Wes' phrasing and melodic development affected me the most. He had a story-telling quality that let ideas unfold over time in a way no guitarist had done before. He took certain stylistic breakthroughs of Sonny Rollins and John Coltrane and applied them to the guitar in a way that is the ultimate achievement for an improvising musician. On a phrasing level, he made the guitar speak. Up to that point, players picked every note and had guitar-like phrasing. He was in the same ballpark with the greatest horn improvisers; he's probably the only pre-1970 guitarist I can say that about. Wes and Jim Hall pretty much revolutionized the instrument. Those are the two guys for me. - Pat Metheny
( Good introduction on Wes - Ed )
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