ARTIST mn i MONTGOMERY | ley | Gas 7 AaN MONTGOMERY ST fHAANRIPTINY FOR GUITAR Transcriptions by Fred Sokolow Photograph by: Chuck Stewart Courtesy of John Levy & Associates HAL*LEONARD*® CORPORATION yt © 1988 by Third Earn Produtlons ne. {and Hal Leonara Pbleing Gorporton, Ietoratenal Cooyrghe Secvred ALL RIGHTS RESERVED Pred n meUS.A Fora mae senators “armored soy rug aceena corsa or artaraee een set 8 Se Finis tae romeCONTENTS ae Introduction + 3 The Wes Montgomery Style +4 Some Additional Guitar Notation + 9 Discography + 10 The Tunes: Angel + 18 Boss City «It Bumpin’ +22 Bumpin’ On Sunset + 28 Far Wes + 34 Four On Six +40 Goin’ On Yo Detroit + 50 Movin’ Wes Part I+ $5 Movin’ Wes Part Il + 92 Mr, Walker + 86 Naptown Blues + 70 Road Song + 76 Serene +67 Tear It Down + 62 West Coast Blues + 82INTRODUCTION The songs in this book were transcribed “note for note” from Wes ‘Montgomery's records. They inelude examples from a wide range of his ‘recordings from the earliest to the last. In addition to the octave solos which made Wes famous, there are plenty of single-note solos and chord Solos herein. You'll get a thorough sampling of Wes" style. Chord grids ‘ore included to help you geta feeling for the particular voicings, passing ‘chords, and substitutions Wes used. i Playing octaves on the 6th and 4th strings: | Mlustrations No. 1 and No. 2 Uf you're involved in jazz guitar, these improvisations are almost essen- tat © your studies. As Joe Pass told an interviewer: “Wes, Django, and Charlie Christian form the three main influences in jazz guitar history-they’re the players who expanded everyone’s notion of what the ‘guitar can do. And as for Wes, although his single-tine solos were brit lant, his work with octaves and chords really broke new ground.” Neatly alt of the solos in this collection are on currently available recordings (even Wes’ earliest recordings have been re-released, so lis- fen to the music as you play and study it, One of the best ways fo learn ‘any style isto imitate the masters, and this collection of tunes includes Some of the best jazz guitar you'll ever hear. DEADEN THIS STRING Fred SokolowWES MONTGOMERY from "Far Wes" ATH ‘The blues and Charlie Christian were Montgomery's main carly influ. ences; he was hired for his first gles because he could play note-for-note Chari Christian solos. Yet, his playing siyle is highty original and free from guitar clichés, This may be because he also listened to Parker, Coltrane, and other horn players for ideas. It's also a function of his unusual techniques: he used his voumb instead of @ pick; he did more developed and faster octave sofoing than had ever been done; he had a unique, rapid chord-soloing style that no guitarist before or since has duplicated. SINGLE-NOTE SOLOING Like other post-bebop players, Montgomery's arpeggias often “spelled out” jazzy extended chords, such as augmented sevenths,flated ninths, or diminished sevenths, For example: AbTDO+His single-note solos often emphasized or highlighted the extended inter- vals of underlying chords-especially ninths. The highlighted interval ther Bogan a measure, was the lop note of an ascending arpegeto, or was a quarer or eighth nole among sixteenth notes. For example: from "Naptown Blues" O ge. From"Bumpiy 70) Eb9 ws" * Eber] (9) see from "Far Wes" Dmaj? ana? & 65) : Bonigomery also emphasized extended chord intervals in his octave solos, See “Road Song,” “Goin’ On To Detroit,” or any extended octave solo for samples. In order to play rapid triplet riffs and eighthoor sixteenth-note runs, Monigomery aften used these major and minor triad chord forms: fhe F from "Naptown Blues"OCTAVE SOLOING caves eventually became Montgomery’ irademark sound; i later recordings he used them more and more for playing heads of tunes and ‘for soleing—both on ballads and up-tempo numbers. The use of octaves didn’t stow him down; he played fast eighth-note runs and even geca- sional triplet licks. His octave sofoing resembled his single-note soloing in terms of phrasing and harmonic ehotces. One unusual octave technique Montgomery employed was the percus- sive, rhythmic oclave riff. Here are some samples: from "Mz. Walker” from "Tear it Down’ from "Boss City” -Monigoniery also played some unique “sliding-octave” riffs. For instance: from "Tear it Down" from "Boss City”‘Sometimes Montgomery used octaves tike percussive horn riffs ina big ‘band, In these samples from “Road Song” and “Naplown Blues,” he set up a repetitious octave horn riff and ad-libbed with chords, Between the ‘octaves: from "Road Song" pw Gm7 Am? Gm? Bm E7sus B9 Bom9 EbiI he from "Naptown Blues” Bb? FH9+ Bb7 F Finaj9 Bb AmT D7#9 ‘CHORD SOLOING ‘As you read and play the amazing, swift chord solos in these transcrip- sons, you'll recognize certain four-string chord forms Montgomery Jevored. Many of these are played on the top four strings: fl Fm ie HR EE Look atthe chord solos in “Bumpin? On Sunset," “Bumpin’,” and “West Coast Blues” o see how often these forms were used. Montgomery often played “sliing.chord riffs” simitar to the siding- ‘octave licks mentioned above: from "Naptown Blues" + pr Be’ AY Bb 607 "Gen? Am Abm7 Ay Bb Be Ar Am7 Gm7 Gbm? Gm? Bb"As he did with octaves, Montgomery also used chords to simutate repett- tious big band horn riffs, In these samples from “Bumpin” On Sunset” ‘and “Movin’ Wes Part IL,” he octave-soloed between horn-tke chord ‘chops. from "Movin' Wes' Part II" Fm9 Em9 te from "Bumpin’ on Sunset" Am These are some of Montgomery’ techniques and trademark sounds. Listen to them in context, His style, in is totality, was warm, bluesy, and soulful, yet harmonically progressive. It wes remarkably fresh and unique, fall of original ideas, Though he was fully in the mainstream of Jazz, his work stands apart for is originality and depth,SOME ADDITIONAL GUTTAR NOTATION Slide up tothe note indicated (from one fret back) Slide down to the note (from one fret higher) Ploy the note indicated and quickly side down several frets Trilt: play the writen note, the note above, then the written note again, Uke this: t 3 Connect the nows indicated by sti Use thunt, fingernait or pick to play rapid tremoto Play the written note and siretch (choke) the string up a half-toneISCOGRAPHTY ae 10 “ANGEL’—A DAY IN THE LIFE A&M SP 3001 Gune ’67) “BOSS CITY” —GOIN' OUT OF MY HEAD Verve 8642 (December °65) Re-issue: HISTORY OF WES MONTGOMERY Verve V6S 8813, “BUMPIN’"—BUMPIN’ Verve 8625 (May 65) Re-issues: BEST OR WES MONTGOMERY Verve 8114; RETURN ENGAGEMENT Verve. ‘V3HB 8839; HISTORY OF WES MONTGOMERY Verve V6S 8813 “BUMPIN’ ON SUNSET” —TEQUILA Verve 8685 (March & May °66) Re-issues: BEST OF WES MONTGOMERY Verve 87i4; HISTORY OF WES MONTGOMERY Verve V6S 8813; RETURN ENGAGEMENT ‘VerveV3HB 8839 “EAR WES” WES MONTGOMERY, BEGINNINGS Blue Note BN-LA 531 H2 (April ’58) Re-issues: JAZZ OF THE '60s VOL. 1 Pacific Jazz PI LA 8931; EASY GROOVE Pacific Jazz 20104 “POUR ON SIX” —THE INCREDIBLE JAZZ GUITAR OF WES MONTGOMERY Riverside RLP 12-329 & RLP 1169 (January ’60) Reissue: WHILE WE'RE YOUNG Milestone 47003 GOIN’ ON TO DETROIT’—DOWN HERE ON THE GROUND A&M. 3006 (December °67 & January 68) Re-issues: WES MONTGOMERY, GREATEST HITS A&M SP 4247; WES MONTGOMERY, THE FINAL YEARS A&M AMLP 8004 “MOVIN? WES? PART I*—MOVIN' WES Verve 8610 (November 64) Re-issue:BEST OF WES MONTGOMERY Verve 8714 MOVIN’ WES’ PART [I”—MOVIN' WES Verve 8610 (November °64) “MIR. WALKER" —CALIFORNIA DREAMING Verve 8672 (September *66) Re-issue: HISTORY OF WES MONTGOMERY Verve V6S 8813 “NAPTOWN BLUES”~-GOIN' OUT OF MY HEAD Verve 8642 ‘(December *65) Re-issues: BEST OF WES MONTGOMERY Verve 8714; RETURN ENGAGEMENT Verve V341B 8839 “ROAD SONG"—ROAD SONG A&M SP 3012 (May 68) Re-issues: WES MONTGOMERY, GREATEST HITS A&M SP 4247; WES MONT- GOMERY, THE FINAL YEARS A&M AMLP 800% “SERENE” —ROAD SONG A&M SP 3012 (May *68) “TEAR IT DOWN" —BUMPIN' Verve 8625 (May °65) Re-issue: WES MONTGOMERY, EULOGY Verve V6 8769 WEST COAST BLUES”—MOVIN' WES Verve 8610 (November '64) Re-isgues: RETURN ENGAGEMENT Verve V3EB-8839; TRIBUTE TO. WES MONTGOMERY Verve VLP 9221BOSS CITY by John L. (Wes) Montgomery This tune has more of a bluesifunk feel than most. Wes uses octaves throughout, and most of the soloing takes place over the Fm to Bb7 change repeated endlessly. Wes solos in a straight key-of-F tlues vein, Throughout the tune, he frequently sets up a simple riff and repeats it with variations, often creating a funky rhythmic lick which the bass and drums pick up. Other musical devices he uses to generate ideas and add variety include an unusual three-bar sliding riff (noted in the music); a five-bar sequence of quarter-note triplets; and a long (12 bar), repetitious percussive octeve riff, with variations, followed by a two-bar sliding-octave lick, dite Fm7 Bb7 Em? Bb? Fm? BLl+ D7b9_ Ab? G13 G13 Fm7 BLT To Coda Fm7 N.C. Fm7 N.C. Fm ___B7bS__Bb7 Copyright © 1966 Taggie Musie Co. (Division of Gopam Enterprises, Inc.) Interoational Copyright Secured Made In U.S.A. All Rights Reserved nHB7b5 Bb7 ‘B7bS BO? AbI3 G13. AbI3. Al3 Bbl3 B13 C13 Fm7 Bb? Fin? Bb7 Fa? Bo7 Fm7 BIH Bb7 A135 a Gbmaj7 Fu Bo7 Fm7 NC, Fm7 Bb? Fm7 Bb7 Fm? Bb? RFm7 B7 Bb? AbT q@ Gbmaj7 a, Fm7 BbT Fm? Bb7 Fm7 Bb? Fm7 Bb? Fm7 Bb7 Fm7 B7 Bb7 AbT a7 Gbmaj7 Fm Bb7 Fa? Bb? Ft? Bb7 Fm7 Bb7 3a m7 Gomaj7 Ab7 Fm7 Bor Fm7 oT BOT Fm7B? Bb? AbT G7 Gbmaj7 Fm? ‘Bb? Em? Bb7 Fm? Bo7 Fm? Bb7 Fm7 Bb7 Fm7 Bb? Fm7 Bb7 Fun? Bb7 Fm? Bb7 Fm7 Bb7 Fm7 B7bS isBb7 Ab7 oT Gbmaj7 Fm7 Bb? 3, Em7 Cm7 Fm7 Bb? Fm7 Bo7 Em? Bb7 Fm7 B7 Bb7 AbT a Gomaj7 Bin? Bb7 Modeme Swing | BTbS Bb7, B wi Cm? Em7 Bb7 po B7 16Bb7 Fm7 ED9 AbI3 DIHo G13 AbI3 co DS. ab Coda TAANGEL by John L. (Wes) Montgomery Wes plays typical octave-and single-note solos in “Angel.” During the bridge, he dis- plays his ability to play rapid sixteenth-note bebop lines-something he rarely did on the later records. Latin Rock % Em AT Em AT Bm7bS AT Bm7b5 AT Am7 Go maj? Bm7 Em AT ‘oCola im AT Em AT Em Dm9 G13 Cmaj7 Bm7b5 Am? B7(sus4) Em Dmg Copyright ©1967 Taggie Masic Co. (Division of Gopam Enterprises, Inc.) International Copyright Secured Made InUSA, All Rights Reserved 18Gi3 Cmaj7 Bm7b5 © BINS Em. AT Em AT Bm7bS AT Bm7b5 7 Am7 Go Cmaj7 Bm7 9Dmo G7 Cmaj7 BbI3 Am7 OG Fim BT EmAm? 69 Fim B] — DS.al Coda Em AT Em Ar Em AT Repeat and fade I 122 BUMPIN by Jobn L. (Wes) Montgomery Montgomery displays a very laid-back, bluesy single-note and octave-soloing style in “Bumpin’.” Notice the interesting chromatically descending fifths toward the end of the octave solos. There’s a typical sample of Montgomery's very unique chord soloing here in which he plays very rapid three-and four-note treble string chords. ‘Laid back swing Fm? BY . Fm? Bb? 2 Fm7 Bb7 Fm? Bo7 Bbm7 Bb? Bbm7 Eb7 Em? Bb7 Fm? Bb? Fm7 Bb7 Fm7 Bb? Fm Bb? Copyright © 1965 Tagrie Music Co. Division of Gopam Enterprises, Ine.) International Copyright Secured Mode In US.A. All Rights ReservedFm Bb7 Fm Bb? Bbm7 Eb9 Bom? Eb9 Fm Bb7 Fm Bb7 Db7 co Fm Bb7 Fm Bb7 Fm Bb? Fm Bb7 Fm BD7 Fm Bb? Bbm7 Eb9 Bom7 Eb9 Fm BT Fn Bb7Fm Bb7 Fm Bb7 Fm Bb7 es A | eo oti e (6 PEP ote, 6 oe x ¥ Bes: = - U oo Fm BT Fm Bb7 Bom] Eb9 Bbm7 Ebo Fm Bb7 Fm Bb7 Em Bb7 Fm Bo7 24Em BUT Fo Bb7 Fm BUT Fm Bb7+ b Fm9 Bb13 Bb7+ Fmd Bb13 Bb7+ Fmd Bb13 Bb7+ —,Fmd BbI3 Fm7 Bom? = Eb9--Bbm7_- Cm7 Bbm7 Cm7 C6 Db6 A‘ C’ Bbm7 Bb” gE cr FE Fm Bb7 B13 Bb13 Fm7 b Fm String solo 42. Bass solo Fm Bb? Fm Bb7 26Fm Bb? Fm Bb? Bbm7 Eo Fm Bb? Fm Bb7 times) Fm Bb? Bbm Repeat and fadeBUMPIN’ ONSUNSET by John L.. (Wes) Montgomery Except for a ten-bar bridge (at the beginning of the chord soloing), this is a long vamp on an A minor chord. Montgomery's octave solo is in a straight blues vein and is only unusuat because of the double-octave section; it’s a unique sound. During the chording A minor vamp, Montgomery bounces back and forth rhythmical. Iy between five or six A minor and D9 chords, Am oS : . ‘Medium Rock Copyright ©1966 Taggie Music Co. (Division of Gopam Enterprises, Inc.) International Copyright Secured Made In USA. Alt Rights Reserved30E99 Am Dm7 Em? Gisus, —ATsus. Em7 Fmaj7 Em? Dm Dm? Em? Dm Am7 Abm7 yo) Dm? Dm? BI Em7 Dm? Am? Em Am Dmg E7+9+5 Am7‘Am? Bm? D9 Am7 Bm? AT Amisus. Bm? = Am? | Amisus. Bm? Am7 Repeat and 9 cs | Am? Am7sus. C6 ant gots. 33FAR WES by Jonn L. (Wes) Montgomery This is a transcription of early Montgomery (1958). The composition and single-note performance are more bebop than later work. Notice, once again, Montgomery’s ten- dency to highlight the ninths and other extended chord intervals in his soloing. Some of these are noted in the music; they either begin a bar, occur at the top of an arpeg- gio, or get rhytlimic emphasis (a pause in a flurry of notes). Montgomery’s arpeggios often spell out extended chords. Most of the A7 and Ab7 chords, for example, are thus iransformed into augmented fifthiflat nine chords. Slow Swing B13 Emaj7 Abi3 Dbmaj? Al3 Dmaj7 into. ADT $6 Dbmaj7 Gbm7 B7 ‘Io Codo Emaj7 Em? AT Dmaj? Bm o Ebm7 Ab7 Dbmaj7 Emaj7 AT Copsright © 1977 Taggie Music Co. (Division of Gopam Enterprises, Inc) Unternational Copsright Secured Made In USA. AllRights Reserved 34Dbmaj Dbm Dbm#7/C Dbm7/B Dbm6/Bb Amnaj7 Em AT Ebm Ab7 Dbmai7 Gbm7 BT Emaj7 Em? AT Dmaj7 Bm Ebm7 ART 35Dbmaj7 Gbm7 B7 Emaj? : — * ch . ie oe 7 Em? AT Dmaj7 Bm —f = oe = oe Ebm7 AbT Fm7-5 Eo Ebm7 D9bS Dbmaj7 363 Gbm7 B7 Emaj7 ie ee 5 ft 2 as ~N Em? AT Dmaj? Bm Ebm7 Ab7 Dbmaj7 Ebm7 Dbmaj7 Dbm7 | Dbm#7/C | Dbm7/B Dbm6/Bb 7Same x Ebm Ab? Goubie ifneyE™ Ar b Dbmaj7 Emaj7 Em7 ATEbm? ‘ADT Dbmaj7 . DS. ab Coda Bbm AbT Horn and piano solos © 6 Ebm7 Ab7 Bmo AT ET Ebm7-5 A AbT+9 —_ Dbmaj9bs. 39FOUR ON SIX by John L. (Wes) Montgomery Much of Wes? soloing in this tune is based on the G blues scale and the Bb blues and major scales. As usual, for Wes, few blues cliches are found here, and the rhythinic phrasing and harmonic choices iend a bebop feel. For example, during the single- note and octave solos, Wes often comes to resi on the 91h, 6th, or Ith of the Gm chord. Near the end of the single-note solos, Wes plays four bars of augmented triad licks that are based on these chord forms; they have an abstract “outside” sound that is compounded by the fact that some of the licks overlap bars. aa FEE The “sliding riff” marked in the music is a unique Montgomery octave sound. The percussive tripletoctave riffs that follow are even more unusual. During this eight- bar sequence, the figure changes with the chord progression: Wes’ riff highlights the 9th of each underlying minor chord. This is an amazing feat when you consider that the passage is improvised and that Wes didn’t read a note of music. Wes used these two triad forms to play nearly all the rapid-fire triplets in the single note solos: Moderate swing r ry iff rift — Copyright © 1960 Taggie Music Co, (Division of Gopam Enterprises, Inc.) International Copyright Secured ‘MadeIn USA. Al Rights ReservedBbmaj7 (Guitar) Gm7 Am Bbmaj7 Gm7 D7 An? Fbm Am7 DTHo Ab7 DT#9 Bom Gm Eb7 ToCoda aGl cm7 Eb9 Am7 D7 Gm7 Bomaj7 Tey Am7 Dt Gm7 Eb7 D7 Gm7 a cm7 Eb Am7 v7 Ebm Ab7Am? DI Gm7 Eb? D7 Gm7 cm Eb9 Am7 D7 Gm7 Bomaj7 AmT pb? Gm7 44Eb9 Am7 D7 Bomaj7 Am7 D7 Gm? Bb7 Db? Gm7 Cm7 \ Ebo Am7.D7 Gm7 Bbmaj7 Am7 br Gm7 Eb? DT G7 Cm7 Eb9 AmT DT GmBomaj? Am7 D7 Gm7 a sitngaiy -—-——— EbT 3. Gm 3 3 3 3 Bbmaj7 Am7 D7 saad Gm7 Eb? D7 Gm7m7 Eb9 Am7 Bbmaj7 Am? DT Gm? Eb7 D7 DL. ab Coda 32 L—— sss soles) -——! L——— (Dram sole) ——Am DI Ebm Ab7 Gm7 Bomaj7 Am7 D789 Repeat and fateGOIN’ ON 10 DETROIT by John L. (Wes) Montgomery Wes plays octaves throughout the tune. The solos have an easygoing bluesy feel. As always, Wes emphasizes ninths and other extended chord intervals, Rock Beat G Gm7 Gm6 G Cm7 F139 Bm Em Am D 50 To Coda Copyright © 1968 Toggie Musie Co, (Division of Gopam Enterprises, Inc.) Intemational Copyright Secured ‘Made InUS.A. Al Rights Reserved~~~ (wings) —----------~--=------------------------- Cm] F13-9 Bm Em Am D oc Em AT AbT G St52 Cm7Em AT Em AT DC. al Coda 53‘S54MOVIN’ WES PART] by John L. (Wes) Montgomery Despite the passing chords and flat five substitutions in the head of the tune, this is a tweive-bar blues in G. Wes plays two choruses of octave solos in a bluesy vein; as in “Boss City,” he employs repetitious riffs and quarter-note triplets and keeps things simple harmonically, The chord soloing is much jazzier, with lots of tasty altered chords and some rapid diminished-and thirteenth-chord runs. Most of the diminished-chord sequences are made of G diminished chord substitutes for the dominant seventh C chord. Moderate Latin/rock rr AbT a Ab7 G7 Ab7 Copyright © 1964 Tageie Music Co. (Dislsion of Gopam Enterprises, Inc.) Internationol Copyright Secured ‘Maden US.A. All Rights Reserved 55.G7 Db? cr Db7 c7 AbT (8 fade) G7 AbT a Eb7 D7 Db co Ab7 G7 ABT G7. AbT a AbT 56Do ao GB Do Go D9+ Do+ G9e G13 G9+ oo s7© Gc cry G&G GC Gi3 G7 GI3 coG G¢ FH G9 FH9 G9 FH G9 FH G9 C13 p13 BbI3 Gis G9 C13. B13 BbI3 G13 Z) 3 wig 3 oo Cc? BT oo ¢13 AbI3. C13. C7 C13. GG DTA G7 3 Dm7 G7 DI3 D#13. C13c7 oe c SG gg Dra G7 DiH9 «G7 bz. @ AbT G AbT G Ab7 a7 Db7 cr Db7 7 Ab7 G Ab7 G7 D7 Db? a ADT G7 AD? G7 DS and fade . N ‘Ab7 59TEAR IT DOWN by John L. (Wes) Montgomery Montgomery's single-note solos in this tune have all the bebop trademarks: an emphasis on extended-chord intervals, unusual and interesting rhythmic phrasing, and the occasional use of augmented or diminished scales, During his octave solos, Montgomery sets up a big band riff, using chords for rhythm chops and soloing with octaves between the chord chops. Then he sets up a repeti- tious pattern with an odd sliding-octave phrase. Later he plays yet another sliding- octave phrase which overlaps bars. Notice the characteristic percussive sixteenth- note octave riffs sprinkted throughout. After the single-note solos, the tune's chord progression is abandoned in favor of a vamp on the Cm9 chord. Fast Swing " é is 4 oT: 5 ee | SS : Bb7 Ebmaj7 Ebm7 3, Bomaj7 DI Gm Copyright ©1965 Taggie Musie Co. (Division of Gopan Enterprises, Inc.) Unternarional Copyright Secured Made InUS.A. All Rights Reserved 60cm Fe7 Fy 705, G7 m7 FT Bb BbT Ebmaj7 Ebm? a62 7 Cn 3 F E BYT Ebmaj7 Ebm AbT Dm7bS m9 C7 Bm? Cm?m7 633 wus Repent and fate 6SERENE by John L. (Wes) Montgomery In this lovely ballad, Wes displays his beautiful and imaginative chord sotoing. Notice the interesting series of diminished chords that follow the string section/bridge. The ambiguous chord formation that Wes moves around to four different locations is an altered diminished chord, a dominant seven/sharp nine chord, a thirteen{flat nine chord or a major triad with a flatted second: dimimished 1309 Dominant 7#9 major (add 62) fF Slowly,ubaro B* Pim? B7 B13. GimT C#m7 Amaj? E/G# Fém? Adm7b5 B1l B7b9 BIL ET Amaj7 GTS a Copyright ©1968 Taggie Music Co. (Diision of Gopam Enterprises, Ine.) International Copyright Secured MadeIn USA. AUlRights Reservet‘Bil Emaj7 Bil B7b9 Bil BU Emaj7 Bu Emaj7 (ssn) DI3 oT Gm cobs BIb9+S F7b5 Emaj7 B7b9 C#m? Bt FHT Bmaj7 1 1 Cim? = Dm? Emag? Fa? Fm? Gam7 y RetardBI Bil BI3 “DH rm E(D#) (ise) BER) E13b9 E(b2) Bmg E709 Amaj9 G3 C7 co Fém11 Emaj9 BIS Emaj? B13 Emaj9 1 Bll Emaj7bs#9 E BOE 69NAPTOWN BLUES by John L. (Wes) Montgomery “Naptown Blues” is a twelve-bar blues in F with « circle-of-fifths turnaround, Leave it fo Wes to infuse the blues with a bebop feel, especially during his chord solos and the second chorus of single-note solos. Notice Wes? characteristic use of triad chord forms during single-note tripletiarpeg- gios (as in “Four On Six”). He plays the same ascending pair of tripletitriads in the first and second choruses, There’s an “outside” passage during the second chorus in whick he plays two minor-to-major arpeggios (C#m to B followed by the same lick a half step tower: Cm to Bb)all played over the tonic F chord. Here again, Wes uses triad chord forms: ‘major ree For two choruses of chord solos, Wes sandwiches two bars of chords between two per- cussive F octaves, creating a big band riffing effect: the octaves are like a big band’s punctuation marks and the chords are the soloist. In the next chorus (the first half of which is played by the real horn section), Wes executes a series of sliding chords (minor, diminished, and augmented) characteristic of his unique chord-soloing style, Bb DE CIA Dm HC Bm7b5, P E Bright swing oe) Bbm6 WA cr CHD? G7 GA7 AT EbG + (guitar Bb? Copyright ©1966 Tageie Music Co. (Division of Gopam Enterprises, Ine} International Copyright Secured Made InUS.A. AIL Rights Reserved 702 Bb7Gm C7 C7 Fo Bb Bb13 Cm C#m? Cm7 F7#9+ BT FTH9+ Bb? F Fmaj9 Bb Am? D7#9. Dm Gr Gm? cll F F 3Cm7 F7b9 Bb FroGomi AbET Ga? Oba? Gm? By AT BE BEAT BB At Guitas) ‘Ab+ At D¥ Dbr D¥ Gr CH FAD Fo Amib5 D7 Gm7 cu ons) DL. (take Eb9bs D+ Db9bs C13 Ist ending) ab Code. a FYE OF ° vm Dd it Dro isis ~ ISROAD SONG by John L. (Wes) Montgomery Wes? performance has his typical bluesyljazzy sound, During both the octave and chord solos, he emphasizes ninths, flat ninths, and other extended voicing intervals. For example, look at the parallel actave riffs that run through the Bbmajor-Bm7- Bbm section of the bridge; each riff highlights the major or minor ninth of the under- lying chord. During the chord solo, Wes creates another big band soloing framework: horn-like octave riffs punctuate the ad-lib chord soloing, Rock — Gm7 Gm Gm DI+9/A D7#9 Gm Bb7/F Ebmaj7 Em7-5 C7 DT Gm bi49 Gm cm FT Copyright © 1968 Tose Music Co. (Division of Gopam Enterprises, Inc) International Copyeight Secured Made InUS.A. All Rights Reserved 76Bomaj7 Bm? ET Bom Eb? Ab Am7 D7 Gm Gm? DT49/A, D7#9 Gm Bb7/F Ebmaj? Em7-5 Cm? qacoda = PTH Gm Gm Am7-578 DT Gm BbT/F Ebmaj7 Em7-5 Cm? DT+9 Gm DIH+9 Gm Bb7/F Ebmaj7 Em7-5 m7 Deo Gm cm FT Bbmaj? Bm7 e7 Bbm7Gm DI j Gm BoI/F Eomaj7 Em7-5 Cm7 DIH9 Gm Goi? Ani? DI+9 Dio Am? Gm Fimo Fmd 06 Em7b5 C7 Bl EbMaj9D749 Gm. m9 FTb9 F7b9 Bbmaj7 FID Bb Bm9 B7sus E9 Bbm9 Ebl1 Bb" Eb7b9 Abmaj7 Ab Go Gp at Co A GD' Gm? Am7 pre D7+9 Am? Gm Fm? Fm) 80Ebmaj9 Bb6 Em7b5 Cm? D749 Gm DS. af Coda Code DIV Gm Gm BbI/F Ebmaj7 aa — ~ Em7-5 cm DI49 Gm 8182 WEST COAST BLUES by John L. (Wes) Montgomery In this slightly altered twelve-bar blues, Montgomery plays one chorus of ad-lib octaves and one chord-solo chorus. During the octave section, he often begins a bar by playing the ninth interval above the underlying chord (Bb over an Ab? chord, E over a Das7, Eb over Dbm?, D over Cm7), The chord solo has the typical Montgomery sound; note the familiar four-note chord voicings, Medium Swing Intro. (Horns) Bb Abm DbT Goma? Gbm B7 % Bb Ab7 3 pyeee— S a= = E i t ee Bb Bm? E7 Eb7 Bb? 3 Copyright ©1960 Tapgie Music Co. (Diviston of Gopam Enterprises, Ine.) International Copyright Secured Made In USA. AUlRights ReservedAb? Bm7 Ebm7 uo 3— Bb7 3. S— Fuses eae To Coda Bb? % = Bb? ~ 4 oe ED Eb7 ae w4u Ab7 Dm7Dbm7 Gb7 m7 a Cbmaj? B7 Bb6 Bb13 AbI3 Ab6 Bb? sabe . Sg: é : - f—p es = Me - ° ? | T Ab6 Abl3. Ebm Gb6 — Gb7 Bb BbI3. AbL3 Ab6 Bb? + Ebm9 AbI3 Ebm9 Dm? G13 Em7 Go 84Dbm9 GIs Bbm? FO cm a7 DS. (use 2nd exeding) al Coda cmt m7 Bb Db9-13 Db7b9Gbmaj? BLS BY pe be pb ge Cora @ Be 85MR, WALKER by John L. (Wes) Montgomery Montgomery's octave solos in “Mr. Walker” have his characteristic bluesy/bebop feel. The passages marked “rhythm octaves” are examples of Montgomery's rhythmic vamping on ene or two notes. Notice his quote from Khatchaturian’s “Sabre Dance.” During most of his chord solo, Montgomery plays repetitious big band riffs, typical of his unique style. eo Demaj Bom? D749 DbT Blues Rock rnaj7 Bb9-13 Copyright © 1960 Tagele Music Co. (Division of Gopam Enterprises, Inc.) International Copyright Secured Made In US.A. All Rights Reserved 86cro Fm Bb Dbmaj7 Fm Bb Fm Bb Fm Bb BLO Dbmaj7 Bbm7 = D749 Db7 cn Fm Bb 87Bb9 Dbrnaj7 Bbm? Fm Bo Fm Bb Bb9-13 cr Fm Dbmaj7Bom? Domaj?——C7 Em? Bb £ b Fm Bb Fm Bb Fm Bb Bb13 Ab6 Bbmg9 GI(sas)_C7+5 Fn Bbi3 En BbI3 Fm Bol3 F Bb13. BI3 BbIa Ab6 Bbm9 o 39Fn7 Ab6 Fm7 ~~ Gm7 Ab6 Fm? Gm? Ab6,, Em7 G6 Abs a? Fm? Gm7 G6 AbG Fm?) Fm?) Fm7 Fm9maj7 Ab6 Fm7 Fm7 Ab6 m7 Ab Gm7 Fm7 c Fm Gm? Fim. Doma? Bbm7 Db CTH C7b9 Fm Ab6Boy [-— Homns~— Hors Po Homs~~ cro DS.% antp on Teh. Bar and fade OHDm? Bright Latin/Rock beat MOVIN’ WES FART I by John L. (Wes) Montgomery This is basically a one-chord tune that starts in Dm, modulates to Ebm for the soloing section, then goes up another half step (to Em) for the rest of the soloing. Much of Wes’ soloing consists of two-bar octave phrases sandwiched between a horn riff or a punctuating chord lick played by Wes himself. Riff #1 (marked in the music) ts such a passage, For twelve bars Wes plays variations of an octave riff, punctuated by minor nine chords, There is an ascending and a descending octave phrase, and variations of both. During the last twenty or so bars, Wes plays improvisational two-bar octave licks in E minor between his own staccato E minor nine chords. He emphasizes the high F# note, the 9th in the Em chord, Riff #2 is an ascending octave lick in Em; Wes plays slight variations of it for seven bars. Dm op Repent 7 times PF — (Bass) ~~ | op " Di. G/D Dm7 GiD Dm. GD Dm? GD Dm GD GD DIG EmiG 92 Copsright © 1964 Taggie Music Con (Division of Gopam Enterprises, Ine) International Copyright Secured Made In U.S.A. All Rights ReservedDmoe Em7G DmviG Emi/G Dm9/G Emi/G — OT Dm Em7/D Dm9 Em7/> Dm7 Em7/D Dm Em7/D Ebm9 — Fm7/Eb Ebi? Fm7/Eb 93Ebm9 Fin7/Eb Eb Ebm9Em? Ebm9 Fm7/Eb Fémi/E Fim7/B, Ebm7 Fm7/Eb Ebm? 3 Ebm? Fmi7/Eb Em Fm7/Eb Fam7/E, Em9 95Fm9 Em? Fmd Em9 Em7 A Fimi/E, Em9 Famq/E Em? Em? Fam7/E, Em9 Fem7/B, Em Fem/B Em9 Remg/Eb Repeat and fade 96WES MONTGOMERY ORO C COM cM reat ead SU ee ream Ue Tee eee ee eR een ey VCR eC MMe kes ren oe ae tet sampling of Wes’ styles, including his famous octave solos plus single-note solos and chord solos. Ura Boss City Cam eet tcas rad Four On Six oer Esa Movin’ Wes’ Part 1 AY eae cee ones aCe red Road Song ace reg ea West Coast Blues tt ei) HAL*LEONARD® Cee roe eee ren Ny