This 24-Karat Gold Limited Edition NEAR MINT CD is an audiophile collectors item that simply gives the feeling of being directly in the studio with the artist. This recording is mastered from the Original Session Tapes and the disc is custom pressed using 24-Karat Gold (known for its superior qualities and resistance to oxidation). This Out of Print Gold bonafide collectible disc has all Liner Notes, Photos, and Artwork from the Original LP faithfully recreated. Personnel: Wes Montgomery (guitar); Jerry Dodgion (alto saxophone, piccolo, flute, clarinet); Phil Woods (alto saxophone, clarinet); Romeo Penque (tenor saxophone, piccolo, flute, clarinet, oboe, English horn); Dan Bank (baritone saxophone, flute, alto flute, bass clarinet); Bob Ashton (saxophone, flute, clarinet); Donald Byrd, Joe Newman, Ernie Royal (trumpet); Wayne Andre, Jimmy Cleveland, Quentin Jackson, Danny Moore, Tony Studd (trombone); Herbie Hancock, Roger Kellaway (piano); George Duvivier (bass); Grady Tate, Sol Grubin (drums); Candido Camero (congas). Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on December 7, 8 & 22, 1965. Originally released on Verve (8642). Includes liner notes by Orrin Keepnews. In his liner notes, Orrin Keepnews, Wes Montgomery's first producer and former boss at the Riverside label states that it was arranger Oliver Nelson's goal with GOIN' OUT OF MY HEAD to present Montgomery's guitar as a melody instrument, rather than as a soloist. This certainly happens on the ballads that make up at least half this set. It's probably just as well that doing so finally sold some records and gave the guitar-playing father of six a more solid income for the last few years of his life. However, most Montgomery aficionados still usually just want to hear him blow. And there's some solid jazz to be found here. Not surprisingly, it happens the most on the Montgomery originals "Boss City," Naptown Blues," and "Twisted Blues," but Montgomery also gets into it for real with the rhythm section on "Chim Chim Cheree"; after the orchestrations are over, he careens off Grady Tate's insistent drumming with exuberance and abandon.
