Wes Montgomery's freak thumb & octave technique

[@GeorgiaBoy1961]

Wes Montgomery's unique approach to the instrument - playing solely with his right-hand thumb - was only part of his genius, but one worth exploring. Wes possessed an anatomical anomaly on his right-hand thumb - a corn, according to George Benson, which extended far beyond his thumb nail. In effect, this anatomical feature lengthened the tip of his thumb enough to clear the fingernail. Thus, Wes was able to play not only downstrokes, but upstrokes as well - without getting hung up on the strings due to interference from his thumb nail. Wes' command of his right-hand technique was such that he could achieve the horn-like attack and phrasing which are so sought after by elite jazz musicians. His articulation was almost Clifford Brown-like - it was at that rarified level. Another exciting feature of Wes' single-line playing was his extensive use of ghost notes, glisses, and slurs - again to enhance the horn-like quality of his phrasing. We know from interviews that Wes listened intently not only to other jazz guitarists, but t horn and keyboard players as well. Wes achieved this by use of appropriate left-hand technique, but also by doing up-stroke rakes and sweeps, as well as downstroke variants of the same. Wes was known for his mastery of octaves, but those who stop there will miss out on his incredible mastery of soloing in block chords, much like a pianist playing with locked-hands technique or a horn section playing in unison. Wes claimed to have developed the device by listening to big band records on his way up - and when Wes takes a chorus in block chord solo style, one can hear the shout chorus of a big band. Like Sonny Rollins, Wes was a master of thematic development. His solos were not only beautiful - they were masterpieces of musical development and logic. He told a story every time he picked up the instrument - and took his listeners with him. As a musician, that is what you want to do - and few people have done it as well as Wes Montgomery. Those jazz guitarists who endeavor to use only their thumb to play - like Wes did - soon discover how challenging a task it is. It can be done, but few - if any - people since Wes have taken the technique as far as he did, or achieved such fluency with it. Even jazz guitarists who play primarily with a pick can add some wonderful new textures to their playing by learning to stroke octaves and play chords using only their picking-hand thumb. The sound is incredibly warm and an amazing degree of control and sensitivity can be obtained by using the flesh of one's thumb on the strings.

[@davedoyle9623]

Thanks Georgia Boy youve said it better than anyone Ive heard so far ,,great dissertation on Wes technique ,You gotta be a guitar player,,Yes i have followed Wes for years and tried to emulate the techniques ,,,many shall be called but few are chosen,,,,,if you want to learn the secrets you must have a passion and understanding of Wes theres no other way,,,, as far as the emulation of Wes goes ,,many will seek perfection, but few will attain it,,,having said all that,,the search ,the effort,and the exercise will create great results,,, again thanks for your your entry here

[@GeorgiaBoy1961]

You are very welcome! Yes, I am one of those souls who got lost in Montgomeryland for a while... trying to track down the elusive secrets in the Temple of Wes. A lot of people have come reasonably close to copping Wes' sound and approach, but I know of precisely zero - nada, zilch - who have really nailed it exactly. Wes was a genius, and his approach to playing was remarkably sophisticated and difficult to copy. A lot of guys learn some octaves and think they have it in the bag, but that's only the beginning. Wes' single-note lines were marvels of melodicism, form, and articulation. He played some short phrases that one could study for months, if not years... they were that deep. Don't even get me started about his ghost notes, glisses, and other methods of making the guitar phrase like a horn. The guy was an absolute master of it. Last but certainly not least, Wes' approach to chords, harmony and soloing with chords was unlike anyone in the guitar world, before or since. His reharmonization of standard tunes is legendary - and for good reason. Wes was one of those rare geniuses whose playing elevated everyone else around him. Even relatively pedestrian players sounded great playing with him. And the greats? They played their best when they were on the bandstand or in the recording studio with him. IMHO, the finest recordings ever done by Wynton Kelly and his trio - Paul Chambers on bass and Jimmy Cobb on drums - were the live sessions for "Smokin' at the Half Note" in NYC in 1965. That's saying something for a group which recorded with both Miles Davis and John Coltrane. I know a guy who saw Wes live a bunch of times in the 1960s - including a date with Coltrane - and this man told me that Wes blew everyone off the stage. Yeah, even 'Trane. He was that good. Apparently, one of the nicest and most-humble guys you'd ever want to meet, too... I wish I'd been old-enough (I was born in 1961) to see/hear Wes live, but it didn't work out that way.... I sure am glad we have his recordings to keep us going.

[@jean-lucbersou758]

I do like the way you talk about WES MONTGOMERY and your analyses and perception . I can't add more as you say it all . When BUDDY came in FRANCE nearly 15 years ago I took my car and drived 600 MILES to meet him and have conversation about his beloved genius brother . I went with the MONTGOMERY 's / GEORGE SHEARING record and he signed me some kind words on the sleeve . A precious and moving moment for me no words can describe . Besides the Genius ....."Wes was the nicest and kindness person ....". About the technique with the thumb there are lot of examples on stringed instruments and the up stroke comes naturally when you practice even if down stroke is dominant . You can also refer to African KORA . WES had large dry hands and long flexible fingers . ....kind of perfect tool on the guitar when a genius musical brain commands .....and for classical or flamenco guitar players the bare hands and fingers allows the most direct and sensible touch . Few considers the plectrum only good enough for mandolins .....and kind of useless prothesis either .

[@paulogp4629]

I have a friend that has a thumb with "J" format. Sadly, he doesn't play guitar.

[@alexisandcrystal1]

Thank you for taking the time to explain all this. It’s worth mentioning that George Benson is pretty adept at using his thumb. He says that some 50 per cent of his music is played using his thumb. Thank you friend.

[@neiltosolini2465]

Awesome lesson, thank you sir.

[@violinoscar]

I love the sound of octaves the way Wes played them but I prefer to play them fingerstyle, plucking each string. It may not have the punch of the thumb style but the octaves are clearer. Furthermore, as brilliant as Wes was, and there is no doubt about that, I don't want to be another Wes Montgomery clone. It has taken me many years but I finally have the courage to take what I need from the masters and leave it there. Thank you for posting this informative video.

[@gusthfs8272]

Agree 100% with H. Harry. Octaves sounds much more clearer, also, I can't play with just the fingers, so I developed my own technique of using either a plectrum or a pick holding it with thumb and index, and using the middle and ring fingers to pluck the strings of the octave notes.

[@usernameinvalid2675]

Havnt owned a pick i. Years but…I use my ring finger in a lazy way on my picking hand to add some delay between the two Octaves especially on the g and e sets of octavesit emulates the cadence of the muted middle string

[@TheCampbellcomic]

I’m sorry but the thumb technique you’re using isn’t how Wes did it. You’re using it more as a whole arm motion but when you watch him play his arm isn’t really moving. He rests his other fingers on the scratch plate and used his thumbs motion with a heavy influence of downpicking. George benson also uses the same thumb technique when he’s not on a pick. Both players don’t swing the arm around.

[@robertbeifuss5071]

You are correct. He also used fingers 1 and 3 for his octaves on the lower four strings, not 1 and 4. Wes did not think in terms of modes. This guy should not be trying to teach guitar

[@yokosomike]

Dont forget, Wes used his third finger, not his pinky on the top string octaves. Sounds good.

[@SirDeviless]

I believe Wes used the bone on the side of the thumb, it gives a softier sound than when you hit the strings with the fat part of the thumb.

[@TheCampbellcomic]

SirDeviless Wes actually did use the fat of the side of the thumb. However he developed a corn on the side from practicing with it so much.

[@AGoogleUser-hf5zg]

FIU Jazz Studies class of 2001!!

[@MrManfid]

Excellent!

[@dreadnought45]

Richie: I noticed you use your pinky finger on all string sets. I like to use my ring finger on the base strings because it is one fret closer than the two higher strings. Not that I'm that proficient at it. Does it matter if I switch fingers as I explained above? Ken, Toronto

[@RichieZellon]

I tend to use my pinky on all string sets when I play on an archtop with 25 1/2" scale. That's what I played here. This is because the frets are farther apart and I find more consistency when switching between the high and lower octaves. When I play a guitar with 24 3/4" or gibson scale which is what Wes played, I normally use my ring finger on the lower strings, which is the norm. So you are correct!

[@dreadnought45]

@ The Guitar Jazz Channel: Thanks, Richie, for your prompt reply. I note that you are a very intelligent and gifted musician and teacher,. Ken, Toronto

[@robertbeifuss5071]

@@dreadnought45 Yea right.

[@Grapho137]

Can you a video on jazz guitarists who didn't use picks?

[@Euro.Patriot]

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[@jimmymurphy7789]

1:15 - Oh - you "Nasty Boy", you ! :)

[@TomiV.]

That's way Jimi asked Roger Mayer to make him 'Octavio', being influenced by Wes Montgomery. Of course Jimi have had enough thumb to play three octaves at same time ; -) , but nevertheless...

[@RichieZellon]

True, and Jimi made great use of it as with all effects! On the other hand, I heard Jim Hall using an octave pedal on several recordings. To me It sounded "out of context" in the acoustic jazz context...and Hall was one of my all time favorites. However, there is nothing like the sound of organic octaves when playing jazz guitar!

[@travelingman9763]

Jimmy Ponder was a master!

[@ronaskew]

No one has ever said which of the octave notes should receive the focus.

[@RichieZellon]

Usually the highest of the 2 notes standout in a melody.... I would say, mainly it's a visualization strategy because when we solo we tend to focus for the most part on the first 3 strings. I guess you can focus on the lower octave, but I find it awkward when improvising...

[@dougwakimoto]

Please, play the joker...with explanations ;) thanks

[@soulvaccination8679]

Wes was jazz.We are imposters trying to understand jazz,.

[@TheRomankorolkov]

About the thumb, Wes never played with a palm hand , only with a thumb , his index middle ring and pink always rests on the Pick Guard.It's quite different filling and technic . kzbin.info/www/bejne/emWYaJVvhr9jiLs

[@RichieZellon]

What you are describing is Wes' overall technique, particularly when he played single notes because he played both downstrokes and upstrokes. This required that he keep the other fingers on the pickguard. Most of us use a pick when doing that and have to resort to holding the pick with the other fingers while using the thumb to play octaves. Either way, the objective in this lesson is to get the sound of the thumb brushing the strings and learn the left hand fingering. I think the Wes octave sound is pretty close to that effect, but then again my ears might not be as sophisticated as yours...however thanks for the comment!

[@samerrasrx1193]

nada que ver, no es asi

[@RichieZellon]

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[@jsamc]

Awesome lesson, thank you sir.

[@RichieZellon]

My pleasure!