1960 · Album
Far Wes
Recorded 1959-1960 · Riverside Records · Produced by Orrin Keepnews
The Thumb Finds Its Voice
Wes Montgomery's octave runs weren't just technique—they were personality made audible.
Far Wes sits in an interesting spot in Wes Montgomery's catalog. By this point in his career, he'd already established himself as something genuinely different—a guitarist who'd abandoned the pick entirely and played with his thumb, which shouldn't have worked but absolutely did. This album captures him in a relaxed, almost conversational mood, surrounded by reliable players like organist Jack McDuff and drummer Joe Osborn, with Jimmy Smith on organ as well. It's not trying to prove anything. There's no pretension here, just a working musician in his element doing what he does best.
The real story of Far Wes is how natural everything sounds. Wes's thumb attack gives the guitar this warm, almost vocal quality, and on tracks like the ballads, you can hear exactly why people connected with his playing—it's soulful without being showy. The uptempo numbers have this swinging ease to them, no strain, no reaching. His octave runs, which would become his signature sound, are all over this record, and they work because they're musical decisions, not showboating. The rhythm section locks in without overthinking anything, which is exactly what this music needed.
This isn't the peak of his recorded output, but it's representative of what made Wes special—honest playing, clear ideas, zero fakeness. If you're coming to Wes for the first time, you'd be better served starting with Full House (1962) or his later soul-jazz records, which have more shape and ambition. Far Wes is more for when you've already gotten the bug and want to hear him just playing, comfortable and in command.
