The surgical physical care for was recorded alive at Tsubo inward Berkeley, California on June 25, 1962. The session featured a quintet that included Wynton Kelly on piano, Johnny Griffin on tenor saxophone, Paul Chambers on bass, as well as Jimmy Cobb on drums.
The original unloose was on the Riverside Records label. There stimulate got been a number of reissues of the recording, almost including alternate takes of several tracks. Influenza A virus subtype H5N1 1987 CD unloose on Riverside Records/Original Jazz Classics was digitally remastered past times Danny Kopelson at Fantasy Studios inward Berkeley, California. Influenza A virus subtype H5N1 to a greater extent than recent, 2007 Riverside unloose features additional bonus tracks.
That's how many stars this incredible Live recording rates. There are therefore many special moments, musically, to treasure hither that it's difficult to know where to start. Wes' handling of "I've Grown Accustomed To Her Face" is a solo showcase for his genius for musical dynamics - the way he thumb-strums the melody; the way he pauses as well as 'slurs down' on the 2 "words", referencing the lyrics; the way he intro's (and 'out-ros') inward a dissimilar key...the side past times side minute that comes to hear is inward "Blue 'N Boogie". Wes gets off some motorcar gun licks, as well as therefore hands it off to Wynton, Paul, as well as Jimmy. Listen to how Jimmy Cobb shifts the dynamic of the compaction at the start of Wynton's tertiary verse, bumping the off-beat as well as rim-clicking the 2/4 - literally creating a novel grade for Wynton to become to (which he does, amongst a Red Garland-esque block chord ending). The almost amazing affair of all is that this is all a prelude to Johnnie Griffin's solo, followed past times all or therefore 'trading fours' to the end. It's a hospital inward dynamics, group-style. On the side past times side track, "Cariba", Wes gives a hospital on how to build, chorus after chorus, upon each previous statement. I call upward it may live on i of his best solos of the night. Every rail could live on broken downwards into these form of moments (I'll spare you...), but the betoken is that this band - specifically Wes amongst the Wynton Kelly trio, every bit Johnny Griffin is sweetness icing on that cake, was i of the tightest, almost dynamic jazz units to ever grace a stage. What a minute inward Time that nighttime must stimulate got been. What a CD this is.
Forget "The Incredible". This is Wes's masterwork, performed alive amongst a band in conclusion upward to his genius. Despite all the praise he got every bit a player, I call upward this album makes the declaration that he's STILL under-appreciated. His solo on "Blue N' Boogie" is every bit fine a slice of spontaneous composition every bit exists. If yous similar jazz guitar, if yous similar jazz... hell, if yous similar music, don't expression some other second. Get it.
"Smokin at the Half Note" is unremarkably touted every bit Wes' best recorded run as well as understandably so. However, inward my opinion, "Full House" makes for a much ameliorate record. "Smokin'" every bit orginally issued is a piecemeal recording. Only the starting fourth dimension 2 cuts are recorded live. The other tracts were recorded subsequently at the Van Gelder Studios. Subsequently, "Willow Weep for Me" was issued posthumously containing the other tunes from the Half Note dates but amongst the cuts unfortunately overdubbed amongst a horn section. The almost exciting cutting from the Half Note dates, "Impressions" was absent from both records, entirely to look on a subsequently Verve collection. Just way besides much tampering amongst a alive surgical physical care for for my taste. Full House is unadulterated as well as Wes plays amongst simply every bit much fire. The feeling of "actually beingness there" is much ameliorate represented past times this record. My entirely electrical load is the needless repetition of the same songs i correct after the other. If you're going to set on alternate performances, set them at the goal of the tape for crying out loud! Still, Full House is therefore practiced inward spite of this that I can't convey myself to give it anything less than v stars. If I could entirely ain i Wes cd it would live on this one.
I dearest guitar jazz. Real guitar jazz, non the watered downwards sap they play on 'smooth jazz' radio or the avantgarde dreck intellectuals play at their dinner parties. The category is chock total amongst wonderful players, both living as well as dead; alas, Wes is no longer amongst us, but his influence is all over the place. He was a peachy technician but also a bright interpreter who could compass gorgeous tone, as well as sometimes slipping into schmaltzy popular modes. None of that on this disc, sparkling as well as freshly-remastered, that showcases Wes at the absolute transcend of his game...and of the guitar jazz heap.
As i of the almost influential jazz guitarists of all fourth dimension (second entirely to perchance Charlie Christian), Wes Montgomery created a vocabulary of techniques as well as mannerisms for jazzers similar to how Andres Segovia did for classical players. His trademarks - octaves, extended block chord solos, as well as inward a higher house all, melodicism - blew many away inward the forceful way which Wes employed them. I experience that on this release, Full House, Wes demonstrates his talents every bit a bandleader as well as histrion ameliorate than almost of his recordings, except for perchance the legendary Smokin' at the Half Note.
The applied scientific discipline on this tape is superb; every musical instrument comes through inward the mix loud as well as clear, yet retains a special spot inward the good spectrum as well as blends nicely amongst the other instruments. I personally ain the 20-bit remaster, but it sounds to me similar the basic mix itself was pretty practiced to start out with.
This is i of the almost superb bands that jazz has perchance ever seen. We stimulate got the esteemed Wynton Kelly trio, amongst Wynton Kelly on piano, Paul Chambers on bass, as well as Jimmy Cobb on drums, to dorsum upward Wes, of course, as well as also on this occasion the formidable talents of saxophonist Johnny Griffin (who would dyad amongst the same quartet on several subsequently dates). Wes as well as Johnny oft harmonize on the melodies, especially on "Cariba" as well as "S.O.S.", as well as it plant quite well, especially amongst the notable departure inward tone colouring betwixt their instruments. Griffin has a good that I can't quite pivot down; to my ears, it doesn't good distinctly similar whatever of the sax masters, therefore it's a surprise that he isn't ameliorate known inward the jazz canon. Regardless, his playing is superb as well as he goes toe-to-toe amongst Wes on nearly every cut.
The blues is inward rigid trial on this record, every bit amongst almost Wes recordings; "Cariba", inward fact, is at its marrow a basic 12-bar Latin blues, amongst a unique bassline that gives it a piddling chip of a distinctive sound. "Cariba" is also the cutting amongst the best Wes solo (although "Full House" comes rather closed every bit well). Really, the whole ensemble plant together to brand an overall appealing sound, as well as it's non simply similar the musical rhythm department is ticking away spell the soloists blow. The drummer as well as Wynton are e'er inward tune amongst the soloists, whether they're doing repeating riffs as well as Cobb comes inward amongst a few synchronized cymbal hits, or the soloists mensuration it upward dynamically as well as the musical rhythm department follows them all the way. This is a piddling to a greater extent than evident on Smokin' at the Half Note, but that was several years later, when Wes had been playing amongst Wynton's trio on a regular basis; this is the genesis of their collaboration, as well as it's an impressive one.
So why entirely 4 stars if the tape is overall incredible? Well, having multiple takes of the same vocal to fill upward infinite on a jazz tape is non something I am specially fond of. It makes it a piddling difficult to hear to the tape similar a shot through multiple times as well as non larn a piddling annoyed. Plus, each extra stimulate got is pretty routine. Also, the rail selection is non quite perfect; "I've Grown Accustomed to Her Face" was non a practiced choice, every bit Wes's chord-melody playing is nowhere close his octave- or single-note talents. He is a main chord soloist, true, but he can't play chord-melody similar Joe Pass or anything. Also, "Come Rain or Come Shine" is form of a substandard tune on the tape - non bad past times whatever means, but every other rail is killer, therefore it weighs downwards the others a bit.
This is all the same a rattling worthy purchase; the band is hot, as well as therefore are Johnny Griffin as well as Wes, as well as that's pretty much the substitution selling betoken of whatever peachy jazz record. If multiple takes don't bother yous much, this tape is entirely to a greater extent than recommended. For everyone else, it's all the same a peachy album to simply patently hear to; it's non deadening similar some jazz records, due to the incredibly dynamic playing of the band. Plus, hearing Wes alive is pretty much the entirely way to go, as well as that's likely the best compliment I tin give. I'm certain the lodge was a Full House on this nighttime for sure.
Track listing
Original Issue
"Full House" (Wes Montgomery) – 9:14
"I've Grown Accustomed to Her Face" (Alan Jay Lerner, Frederick Loewe) – 3:18
"Blue 'n' Boogie" (Dizzy Gillespie, Frank Paparelli) – 9:31
"Come Rain or Come Shine" (Johnny Mercer, Harold Arlen) – 6:49
"S.O.S." (Montgomery) – 4:57
"Born To Be Blue" (Mel Torm̩, Robert Wells) Р7:23
2007 Reissue past times Riverside
"Full House" (Wes Montgomery) - 9:16
"I've Grown Accustomed to Her Face" (Lerner, Loewe) - 3:29
"Blue 'N' Boogle" (Gillespie, Paparelli) - 9:38
"Cariba (Take 2)" (Wes Montgomery) - 9:41
"Come Rain or Come Shine [Take 2]" (Arlen, Mercer) - 6:57
"S.O.S. (Take 3)" (Wes Montgomery) - 5:03
"Cariba" (Wes Montgomery) - 8:28
"Come Rain or Come Shine" (Arlen, Mercer) - 7:21
"S.O.S." (Wes Montgomery) - 4:49
"Born to Be Blue" (Tormé, Wells) - 7:27
"Born to Be Blue (alternate take)" (Tormé, Wells) - 7:35
Personnel
Wes Montgomery – guitar
Johnny Griffin – tenor sax
Wynton Kelly – piano
Paul Chambers – bass
Jimmy Cobb – drums
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