la chitarra jazz con un approccio tecnico, emozionale e risolutamente moderno.
Wes Montgomery: the reinvented elegance of jazz guitar
A self-taught guitarist with an exceptional ear, Wes Montgomery remains one of the most influential figures in modern jazz. Born John Leslie Montgomery into a modest family, he discovered the guitar at nineteen after being moved by Charlie Christian’s Solo Flight. He honed his craft in Indianapolis clubs before joining Lionel Hampton’s big band in 1948, where he worked alongside Charles Mingus, Fats Navarro, and even accompanied Billie Holiday.
With his brothers Buddy and Monk, he formed The Montgomery Brothers, recorded several albums, and caught the attention of Cannonball Adderley, who helped him land a deal with Riverside. His debut solo album, Fingerpickin’ (1958), showcased his subtle and inventive playing.
But it was The Incredible Jazz Guitar of Wes Montgomery (1960) that firmly established his distinctive voice: thumb instead of pick, singing octaves, fluid phrasing, and impeccable articulation, as heard on West Coast Blues and Four on Six.
Montgomery later collaborated with George Shearing, performed at the Monterey Jazz Festival, played with John Coltrane, and recorded the renowned Smokin’ at the Half Note (1965) with pianist Wynton Kelly—widely regarded as one of the greatest live jazz albums. He also won a Grammy in 1965 for Goin’ Out of My Head. Wes Montgomery managed to blend artistic integrity and popular success without sacrificing musicality.
He left an indelible mark on jazz history, redefining jazz guitar with an approach that is technical, emotional, and unapologetically modern.
