Wynton Kelly Trio and Wes Montgomery - Smokin' At The Half Note


Analogue Productions (Verve)



Product No.:
CVRJ 8633 SA
UPC: 753088863363
In Stock

Hybrid Stereo SACD

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Also available on:
45 RPM Vinyl Record
Vinyl Record
180 Gram Vinyl Record

Mastered by George Marino at Sterling Sound from the original master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.

A Tremendously Important Historic Jazz Record That Pairs Guitar Virtuoso Wes Montgomery With Miles Davis' Rhythm Section - Paul Chambers and Jimmy Cobb

This is timeless music that has inspired innumerable jazz guitarists and aficionados. In fact, jazz guitar great Pat Metheny has said, "I learned to play listening to Wes Montgomery's Smokin' At The Half Note." Metheny additionally said that the solo on "If You Could See Me Now" is his favorite of all time.

This legendary session was recorded at a New York nightclub. It captures Montgomery at the height of his improvisational powers. Many consider it the best performance on record by one of the most inventive guitarists in jazz history.

Highlights include the Miles Davis opener, "No Blues" and the following track, Tadd Dameron's "If You Could See Me Now." And the album's versions of "Unit 7" and "Four On Six" have helped to establish these songs as jazz standards.

Wynton Kelly, piano
Wes Montgomery, guitar
Paul Chambers, bass
Jimmy Cobb, drums


1. No Blues
2. If You Could See Me Now
3. Unit 7
4. Four On Six
5. What's New

Customer Reviews (5.00 Stars) 1 person(s) rated this product.

Crystal Clear

posted on 12/26/2021
5 Stars
Reviewer: Brian VanPelt
All of the instruments are well recorded and, even though this was a live show, it seems almost like a studio recording. The soundstage is spacious and has good depth.

Each instrument is sharply defined, and on the piano, I could trace (in my mental image) Kelly's fingers going up and down the piano's keyboard. Every pluck of Montgomery's guitar is easily heard, as well as every drum or cymbal strike. Even the bass stands out as very well-defined. Whatever tape they used to master this had to be in perfect condition - there are no harmful sonic artifacts from worn-out tapes.

This recording is ridiculously good. The audience is not intrusive at all, and you do have the feeling of being there. The general layout is guitar on the left, drums on the right, and piano in the middle but further back.

This is exceptional in every way. I have the 45 rpm Analogue Productions version of this album, and between that and this SACD, I call a sonic draw.

Grade: 5+

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