bio

Wes Montgomery, byname of John Leslie Montgomery, (born March 6, 1923, Indianapolis, Indiana, U.S.—died June 15, 1968, Indianapolis), American jazz guitarist who was probably the most influential postwar improviser on his instrument.韦斯·蒙哥马利，约翰·莱斯利·蒙哥马利的绰号，（1923 年 3 月 6 日出生于美国印第安纳州印第安纳波利斯 - 1968 年 6 月 15 日卒于印第安纳波利斯），美国爵士吉他手，可能是战后最有影响力的即兴演奏者。

Montgomery began playing guitar in his late teens and played in the Lionel Hampton band in 1948–50 and in Indianapolis during the 1950s, most often with his brothers Buddy (piano, vibes) and Monk (electric bass). In California in the late 1950s, he played with them in the Mastersounds and then as the Montgomery Brothers (1960–61). 蒙哥马利在十几岁时开始弹吉他，并于 1948-50 年在莱昂内尔汉普顿乐队和 1950 年代在印第安纳波利斯演奏，最常与他的兄弟巴迪（钢琴、共鸣）和蒙克（电贝斯）一起演奏。1950年代后期在加利福尼亚，他与他们一起演奏了Mastersounds，然后是蒙哥马利兄弟（1960-61）。

Most of Montgomery’s finest recordings, including The Incredible Jazz Guitar of Wes Montgomery, Movin’ Along, So Much Guitar!, and Full House, date from 1959–63. In the early 1960s he played briefly in a John Coltrane group that never recorded. Beginning in 1964 a series of recordings with string orchestra and big band accompaniments became best-sellers; in concerts and on international tours, however, he led small groups and worked in a quintet with his brothers for the rest of his life. 蒙哥马利的大部分最佳唱片，包括韦斯蒙哥马利的不可思议的爵士吉他，Movin' Along，So More Guitar！和Full House，都可以追溯到1959-63年。在1960年代早期，他在John Coltrane乐队中短暂演出，但从未录制过唱片。从 1964 年开始，一系列带有弦乐团和大乐队伴奏的唱片成为畅销书;然而，在音乐会和国际巡回演出中，他领导了一些小组，并与他的兄弟们一起度过了余生。

Inspired by late-swing guitarist Charlie Christian, Montgomery improvised in broken phrases and with a bop harmonic imagination. Instead of using a plectrum or fingers, he played guitar with the soft part of his thumb, resulting in a soft attack especially appropriate to his lyrical lines. He organized his solos by playing single-note melodies in initial choruses, in octaves in middle choruses, and in chords in climactic choruses. His solo forms especially were an influence on later guitarists, most prominently George Benson. 受到摇摆后期吉他手查理·克里斯蒂安的启发，蒙哥马利即兴创作了破碎的乐句和波普和声想象力。他没有使用拨片或手指，而是用拇指的柔软部分弹吉他，从而产生了特别适合他的抒情线条的柔和起音。他通过在初始合唱中演奏单音符旋律，在中合唱中演奏八度音阶，在高潮合唱中演奏和弦来组织他的独奏。他的独奏形式尤其影响了后来的吉他手，最著名的是乔治·本森。