![]() Just take a look at bar 2 as it leads into bar 3. What makes these changes so terrific and a much greater challenge for soloing is the insertion of a b5 substitute ii-V. The solo changes that Wes and Mel Rhyne came-up with for show a great deal of harmonic creativity and the desire to put their own stamp of this Ellington classic, which had already been played and recorded on countless occasions. So, as will begin with Gm7, this makes perfect sense. It is like inserting the harmony of the chord, 1/2-step above where you are headed. After the cadence to Cmaj7 in bar 15, Wes plays a wonderful transition to by alluding to Abm7-Db7 with his line, even though Mel Rhyne does not play those chords there. That would be C-natural for Am7-D7, and Cb for Abm7-Db7. In bars 13-14, over the non-resolving ii-Vs, Wes plays a series of ascending triplet arpeggios which again begin with a major triad built from the m3rd of each chord. And the responding phrase in bars 11-12 do just that with the last note being his low-G, which is the lowest note played during the solo. In bar 5, over the Am7-D7, in 2nd-half of the bar you find a B-triad over the D7 which produces these tones: B(13th) F#(3rd) and D#/Eb(b9).Īs begins, we find Wes walking up what is the D Dorian mode from D-E-F and G and eventually C and D, an octave higher. So, you will see F/D or F/G during bars 1-2 and then G/E or G/A for bars 3-4. School or not, formally trained or not, Wes certainly must have spent time grasping just how the basic triads function within chordal sounds, and how they create the ‘extensions’ about the basic chord tones. And over the Em7-A7, F# is the note that he vaults to. So, over the Dm7-G7, you find E-natural as an important note. If you look closely at the arpeggios in bars 1-3, they all place an emphasis on the 9th degree of the m7 chords. By the latter I mean that a phrase in one bar is answered in a similar fashion in the following bar. ![]() The first section is characterized by Wes’ arpeggios in triplet groupings and, what I might describe as, a “call and response” style of phrasing. Now let’s take a look at Wes’ one chorus of single-note lines. For the last, they state it just as they did during the opening with a little added for an ending, and a very Jazzy sounding last chord of B/C with an F# on top. Wes’ solo consists of a full - chorus in single-note lines, which is then followed by a chord solo over the first three sections of the tune with Mel Rhyne only walking the bassline. On this particular tune, Rhyne solos first and Montgomery comps in a 4/4 Freddie Green-like style. Letter, while Wes continues on with the melody in chords, Rhyne pares down to only the walking bass line. On “Satin Doll” the sections are stated together by Rhyne’s organ and Wes’ block chords. Where melody and harmony are concerned, it is obvious that Wes and Mel Rhyne spent a goodly amount of time together crafting just how the organ would blend with Montgomery’s chordal or linear interpretations of the standards. Like most of the material Wes played and recorded with his organ trio, the arrangements all represented a great deal of care, detail, and the familiarity between the three musicians. This first recording contains only two Montgomery originals alongside standards by Jerome Kern Lerner & Lane as well as Jazz standards by Thelonious Monk Benny Golson Horace Silver and here we are presenting to you Wes’ solo on Duke Ellington’s chestnut, “Satin Doll.” During his time on the roster at Riverside Records, Wes Montgomery would record with his organ trio three more times. At that time, Wes’ regular trio-mates were organist Mel Rhyneand drummer Paul Parker. The first, during regular bar/night club hours at the Turf Bar, and the second, after hours, at the Missile Room. During those years Wes was playing two gigs per night. When noted producer/record executive, Orrin Keepnews wrote his liner notes for Wes Montgomery’s debut LP, “WES MONTGOMERY TRIO: A DYNAMIC NEW SOUND”(Riverside) sometime late in 1959, he recounted the story of how “Cannonball” Adderley had recommended Wes to him in such glowing terms that, just 5 days after Cannon’s insistence, Orrin was in Indianapolis to hear Montgomery for the first time.
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