A sequel to Echoes of Indiana Avenue, Resonance's 2012 release taken from the same tape sources, this new volume of previously unheard Montgomery is as frustrating as it is illuminating. Despite the best efforts of producer Zev Feldman and a host of jazz musician listeners, personnels and dates remain largely educated guesswork. What's fairly certain is that these 22 tracks comprise some of the earliest surviving Wes on tape, recorded back in his hometown and pre-dating his Riverside signing but already clearly showing a talent in full maturity. Indeed, the old chestnut about “how did so-and-so really sound back in the early days” is answered in full; pretty much the same as the Montgomery we all know from The Incredible Jazz Guitar of … onwards, lyrical yet biting single-string solo lines mixing with those characteristic chorded passages, the tone at once warm and singing. Spread across several instrumentations – quartet, organ and drums, what Resonance term ‘Nat ‘King’ Cole-style trios' and a sextet with trombonist Baker – he tackles then-current jazz themes (‘So What’, ‘Ecorah’, ‘Sandu’, ‘Opus De Funk’), a clutch of quality standards and, most welcome of all, early versions of such soon-to-be Wes-anthems as ‘Four on Six’, ‘Jingles’, ‘Mr. Walker’ and ‘West Coast Blues’. So mature and recognisable is Montgomery on these recordings that they present a small quandary for the reviewer. Whereas other similar archive-retrieved issues call for revisionism and re-evaluation, there's nothing here likely to prompt any kind of rethink. Wes just plays as we know and love him. The only thing that may conceivably raise eyebrows is hearing him adopt Freddie Green's rhythm style from time to time on the pianoless items. Other than that, it's (consistently enjoyable) business as usual. Sound is variable, ranging from dull-grey to pin-sharp depending on the location, but, as per their other issues, Resonance's packaging is first-class. A keeper.