Retro Reviews: Wes Montgomery: Goin' Out Of My Head

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is a lesser-known album.

Wes Montgomery – Goin’ Out Of My Head (1966)

****

Producer: Creed Taylor

Musicians: Wes Montgomery, Phil Woods, Jerry Dodgion, Bob Ashton, Romeo Penque, Danny Bank, Ernie Royal, Joe Newman, Donald Byrd, Danny Moore, Jimmy Cleveland, Quentin Jackson, Wayne Andre, Tony Studd, Herbie Hancock, Roger Kellaway, George Duviver, Grady Tate, Candido Cameron, Oliver Nelson, Johnny Pate

Music: Goin’ Out Of My Head, Once I Loved, Boss City, Chim Chim Cher-ee, Naptown Blues, Twisted Blues, End of a Love Affair, It Was a Very Good Year, Golden Earrings

Reviewed By Matthew Anthony Allair

    Wes Montgomery has become a guitar jazz figure of great importance in this decade, he is able to infuse many elements that have come before and most certainly has taken steps from Charlie Christian, but his use of octave lines and his dexterity did set him apart from Kenny Burrell and Jim Hall - all are great players that offer unique flavors. Wes’s run with Riverside represented a post-bop sensibility of exceptional records, with only a few hints of the pop leanings he would traverse with albums like Fusion! With Strings from 63. But things change, and his new tenure with Verve has leaned towards a more mass appeal focus, Producer Creed Taylor has taken things into new territories with how Wes is presented, sometimes with mixed results for anyone who remembers his Riverside years. The new album features a roster of talented jazz players, and arranger Oliver Nelson manages to channel the sensibility of Gil Evans, Claus Ogerman or Neal Hefti. The rhythms do indeed swing, and the orchestral accents manage of big band feel. But for most of the album the pop numbers constrain Wes, while his originals liberate him, which we will get into in a moment.

    The title track has become a popular number as of late. Wes's guitar is accented by the rhythm and some brief freedom near the end. “Once I Loved” is a Brazilian number with a light touch, there’s a hint of the Evans sensibility in the arrangement. When Wes is allowed some expression, it is interesting. The number from Mary Poppins, “Chim Chim Cher-ee” is given a vibrant tempo with the full orchestra, and a baroque oboe section, yet Wes manages a good work out with his passages. Yet it is his three originals that Wes feels like he is at his most free. “Boss City” starts with laid back feel, but once the head has established with the horn accents, Wes’s blues origins shine through and we are back to what people of his earlier work, the piano and drums have a playful aspect to lift this up. “Naptown Blues” is the most full band swing number on the album, the rhythm section holds it together while the horns step out, Wes offers some clever cordial work near the last half. “Twisted Blues” offers another fast tempo and Wes's lead work sounds joyous as he offers some of his best guitar runs on the album. 

    In this, Verve was wise to let him show case his originals once again. The standard “The End Of A Love Affair” has an introspective read and the closest to having an Evans or Ogerman feeling with its backing. His lead work here is more pleasant and easy to take in. Billie Holiday had already done a haunting read on this piece in 59. Another number that had been big for Sinatra, “It Was A Very Good Year” that had been done the year before, this allows Wes to ease back with a more outside percussion line in the middle section. Has a darker resolve near the end. The closer “Golden Earrings” has a more settled, pensive tone with the drums allowed a freer structure, with some more Evans flavored accents with the orchestra. The tempo doubles up in the second and Wes is allowed some more space. 

    Another album - like Bumpin’ before it - that allows Wes to not completely abandon his past, this instrumental album should do well for him – it strikes a good balance.