For Wes Montgomery, 1966 marked a breakout year. The most influential jazz guitarist since Charlie Christian, he was known for his remarkable thumb plucking and innovative approach to simultaneously playing two notes an octave apart. Creed Taylor of Verve Records convinced the guitarist to record the R&B hit “Goin’ Out of My Head” for an album of the same name. Released in 1966, it shot to the top of the charts, earning him a Grammy and a crossover ticket to the pop mainstream market.
Interestingly, that same year, Wes recorded what many believe to be his best jazz album ever, the now-classic Smokin’ at the Half Note with the Wynton Kelly trio (Miles Davis’s rhythm section at the time). From the opening thirteen-minute “No Blues” to “Unit 7” to “Four on Six,” the Kelly trio mirrored Montgomery’s insistent drive throughout. Smokin’ indeed!
Interestingly, that same year, Wes recorded what many believe to be his best jazz album ever, the now-classic Smokin’ at the Half Note with the Wynton Kelly trio (Miles Davis’s rhythm section at the time). From the opening thirteen-minute “No Blues” to “Unit 7” to “Four on Six,” the Kelly trio mirrored Montgomery’s insistent drive throughout. Smokin’ indeed!
DownBeat’s prior year “new star” on tenor sax and flute, Charles Lloyd took jazz by storm in 1966 on the strength of two eclectic, Eastern-textured albums: Of Course, Of Course with Hungarian guitarist Gabor Szabo and Dream Weaver with newcomers pianist Keith Jarrett and drummer Jack DeJohnette.
The latter album was but prelude to jazz top sellers Forest Flower and Love In.
The latter album was but prelude to jazz top sellers Forest Flower and Love In.
Proponents of Hard Bop let it be known they were still in town. Trumpeter Lee Morgan followed up his immensely popular boogaloo-style Sidewinder LP with Rumproller (a tune written by pianist Andrew Hill).
Many considered Rump a solid jazz album, but not the hoped-for chart-topper like the earlier funk buster.
Many considered Rump a solid jazz album, but not the hoped-for chart-topper like the earlier funk buster.
Lee issued another LP entitled Search for a New Land that eschewed finger-popping funk for a more exploratory mood that reflected to some degree the experiments taking place on the outer reaches of jazz.
Nonetheless, an excellent record with an outstanding cast: Wayne Shorter (ts). Herbie Hancock (p), Grant Green (g), Reggie Workman (b), and Billy Higgins (dms).
Nonetheless, an excellent record with an outstanding cast: Wayne Shorter (ts). Herbie Hancock (p), Grant Green (g), Reggie Workman (b), and Billy Higgins (dms).
Pianist Horace Silver released Cape Verdian Blues—another song for his father—that showed the Hard Bop master in an experimental mood as well, likely nudged there by another excellent cast: Woody Shaw (tp), Joe Henderson (ts), J. J. Johnson (tb), Bob Cranshaw (b), and Rex Humphries (dms).
An excellent outing with exotic touches.
An excellent outing with exotic touches.
Sideman Bobby Timmons, who contributed funky piano solos to classic Hard Bop albums by Art Blakey (Moanin’) and Cannonball Adderley (Live in San Francisco), showcased his churchy piano in a trio setting on Soul Man.
Long-established jazz stalwarts were heard from as well in 1966. Ella Fitzgerald added a plum to her songbook series, wrapping her angelic voice around the songs of Duke Ellington.
In turn, the Duke issued his Concert of Sacred Music, recorded live at Grace Cathedral in San Francisco. The maestro’s return to long-form composition was applauded by many in the jazz arts community.
In turn, the Duke issued his Concert of Sacred Music, recorded live at Grace Cathedral in San Francisco. The maestro’s return to long-form composition was applauded by many in the jazz arts community.
Tenor master Sonny Rollins surprised everyone with his fine, swinging score (and subsequent LP) for the film Alfie, starring Michael Caine.
The Modern Jazz Quartet countered with Blues at Carnegie Hall, putting to rest all that nonsense about the group corseting jazz and smothering bebop with their more formally structured pieces (fugues, rondos, concertos).
When they wanted to, as in this eight-blues set, the boys could swing their asses off, pure and simple.
The Modern Jazz Quartet countered with Blues at Carnegie Hall, putting to rest all that nonsense about the group corseting jazz and smothering bebop with their more formally structured pieces (fugues, rondos, concertos).
When they wanted to, as in this eight-blues set, the boys could swing their asses off, pure and simple.
 |  | Lastly, two sidemen from Miles’s second great quintet (not yet named as such) recorded now classic albums under their own name: Speak No Evil by saxist Wayne Shorter and Maiden Voyage by pianist Herbie Hancock. |
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