Oh, You Crazy Moon (Wes Montgomery’s version)

Wes Montgomery (electric guitar), Wynton Kelly (piano), Paul Chambers (double bass) and Jimmy Cobb (drums). From the album Smokin’ at the Half Note (1965).

The jazz guitar appeared as a result of the use of electric amplification to have more volume than with the acoustic guitar. This was necessary so that jazz guitarists could be heard in the big bands. With the acoustic guitar they could only play chords. Freddie Green, the guitarist in Count Basie’s band, developed a specific accompaniment style for the guitar and didn’t play a single solo in four decades. However, when the guitarists switched to the semi-acoustic guitar using amplifiers, they could begin playing solos.

The first one to take advantage of the possibilities of the electric guitar was Charlie Christian, who discovered new technical, harmonic and melodic possibilities becoming a great virtuoso that caused admiration. He was the first one to develop his improvisations on the transition chords he introduced between the basic chords instead of simply following the chords of the themes and replaced the characteristic staccato used by all previous guitarists with the legato, linking the notes of his phrases as if he were a saxophonist.

Among the first generation of guitarists after Christian are Barney Kessel, Jimmy Smith and Jimmy Raney. Kenny Burrell was the most relevant guitarist of the hard bop and Jim Hall was acclaimed for his collaborations with Oscar Peterson. Wes Montgomery was an outstanding guitarist who followed in the footsteps of Christian and George Benson is one of the best guitarists in the history of jazz. Among jazz fusion guitarists we have John McLaughlin, Al Dimeola and Pat Metheny, and among those of the contemporary trend are John Scofield, Ralph Towner and John Abercrombie.

After a brief introduction by the rhythm section, Montgomery enters to expose the theme, which is a sweet ballad, using octaves. Then Kelly comes in accompanied in an extraordinary way by Montgomery, making a refined and graceful solo that delights the listener. Montgomery then performs a short passage before re-exposing the theme and concluding with a moving ending.