The Unmovable Throne of “Full House”

Along with these visuals, the magazine includes a special feature titled “Best & Best 100 Jazz Guitar Albums for the 21st Century.” In this feature, twelve renowned critics, including Masashi Narita, each selected their top 20 records. The top choice was awarded 20 points, and the results were compiled and presented as a list of 100 selections.

Remarkably, four of Wes’s albums made it into the top ten. This comes as no surprise, as the critics’ votes clearly reflect Wes’s towering influence. Unsurprisingly, the number one spot was claimed by the Riverside album “Full House,” a title that has cemented its place and remains untouchable by other, less formidable guitarists (no offense). Wes’s octave technique has always been a formidable benchmark.

Wes Montgomery had consistently shone in DownBeat magazine’s international critics’ polls and readers’ polls during his lifetime, often being named a poll winner. If memory serves, he held the top spot in the guitar category of SJ Magazine’s readers’ poll for nine consecutive years starting in 1961.

Another intriguing article highlights the best 10 tracks from the treasure trove of Verve’s jazz masterpieces. In this list, compiled by nine esteemed critics using the same 20-point top rating system, “No Blues” from “Smokin’ at the Half Note” was ranked eighth.

While it would have been nice to involve readers in the selection process for this feature, the undeniable and timeless impact of Wes Montgomery’s contributions is universally acknowledged. Regardless, SJ Magazine, featuring Wes on the cover as you did in the August 1996 issue, is sure to boost sales. How about conducting a popularity poll for cover artists to feature in future issues?