WES MONTGOMERY TEQUILA RARE ORIG '66 VERVE STEREO LP RVG IN SHRINK BEAUTIFUL

$

81

WE CURRENTLY HAVE  MORE THAN 200  LISTED ITEMS

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·       WES MONTGOMERY with RAY BARRETTO, RON CARTER AND OTHERS – TEQUILA – ORIGINAL 1966 VERVE RECORDS STEREO LP V6-8653

·       ORIGINAL U.S. PRESSING

·       ORIGINAL BLACK VERVE LABEL WITH SILVER PRINT AND  LARGE T-SHAPED VERVE LOGO

·       CAPITOL RECORDS PRESSING (INDETERMINABLE LOCATION)

·       The record has a ►Rudy Van Gelder’s name or  his initials (RVG) clearly stamped or hand-etched in the trail-off vinyl (dead wax)

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, A RECORD CLUB-, OR A COUNTERFEIT PRESSING.

·       THICK CARDBOARD GATEFOLD COVER, AMERICAN STYLE.

·       COVER IS STILL IN ITS ORIGINAL SHRINK (CELLOPHANE) WRAP

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get.  GUARANTEED!)

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On two of the songs included on Tequila, "Tequila" and "The Thumb," Wes Montgomery had an opportunity to jam a bit while backed just by bassist Ron Carter, drummer Grady Tate and the congas of Ray Barretto. The other six selections utilize a string section arranged by Claus Ogerman but, even with a throwaway version of "What the World Needs Now Is Love," there are memorable renditions of "Bumpin' on Sunset" and "Insensatez" that uplift this album quite a bit beyond the guitarist's later A&M recordings.

***

On a personal note: On March 25, 1999 (I vividly remember both the day and the date - almost exactly 20 years to the day today), I was traveling on an American Airlines flight from New York’s LaGuardia Airport to Boston, on what I thought was going to be a fairly routine, unremarkable business trip. The previous day, I had an extremely traumatic personal experience and spent the night tossing and turning, waking up after probably less than half an hour of sleep, all groggy and jittery, feeling like a chewed-out rag doll; nevertheless, after two double espressos (a BIG mistake!) I dismissed the ill feeling and proceeded to the airport. As I boarded the plane, I had a very funky sensation in my body, butterflies in my stomach and I really felt miserable all over.  The moment the plane took off, I was engulfed by what  must have been the worst, most dramatic panic attack I suffered in my entire life: my mouth went dry, my head felt like it was about to explode, the plane seemed like it was spinning around me, I started developing a chest pain,  and my heart went beating like crazy and very erratically, pumping at least 200 bpms;  I had a feeling that my vitals were going berserk and about to explode and really thought I was on the verge of passing out; still, out of sheer vanity, or perhaps embarrassment, I didn’t call the flight attendant for help and decided to sit out the horrible nightmare all by myself, hoping that it would simply go away. As I was slipping in and out of consciousness,  a faint, distinct, melody came to me, a melody I know I'd heard before somewhere, entirely unannounced, uncalled and uninvited,  for absolutely no rhyme or reason, as if out of nowhere. At first, I wasn’t sure if I was hallucinating, or if I had already passed away, or if someone was playing the radio near me,  but then I opened my eyes and decided that, no, it wasn’t a dream.  The gentle, guitar-based instrumental continued, though, and the elegant, elongated, languid guitar lines assumed – or at least it felt that way - all manner of psychedelic colors and vibrations in my brain: purple, brown, orange, yellow… It was an exceptionally tender, nourishing, bitter-sweet ballad, which had a feel of waves washing on the shore. I sat there, rocking back and forth in my seat, and decided to surrender to the melody and try to meditate to it.  It instantly felt good,  Really, really, REALLY good.  To this day I remember the feeling of all my muscles suddenly relaxing and blood starting to flow back to my brain.  And – lo!– in what felt like a nanosecond, the music – particularly the guitar solo – formed something like a  wind tunnel around me (or at least I saw it that way); a protective cocoon which I felt was shielding me. The music, in effect, became alive around me. It was strange and it was beautiful and it was otherworldly, but I finally felt safe. Finally, after what felt like an eternity, the music drained all the anxiety and fear out of me. I felt alive and alert again. I measured my pulse again. It was 90 and dropping fast.  The crisis was over.  I was alive.

It took me awhile to identify the song, but I finally did it a few weeks later. It was Wes Montgomery’s version of ‘Insensitez’,prominently featured in this album. Need I really mention that, to this day, it remains one of my favorite performances? How and why it came to me that day 19 years ago I have no idea.  But I am happy that it did; otherwise, you wouldn’t be reading this page.

This is a true story. Nothing in it is imagined, made up or exaggerated.

Here’s to you, Brother Wes…wherever you are!

***

For additional historical or discography information on this album, including track listing ►click here

TO SEE IF WE HAVE OTHER LISTED ITEMS BY THIS GROUP OR ARTIST ►  CLICK HERE

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·                               CONDITION:

·                               THE RECORD

 (IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL AS STRONG VG++, JUST A NOTCH BELOW NEAR MINT. A few light abrasions (probably just sleeve scuffs inflicted in storage over the years) ARE VISIBLE, but they appear fairly  insignificant relative to the overall condition of the vinyl, and are only moderately visually distracting. For most part, the vinyl looks impeccable, without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)          The record comes in the original stock inner sleeve.

(c)             The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(d)          The record has a ►Rudy Van Gelder name, or  his initials (RVG) stamped or hand-etched in the trail-off vinyl (dead wax). On SOME  Jazz labels (Blue Note, Savoy, Regent, Prestige, Impulse, Verve…) this stamp signifies highly professional masterings either done by - or  personally authorized by - the legendary engineer himself.

(e)           Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·                               THE COVER

COVER IS STRONG NEAR MINT,  STILL IN ITS ORIGINAL ►SHRINK WRAP

The following flaws or imperfections are noted on the cover:

-        Cover has a few tiny wrinkles along the spine

-         Cover has one corner slightly worn / dinged (nothing significant)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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