Wes Montgomery: One Night in Indy

WesMontgomery_OneNightInIndyWes Montgomery and Eddie Higgins jamming in 1959

After several decades with no newly discovered material, Wes Montgomery’s catalog has expanded rapidly in the past few years. First came Echoes of Indiana Avenue, a collection of live material from late-50s dates in Indianapolis clubs. Next was the 2-CD In the Beginning, collecting live and studio material from Montgomery’s early years. And now, for the first time since it was recorded fifty-seven years ago, a one-of-a-kind date between Montgomery and pianist Eddie Higgins. The pair are accompanied by the esteemed drummer Walter Perkins and an unidentified bassist on forty minutes of pop and jazz standards, including Duke Ellington’s “Prelude to a Kiss” and Thelonious Monk’s “Ruby, My Dear.”

Recorded at the Indianapolis Jazz Club, the performance was recorded by club members (the IJC was more a club of jazz aficionados than a nightclub) and passed along the decades until it reached noted photographer Duncan Schiedt. Schiedt contacted producer Zev Feldman with the idea of getting the tape issued, and two years later, here it is: the only known document of Montgomery and Higgins playing together. Originally released on limited-run vinyl in 2015, the tape now makes its debut on CD. The sound quality is very good, especially so for a hobbyists recording, with all instruments having good presence, a surprisingly solid bottom end and warm tone. There’s some distortion in places, but it never get in the way of enjoying the music.

The mood is relaxed, and Higgins and Montgomery warm up to each other quickly on a breezy, swinging run through “Give Me the Simple Life.” Montgomery and Higgins each play extended solos, with Higgins’ light touch providing relief for Montgomery’s more forceful lead, and there’s also some playful back-and-forth before the quartet returns to the theme. The tempo heats up for “Stompin’ at the Savoy,” cools for a romantic pass at Neil Hefti’s “Li’l Darling,” and closes with a fiery ending to Cole Porter’s “You’d Be So Nice to Come Home To.” Among the material recently added to Montgomery’s catalog, this may be the most unexpected, given the lack of history between the principals, and the most surprising, given their quick chemistry. [©2016 Hyperbolium]

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