Kristen R. Bromley Quartet: Wes 101

Guitarist Kristen Bromley does not try to hide her admiration for an illustrious predecessor, the late great Wes Montgomery. Indeed, that respect is the central theme on Wes 101, Bromley's seventh recording as leader and/or soloist. She and her quartet embrace eight of her charming and luminous compositions, several of which were inspired by tunes that Montgomery either wrote or performed.

Bromley replaces the usual piano with organist Melanie Shore, which is a definite plus, as are the stalwart endeavors of bassist David Ian Baker and drummer Matt Coleman who interlink the ensemble in style. The trio lends Bromley all the support she needs as she glides effortlessly through a pleasing and colorful mosaic of mostly Montgomery-inspired music.

While there is no hint of it here, the mere fact that Bromley is able to play the guitar at all is near-miraculous. Nine years ago, in 2016, Bromley's left arm was severely broken and the radial nerve crushed. At the time, she was told she might someday regain limited use of her arm and hand. Bromley accepted the decision and began working to reverse it. The result of her work is evident on Wes 101, wherein Bromley plays as though that horrific setback had never happened.

Once back in the game, Bromley honed her skills until she was not only able to record a tribute to one of the legendary guitarists in jazz history, but to do it in a way that paralleled his genius as both player and composer. Bromley uses Montgomery's "Full House" as the basis for her "House of Fire," borrows from his "West Coast Blues" for "Indy Blues," and hangs the album's title track on chord progressions from Montgomery's "Four on Six."

Bromley's ballad "Cherished Moments" traces the standard "Misty," which Montgomery performed often, while "Wahoo!" began life as a salute to his "Cariba" before moving to other terrain. Bromley's opening theme, "Bring It On," and "Swing It for the Maestro," which follows, are high-spirited romps not written with anything expressly Montgomery in mind. The music is consistently sharp and engaging, the quartet in lock-step on every measure. Bromley is a splendid soloist in the Montgomery tradition, while Shore not only keeps pace but adds a few handsome wrinkles of her own.

Fans of guitar in general, and Wes Montgomery in particular, should return this admirable salute with praise and enthusiasm.

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