Buddy Montgomery

The Mastersounds Play Compositions By Horace Silver (World Pacific 1960)

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There has been a great number of Horace Silver tribute albums over the decades. But few if any come as crisp as one of the earliest efforts by The Mastersounds from 1960, Play Compositions By Horace Silver.

The Mastersounds - Play Horace Silver

Personnel

Buddy Montgomery (vibraphone), Richard Crabtree (piano), Buddy Montgomery (electric bass), Benny Barth (drums)

Recorded

in 1960 in Los Angeles

Released

as WP 1284 in 1960

Track listing

Side A:
Ecaroh
Enchantment
Nica’s Dream
Side B:
Doodlin’
Moonrays
Buhaina


The Mastersounds, consisting of two Montgomery brothers – Buddy on vibraphone, Monk on electric bass – pianist Richard Crabtree and drummer Benny Barth, recorded a string of albums on World Pacific during their all-too brief existence from 1957 till 1961. One of those, Kismet, featured their brother, the gifted, groundbreaking guitarist Wes Montgomery. The concept of the West Coast-based Mastersounds was built around the earthy, fluid vibes playing of Buddy Montgomery and was a notable playground for the pioneering electric bass style of Monk Montgomery. Monk started using the Fender bass as early as 1952 in the Lionel Hampton band and was the first to play electric bass on a jazz recording on the Art Farmer Septet recordings in July, 1953. It is generally agreed that he in effect was the first to record electric bass in any genre.

Arguably the highlight of their career, Play Compositions By Horace Silver is marked by relentless, tight-knit group swing and Buddy’s sprightly, soul-drenched vibraphone excursions. Not to mention Monk’s successful attempts of adding groove and walkin’ bass magic with the electric bass. The Mastersounds play as a bunch of young and hungry lions. Very similar to the other great West Coast soul jazz and hard bop group, The Jazz Crusaders. (Buddy and Monk were associated with some of the members of this group at regular times during their careers)

Crabtree’s finest hour occurs during Doodlin’, his probing, fleet lines gracing the group’s lively take on Silver’s down-home classic. Monk Montgomery takes an expert solo, quoting Franky And Johnny in the process. The Mastersounds’ versions of Ecaroh and Nica’s Dream are quicksilver gems. Enchantment and Moonrays are interesting choices of the Silver repertory. Enchantment leans a bit towards long-windedness. Moonrays is a gush of fresh air. Like Silver’s music, its fluid bounce effortlessly arouses a singularly jubilant feeling in the listener.

Buddy Montgomery This Rather Than That (Impulse 1969)

- Francois 2 Comments

The blues-oriented album of vibraphonist and pianist Buddy Montgomery, This Rather Than That, also includes excellent modern jazz playing.

Buddy Montgomery - Rather This Than That

Personnel

Buddy Montgomery (vibraphone, piano), Melvin Rhyne (organ), Jody Christian (piano A4, B1), Manty Ellis (guitar A4, B1), Monk Montgomery (Fender Bass A1, A2, B1, B2, B4), Jimmy Rowser (bass A3, A4), George Brown (drums A1-4, B1, B4)

Recorded

on September 10 & 11, 1069 at Universal Recording Cooperation, Chicago

Released

as Impulse AS-9292 in 1969

Track listing

Side A:
This Rather Than That
Tin Tin Deo
Rose Bud
Stormy
Side B:
Willy Nilly Blues
Beautiful Love
Didn’t We
Winding Up


Family ties: Buddy, of course, was the younger brother of Wes Montgomery and bassist Monk Montgomery, who’s also present on this album. Buddy and Monk were ‘buddies-in-crime’ in The Mastersounds from ‘57 to ‘61, a popular, accessible jazz group that also included Wes Montgomery on one album. (Kismet, World Pacific 1958) From ‘55 to ‘61, the three brothers also starred as the Montgomery Brothers, but they played together well into the period when Wes had become a bonafide jazz star. Buddy was part of the tour that ended so tragically with the passing of Wes due to a heart attack shortly after on June 15, 1968, in their hometown of Indianapolis. Also on this album is another Indianapolis-born musician, organist Melvin Rhyne, who appeared on four acclaimed Wes Montgomery albums. An Indy cousin, so to speak.

Following the death of Wes, Buddy Montgomery mainly concentrated on jazz education, although he kept on recording sporadically as a leader as well as a sideman with old pals in the late eighties and early nineties. (Bobby Hutcherson’s Cruisin’ The Bird, Charlie Rouse’s Epistrophy, David “Fathead” Newman’s Blue Head) Perhaps a place in the background suited Buddy Montgomery best.

Having said that, Buddy’s up front on the front cover of This Rather Than That. What about the fruit and vegetables? I’m not sure what he’s holding in his right hand. Looks like citrus and a pomegranate in his left hand. The symbol of fertility. The Egyptians believed that eating pomegranates granted immortality. The Greek godess Persephones was sent back to Hades every six months because she ate six pomegranate seeds. Heretics say that it was the pomegranate that lured Adam and Eve from paradise. It looks like Buddy is due at the Apollo Theatre for his Wednesday night juggling act.

Buddy Montgomery utilised a focused linear approach, quicksilver, definite phrasing and notes that allure like drops of fountain water. His notes ring shortly, matter-of-factly, more in the vein of Lionel Hampton than Bobby Hutcherson. Buddy Montgomery was an excellent, all-round vibraphonist. He’s very compatible with the tasteful Melvin Rhyne, who’s the king of understatement.

The blues tracks are backbeat-heavy, funky. Monk Montgomery’s electric bass playing (Monk Montgomery pioneered the use of Fender Precision bass in jazz as early as 1951 and featured it strongly with The Mastersounds) perfectly suit the blues tunes, but seriously barricades swing from the modern jazz cuts, in spite of Monk’s top-notch chops. Fine modern jazz has been played with the use of the electric bass. But to my ears, it has a hard time bringing coherence to the overall jazz sound in comparison to the way the upright bass does. The upright bass is for modern jazz what the rug is for Jeffrey ‘The Dude’ Lebowski: it really ties the room together. Luckily, as in Tin Tin Deo, Buddy Montgomery and Rhyne share swinging responsibilities. Accompanied by deft, chubby organ chords, Buddy’s ultra-fast, probing lines slither like vipers in the grass, constantly moving forward. Rhyne answers the call and, regardless of the fast tempo, patiently builds a story free of clichés and counterfeit climaxes.

The group also performs a lush waltz-version of the show tune Beautiful Love. The finishing touch to a quirky but enjoyable album of jukebox blues and modern jazz.