Maximum Swing is the sixth collection of previously unreleased material by the groundbreaking jazz guitarist Wes Montgomery to be issued by the indie Resonance Records—the campaign was launched in 2012 with Echoes of Indiana Avenue and has yet to run out of gas. This newest entry serves as something of a companion piece to two other Montgomery albums: Smokin’ in Seattle: Live at the Penthouse, a 2017 Resonance release that put Montgomery in the company of piano great Wynton Kelly and his trio in 1966; and Smokin’ at the Half Note, the 1965 Verve release that introduced the Montgomery-Kelly collaboration to jazz audiences. That original five-song LP has since been augmented with other tracks from the live dates, but this new package moves the story along even further by digging deeper into the vault. Here the core trio of Montgomery, Kelly and drummer Jimmy Cobb is joined first (in September 1965) for three numbers by bassist Paul Chambers, who played on the original, then by Ron Carter for three tracks a couple of months later and, finally, by bassist Larry Ridley for the remainder of the run (some of which is dated only “late 1965” in the liner notes). There are 17 tracks here, all of them equally impressive both sonically and in terms of the group’s performances. The various lineups each share a penchant for stepping out beyond the obvious, taking on material by John Coltrane (“Impressions”), Miles Davis (“No Blues,” “The Theme”) and Dizzy Gillespie (“Birks’ Works”), alongside compositions by Montgomery and a smattering of standards. Whatever direction they take, these pros live up to the “smokin’” part of the 1965 album’s title, ever-inventive and quite often transcendent.