Album Reviews

Only side one was actually recorded live at New York's now shuttered Half Note back in June of 1965; the other side was taped during an Autumn studio date at Van Gelder's place in Englewood Cliffs, NJ. The Kelly Trio, which included Jimmy Cobb and Paul Chambers — the rest of Miles Davis' former rhythm section — is joined by one of the world's most original jazz guitarist, the late Wes Montgomery, on a smooth set that goes down easy both because of the straight-ahead swing of the playing and Van Gelder's superb recording. The live side captures Montgomery's rich sound better than any other recording I've ever heard, and the studio side is only down a notch from that.

Don't expect a true stereo perspective, though — it's a typical Van Gelder soundstage with Montgomery hard left, Cobb hard right, and Kelly's piano and Chambers' bass dead center. More importantly, instrumental timbres are superbly rendered due to the fairly dry, close-miked recording's wide-open frequency response and lithe sense of dynamics.

The group leader plays the gracious host, letting Montgomery run away with much of the show, though Kelly takes a nimble one-note-at-a-time solo on "Four On Six." Otherwise, the interplay between the two is the disc's most notable musical feature. Kelly flirts around the middle range of the piano, right in the warm region where Montgomery likes to play, and the way the two stay out of each other's way is truly remarkable. When Kelly comps, Montgomery runs, and vice-versa.

The opener, a hot take on Miles Davis's "No Blues" should get your adrenaline pumping and it should stay pumped throughout.

Not one of the most "important" jazz records, but a worthwhile addition to any vinyl collection — certainly one every Montgomery fan will want, both because of his playing and because of the accuracy with which Van Gelder captures his signature sound. It is absolutely sensational!

A Speakers Corner edition issued in the late 1990s mastered by Duncan Stanbury at New York's Master Cutting Room from the original analog master tape sounds clean and warm, and the German plating and 180 gram pressing, is exemplary. Add a rich-looking and -feeling laminated gatefold jacket and you have a superb package. A more recent one from Sundazed's Euphoria label was clearly cut from a digital file and though moderately priced, is money wasted in my opinion.

However, the double 45rpm version from Analogue Productions cut by the late George Marino from the master tapes absolutely smokes the Speakers Corner version, good though it is. This is among the most exciting live recordings (side 1) and if your system is up to it, easily creates the illusion that Wes Montgomery has set up his guitar amp on the left side of your room and is playing just for you. It's that good! Beyond very highly recommended. It's a mandatory purchase! I can't comment on the packaging quality as I have test pressings.