Full House is the seventh album and first live jazz album by American jazz guitarist Wes Montgomery, released in 1962.
The performance was recorded live at Tsubo in 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, and Jimmy Cobb on drums.
Wes Montgomery's recording of his June 25, 1962 live performance at the Tsubo Jazz Club in Berkeley, California intersects significantly with two recent Resonance releases. One intersection involves the Wynton Kelly trio, comprised of pianist Kelly, bassist Paul Chambers, and drummer Jimmy Cobb. It was with this same trio that Montgomery would record his essential Wynton Kelly Trio with Wes Montgomery: Smokin' at the Half Note (Verve, 1965) and then, later, be captured with on Smokin' in Seattle: Live At the Penthouse 1966 (Resonance, 2017). The second intersection involves the presence of tenor saxophonist Johnny Griffin, performed with Montgomery at Tsubo and later on In Paris: The Definitive ORTF Recording (Resonance, 2018). These intersections justify a re-assessment of Full House, which has not previously been addressed at All About Jazz.
Montgomery had already established himself on the jazz map in 1960, with The Incredible Jazz Guitar of Wes Montgomery (Riverside). He would proceed to record five more albums as a leader before waxing his fist live recording at Berkeley's Tsubo Jazz Club. Not unlike organist Jimmy Smith, when Montgomery began recording, he did so a fully-formed artist, appearing as if from nowhere. Montgomery was an autodidact who would not read music. His ear was note perfect and his illiteracy with scores was in no way an impediment to his playing. He proved that he could play anything with anybody.
That fact is made abundantly clear on Full House where Montgomery's repertoire included ballads ("Come Rain or Come Shine," "I've Grown Accustomed to Her Face), bebop ("Blue 'N Boogie"), had bop ("Full House"), and Latin jazz ("Cariba"). The title song would go on to become a centerpiece to Montgomery's live performances. Montgomery seems never to have played anything lacking his inate mirth and happiness. In that he had an amiable Midas Touch that made his performances uplifting and immediately identifiable. Montgomery had a tangible simpatico with Kelly, both being superb blues and ballads players. When unison playing, the two are of one mind, that of swing and propulsion. Griffin's presence adds a woody organicness that is both fecund and free. Occurring about a third of the way through Montgomery's 10-year recording career, Full House was a glimpse of what was to come and be lost all too soon.
By C. MICHAEL BAILEY
January 12, 2018
https://www.allaboutjazz.com/full-house-by-c-michael-bailey.php
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Full House es el séptimo y primer álbum de jazz en vivo del guitarrista de jazz americano Wes Montgomery, publicado en 1962.
La actuación fue grabada en vivo en Tsubo en Berkeley, California el 25 de junio de 1962. La sesión contó con un quinteto que incluía a Wynton Kelly en el piano, Johnny Griffin en el saxofón tenor, Paul Chambers en el bajo y Jimmy Cobb en la batería.
La grabación de Wes Montgomery de su actuación en vivo del 25 de junio de 1962 en el Tsubo Jazz Club de Berkeley, California, se cruza significativamente con dos lanzamientos recientes de Resonance. Una intersección involucra al trío Wynton Kelly, compuesto por el pianista Kelly, el bajista Paul Chambers y el baterista Jimmy Cobb. Fue con este mismo trío con el que Montgomery grabaría su esencial Wynton Kelly Trio con Wes Montgomery: Smokin' at the Half Note (Verve, 1965) y luego, más tarde, sería capturado con en Smokin' in Seattle: Live At the Penthouse 1966 (Resonancia, 2017). La segunda intersección implica la presencia del saxofonista tenor Johnny Griffin, interpretado con Montgomery en Tsubo y más tarde en París: La grabación definitiva del ORTF (Resonancia, 2018). Estas intersecciones justifican una reevaluación del Full House, que no ha sido abordada anteriormente en All About Jazz.
Montgomery ya se había establecido en el mapa del jazz en 1960, con The Incredible Jazz Guitar de Wes Montgomery (Riverside). Procedería a grabar cinco álbumes más como líder antes de engrasar su puño grabando en vivo en el Club de Jazz Tsubo de Berkeley. A diferencia del organista Jimmy Smith, cuando Montgomery comenzó a grabar, lo hizo como un artista completo, apareciendo como de la nada. Montgomery era un autodidacta que no leía música. Su oído era perfecto y su analfabetismo con las partituras no era un impedimento para tocar. Demostró que podía tocar cualquier cosa con cualquiera.
Este hecho queda muy claro en Full House donde el repertorio de Montgomery incluía baladas ("Come Rain or Come Shine", "I've Grown Accustomed to Her Face"), bebop ("Blue 'N Boogie"), had bop ("Full House"), y jazz latino ("Cariba"). La canción del título se convertiría en el centro de las actuaciones en vivo de Montgomery. Parece que Montgomery nunca tocó nada que le faltara a su alegría y felicidad incesantes. Tenía un toque de Midas amable que hacía que sus actuaciones fueran edificantes e inmediatamente identificables. Montgomery tenía un simpático tangible con Kelly, ambos eran excelentes jugadores de blues y baladas. Cuando juegan al unísono, los dos tienen una sola mente, la del swing y la propulsión. La presencia de Griffin añade una orgánica leñosa que es a la vez fecunda y libre. Ocurriendo alrededor de un tercio del camino a través de los 10 años de carrera discográfica de Montgomery, Full House fue un vistazo de lo que estaba por venir y se perdería demasiado pronto.
Por C. MICHAEL BAILEY
12 de enero de 2018
https://www.allaboutjazz.com/full-house-by-c-michael-bailey.php
Tracks:
A1 Full House 9:14
A2 I've Grown Accustomed To Her Face 3:18
A3 Blue 'N' Boogie 9:31
B1 Cariba 9:35
B2 Come Rain Or Come Shine 6:49
B3 S.O.S. 4:57
Credits
Bass – Paul Chambers
Drums – Jimmy Cobb
Guitar – Wes Montgomery
Piano – Wynton Kelly
Tenor Saxophone – Johnny Griffin
Label: Riverside Records – RLP 434
Genre: Jazz / Style: Hard Bop
Year Released: 1962
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