More than four decades after his death, the music of Wes Montgomery continues to illuminate the jazz guitar world like a beacon. Following the recent discovery of the guitarist’s unreleased early recordings Jack Massarik reappraises the Indiana superstar’s life and work, dusts down a fascinating legacy of his early years and invites a range leading guitarists to explain just what his artistry has meant to them

He never used a pick, only the fleshy part of his right thumb. He never stood up but sat back, holding his guitar at a semi-horizontal angle, 45 degrees from his lap. His solos would swell into octaves and block chords, driven more swiftly and cleanly than most players can articulate single-string notes. There never was another guitarist quite like Wes Montgomery, and the appearance of a newly-discovered masterpiece by him just proves it.

His basic stats were simple. John Leslie ‘Wes’ Montgomery was a devoted family man born in Indianapolis on March 6 1925, which astrologically makes him a Piscean Ox, the sign of the contented family man with a hearty mealtime appetite. He raised seven children there and took up guitar relatively late. After an early taste of the road with the Lionel Hampton band he returned home to feed his growing family. On a typical day this would involve an eight-hour shift in a radio-parts factory, from 7am until 3pm. Then he would dash home for a late lunch, some practice and a nap before gigging at the Turf Bar between 9pm and 2am, followed by an all-night session at the Missile Room from 2.30 to 5am. This just left time for breakfast and a shower before returning to the electronics factory. Wes maintained this gruelling schedule for several years, during which the following remarkable album was recorded.

This is an extract from Jazzwise Issue #165 – to read the full article click here to subscribe and receive a FREE CD...