He noticed that Montgomery often played the same note simultaneously in three octaves, creating a unique harmony. So I said I’ll play like this till I get ready to play out, and then I’ll get me a pick. Today, Coryell still finds Wes’s music as extremely relevant: “A lot of us [guitarists] have gone back and re-examined the importance of Wes Montgomery in our formation and our roots. /Type /ExtGState Eubanks came to prominence during his residency with Art Blakey and The Jazz Messengers. Ron. Places I've taught: The song was, in some ways, simpler than the music he listened to in high school, but it was also deeper. PDF file for this lesson: Wes Montgomery’s solo on “Billie’s Bounce” from Fingerpickin ’ Wes Montgomery’s concept of time. Title: Microsoft Word - SJW_audition_requirements.doc Author: n.koch … Remler’s most famous quote is a direct allusion to Wes Montgomery: “I may look like a nice jewish girl but inside me there is a big black guy with a huge thumb.”. I actually played with Larry one time and the only thing he said to me was “well, you sound pretty good. /Annots 15 0 R /CSp /DeviceRGB Those octaves, a signature Montgomery technique, draw the listener’s focus to the melody, which Frisell came to see as the “backbone of music.”Now a master melodist himself, Frisell says Montgomery’s music drove him “to find out what jazz was.” In the summer of 1968, while Frisell was devouring as much Montgomery as he could find, the Newport Jazz Festival launched a tour that included the guitar virtuoso.”. He had a better pocket than anyone; his solos were a kind of rhythmic/melodic lead playing that always had incredible content. I had a good job as a welder so I bought me a guitar and amplifier and said now I can’t do nothing but play! /F8 8 0 R He sounds like Wes Montgomery!,” according to the average casual Kansas City jazz fan”. Realmente un trabajo excelente!!! Your analysis of his various methods is a true delight. CNN (National) The student listened to a recording of the music, picked out the tune on his guitar, and immediately became hooked. In fact, it is literally impossible to fully notate a Wes Montgomery solo. /F9 9 0 R By doing that you start building up your own vocabulary. /SA true As an upcoming guitarist, Benson had the privilege of learning and interacting with  Wes Montgomery directly: “West Montgomery was a very good friend. Please note that the measure number proceeding each statement should correspond with the notation provided: *Before approaching each phrase of the solo, be extremely conscious of the techniques employed. View all posts by allegedartist, Zeroing in on these contemporary guitarist’s take on Wes really sends it home. Waltz Audio Eventually I got an expectable take and I was one step closer to reaching some of my personal goals as a musician. Here, he relates his simple methodology regarding the development of a jazz guitar vocabulary: “I have my students listen to people like Grant Green and Wes Montgomery. Basically, I did everything I could do to emulate and sound like Wes. NPR’s morning edition did an article on Bill Frisell on May 17, 2004. endobj Below you will find a series of poignant quotes from guitarists regarding the importance of Wes Montgomery’s music. endobj /Type /Catalog /Title (��) >> To hang out with him was an extra privilege. Of course, I would never suggest that a player should make a habit of blatantly lifting Wes’s lines and rehashing them in their own solos. I got a box of picks because I felt sure there would be the right one in there for me. If my performance were transcribed, it would look correct on a piece of paper. Pat, tells the story of the first time he met Wes Montgomery: “My mother and father took me to hear Wes with the Montgomery Brothers at a place called Pep’s here in Philadelphia. See, I couldn’t hear the difference in the sound as it is today, so I figured OK, I’ll just use my thumb. Change ), You are commenting using your Facebook account. People I've played with: /XObject << Not to mention his virtuosic technique which Wes described in a rare interview: “When I started I bought the whole works. /ColorSpace << In several passages, Wes employs a series of Pull-offs and hammer-ons. The notation would be too cluttered and arduous to even look at. I simply consulted my personal archive of magazines, books, and Internet resources. Jesse Henderson (The Rolling Stones, The Cars, Bad Brains, Aerosmith, Arlo Guthrie, Pat Metheny) Every instrument seems to have a prophet, like Coltrane was to tenor- we’re talking modern stuff, …… But Wes seemed to lay the guitar out like Bird [Parker] did on alto. These passages are lifted from that article: “In 1967, a Colorado high school band director asked one of his students to learn a song for the school talent show. That’s how it worked for me. Wes’s technique here is similar to Django Reinhardt’s, who was a definite influence on him. It changed my whole perspective!”. Thanx for the nice comment man. In fact, I don’t think Wes’s harmonic ideas should be the focal point of these transcription studies. /PCSp 5 0 R The first was 1972’s. In his autobiography he actually relates the story of how he met Wes Montgomery and played his solo on “West Coast Blues” for him note for note.