Not just the members of the quartet, this album is a legend in itself. Two originals have become standards from it. By 1965, the self-taught Montgomery received many invitations, including one from New York’s Half-Note. The rhythm section, Wynton Kelly, Paul Chambers and Jimmy Cobb, had accompanied Miles Davis for four years. For some reason, only No Blues and If I Could See Me Now have made it from the concert onto the first release, the rest were studio recordings three months later. Two tracks with numbered titles, Unit 7 and Four on Six, became standards from this album, but the bluesy, hidden tension of What’s New is also full of excitement. The almost breathless momentum all the way through is impressive, like a hissing steam engine at full speed, and it’s not just the guitar that gives that feeling. It’s the piano and accompaniment throughout as well, as they reveal simple yet nuanced melodies with the endlessly precise interplay of the whole quartet. The first LP release has been followed by numerous analogue and digital discs since 1965, because this material never gets old. The guitarist of MAO, Áron Komjáti, a master of shades depicting any colour of jazz, interprets the classic tracks as a soloist on the podium.