While it may be difficult to play both octaves when you first start out, after a bit of practice the technique becomes much easier. You can also try whistling the pattern; the melody notes would be the notes that you’d whistle (if you were to whistle a late-stage Wes Montgomery solo). As an Amazon Associate we earn from qualifying purchases. By removing all of the extraneous notes and extensions from the makeup of the chords, you can analyze how Montgomery manipulates the central emotions of the sound throughout very detailed chord changes during his solo. Wes Montgomery is possibly the most famous jazz guitarist in history. While its incredibly high price tag sets the L-5 out of reach for most players, it’s the model that Wes used for the vast majority of his career (including practically all of his most famous recordings). Playing notes in octaves creates a warmer, fuller sound with a natural chorus effect between the two different notes. The interior label visible through the treble … On the other hand, chordal solos have become so recognizable as one of Montgomery’s tactics that breaking out a chordal solo on a tune at your local jam session may sound forced and out of step rather than seamless and virtuosic. Take a listen to this recording below: After a little while soloing with single notes, Montgomery would shift gears and play notes in octaves. Indeed, Montgomery developed most of his impeccable rhythm and swing feel from players like Christian and other swing-era big bands. The most famous of these models may be the Joe Pass Emperor model. This year marks the 50th anniversary of the death of Wes Montgomery, the great jazz guitarist. It is a hollow-body carved-top (spruce top, maple back and sides) guitar and it was plugged into very clean sounding amplifiers. Learning how Montgomery built his solos from the ground up is an essential part of learning how to play guitar like he did. Read the complete Montgomery Top-5 Solo Albums post here. Watch him on video, you'll understand! For the jazzers, I am looking at both a standard L-5 (25 1/2 scale, two humbuckers) and the Wes Montgomery model (24 3/4 scale, one humbucker). Chordal soloing can take years to master, but the final results are stunning. While they’re still strong for jazz, they’re versatile enough to play country, classic rock guitar, and other genres as well! Notice how he uses some syncopated rhythm and repetition to create a swinging, bouncy feel out of a harmonically simple idea. The performance includes some great guitar performances from Wes Montgomery and has one of bassist Ron Carter's first studio dates. Include the original Gibson hardshell case. The guitar … Jazz Guitar Custom Shop, Wes Montgomery Signature Model, 17" Body, Top: High Grade Spruce, Back and sides: High Grade Maple, Neck: Maple/walnut, Fretboard: Ebony, 20 Frets, Scale: 648 mm, Pickups: … Check out the lick that Wes plays at 1:35 in the video above. They’re also less prone to feeding back (though they still aren’t as easy on the ears as solid-body guitars!) In the 1940s the model became the rhythm box of choice for big band players and later the standard guitar for Wes Montgomery, who would eventually receive a custom model. Though Montgomery could burn up the fretboard when he wanted to, he often eschewed abstract scale runs for hard-edged rhythmic lines. By learning about Montgomery’s influences and habits, you can structure your solos like he does and better assimilate his feel and patterns into your own playing. This sort of repetition is common in 12-bar blues, particularly during vocals on verses. Hardly an obscure jazz guitarist , along with Charlie Christian and Django Wes is one of, or perhaps the greatest influence of jazz guitar. Because it’s difficult to fret both notes at the same time (almost always with a muted string in between), Montgomery’s lines became much simpler after he switched to octave playing in his solos versus when he played only single notes. Even if you can’t manage to fret both octaves, try to transcribe some of Wes’ octave lines and pick up the pulsing rhythmic feel. Montgomery, as many jazz players will tell you, created vast swaths of the language of modern jazz guitar. Beyond that axe, you can find a ton of other hollow-body guitars that can give you a great approximation of the woody, thick L-5 sound. "The Wes Montgomery L-5CES built today by Gibson Custom is built to the same specifications as the instrument used by Montgomery in the 1960s Gibson also produced it briefly as a production model … Nostalgia runs rampant as visions and memories of Wes Montgomery's Movin' Wes come flooding back. If you've never tried it, take 10 minutes and experiment with just the thumb, it's addictive! If you’re more comfortable playing with all of your fingers, you may be able to mimic Wes’ tones by playing traditional fingerstyle guitar. The CT model was first constructed for George Gobel, who wanted a less bulky guitar. However, even compared to fingerpicking, the Montgomery thumb technique sounds distinct. Nailing the particulars of his style can be very difficult — but if you’re looking to try, this guide is a great place to start. In great shape and have lots of life left in them other influences of language... Specific situation, he could use the side of his techniques, this maybe! 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