Wes Montgomery’s ‘Goin’ Out of My Head’ is his fifteenth album, arranged and conducted by Oliver Nelson and recorded on December 7, 8 & 22, 1965.
Track Listing : 1.Goin’ Out Of My Head (Teddy Randazzo, Bobby Weinstein) – 02:14 . 2.Once I Loved (Vinicius De Moraes, Antonio Carlos Jobim) – 04:46 . 3.Boss City (Wes Montgomery) – 03:46 . 4.Chim Chim Cher-Ee (Richard M. Sherman, Robert B. Sherman) – 04:51 . 5.Naptown Blues (Wes Montgomery) – 03:08 . 6.Twisted Blues (Wes Montgomery) – 04:15 . 7.End Of A Love Affair (Edward Redding) – 03:43 . 8.It Was A Very Good Year (Ervin Drake) – 03:43 . 9.Golden Earrings (Ray Evans, Jay Livingston, Victor Young) – 05:14
Musicians : Phil Woods – Alto Sax And Clarinet . Jerry Dodgion – Alto Saxophone, Clarinet, Flute And Piccolo . Bob Ashton – Tenor Saxophone, Clarinet And Flute . Romeo Penque – Tenor Saxophone, Flute, Clarinet, English Horn, Oboe And Piccolo . Danny Bank – Baritone Saxophone, Flute, Alto Flute And Bass Clarinet . Ernie Royal – Trumpet . Joe Newman – Trumpet . Donald Byrd – Trumpet . Danny Moore – Trumpet . Jimmy Cleveland – Trombone . Quentin Jackson – Trombone . Wayne Andre – Trombone . Tony Studd – Bass Trombone . Herbie Hancock – Piano . Roger Kellaway – Piano . George Duvivier – Bass . Grady Tate – Drums . Candido Camero – Congas . Oliver Nelson – Arranger, Conductor
Production : Produced By Creed Taylor . Rudy Van Gelder – Engineer
Package : Orrin Keepnews – Original Liner Notes . Hollis King – Art Direction . Charles Stewart – Photography . Isabelle Wong – Design
Recorded On December 7, 8 & 22 At Van Gelder Studio, Englewood Cliffs, New Jersey.
Released 1966 By Verve.
jonnydeluxe @ RateYourMusic
Like much of Wes’s orchestrated albums, Goin’ Out Of My Head is a smooth, clean well recorded album, but it is just too safe and lacks the character of Movin’ or Boss Guitar. Montgomery was proving to be very commercially successful at this time, but I’m sure if he could have shown a progression that he might have been equally as successful, especially musically. […]
Recordings like this one disheartened the jazz world but made him a household name and a staple on AM radio. Heard three decades later, the recording is at its best when serving as innocuous background music. […]
“During the session, some of which was live and some overdubbed, I walked over to Wes-I have a photograph of it: I’m whispering in his ear, ‘Wes, remember we agreed that you’d play the melody in octaves.’ Of course, the jazz critics would never let go of it. I corrupted this artistic diamond in the rough or whatever and made him do all this tapestry stuff.” […]