Gavin Walker
Mar 14, 2009, 12:11 AM
Tonight is the third of The Jazz Show's Features celebrating the 70th anniversary of Blue Note Records. Our first two were well known Blue Notes but this album by tenor saxophonist J.R. Monterose is less known but nonetheless a 'classic'. The self-titled original release, "J.R. Monterose" on vinyl, Blue Note 1536, was recorded in October 1956 and released very early in 1957 became a collector's item even in the 1960's. It was issued in 1994 on CD on the Conoisseur Series (Limited Edition) and now is readily available on Blue Note's RVG (Rudy Van Gelder) series. It has J.R. Monterose on tenor saxophone leading Ira Sullivan on trumpet (exclusively), and a 'Cadillac' rhythm section of Horace Silver (piano), Wilbur Ware (bass) and Philly Joe Jones (drums). It contains 3 compositions by Monterose, one by Philly Joe, one by trumpeter, Donald Byrd and one by bassist, Paul Chambers. This document was Monterose's only recording for the label under his name and is also significant that as Blue Note rightfully featured African-American players as album leaders, J.R. was the first Caucasian musician to get his own 12" LP. My reasons for presenting this recording are three-fold: (1) I grew up with this album and it influenced my musical development. (2) It's a great statement by 5 strong personalities reflecting the Jazz realities of the day. (3) The music grabs your attention from start to finish and you realize after listening that you've heard 5 amazing players totally involved in the joy of driving, swinging and creative expression. More about the players:
Frank Anthony Monterose Jr. (J.R. Monterose) was born of Italian-American heritage in Detroit on January 19 1927, but was raised from childhood in Utica, New York. Many prominent Jazz players of Italian origin came from upstate New York.....The Mangione brothers (Chuck and Gap), tenorists Sal Nistico and Joe Romano, baritone master, Nick Brignola, trumpeters, Sal Amico and Sam Noto and many more, maybe there's something in the water. J.R. started on clarinet and went through the usual learning period, got a tenor and turned pro in 1948, working in territory bands. He then joined the big band of Henry Busse which took him to New York. He joined drummer Buddy Rich's band and met with other like minded players, including Philly Joe Jones, who was playing second drums in the Rich band (Buddy was drumming but also singing and dancing as well). J.R. established himself in NYC on the Jazz scene and played in Claude Thornhill's band then hooked up with vibist Teddy Charles and bassist Charles Mingus playing cutting edge creative Jazz and making a reputation for himself as a strong, individual soloist. Monterose, at first, liked Coleman Hawkins and Chu Berry but upon arriving in New York became absorbed in the music of Charlie Parker, and the Sonny's (Rollins and Stitt). Those are the influences one hears in J.R. After playing with Mingus off and on for several years, J.R. appeared on Mingus' pivotal Atlantic album, "Pithecanthropus Erectus" (with Jackie McLean as the other horn). After quitting Mingus over a personal matter, J.R. joined trumpeter Kenny Dorham's newly formed "Jazz Prophets" and through these connections and recordings with Mingus and Dorham, J.R., with his tough, stacatto, hard driving style and his unique sound, found a wider public. Blue Note's Alfred Lion became aware of Monterose through his live recording with Dorham and The Jazz Prophets (check out the 2CD set called "The Complete 'Round About Midnight at the Cafe Bohemia") and gave J.R. his Blue Note date. Critics sometimes confused J.R. Monterose with a West Coast tenor saxophonist named Jack Montrose because of their names but there was no mistaking J.R.'s hard charging style with the softer laid back playing of West Coast Jack. After Dorham broke up the Prophets to join Max Roach, Monterose freelanced in New York but ran into problems with his cabaret card (which every person needed to work in alcohol-serving clubs and bars).....this card could be confiscated by police and authorities if a person was convicted or charged with a felony...the cabaret card law was repealed in 1966. J.R. was caught with drugs and his card was lifted and he had to leave New York. He liked small clubs and thrived in upstate, and returned to NYC to record what he felt was his best record, called "The Message" for Jaro Records (worth looking for). He then wandered over the country making the odd record date and was in Los Angeles for a short time in 1964. I met and heard him at Shelly Manne's club (The Manne-Hole) playing with the great drummer's band and J.R. sounded great. After that he moved to Europe and learned the guitar, got married, divorced and returned to Albany in the 80's where he gigged and lived until his passing on September 26, 1993. All of J.R.'s recordings are worth seeking out as they represent the voice of a very individual stylist who always got to the center of the music.
The other players on the date are Ira Sullivan and Wilbur Ware. Horace Silver and Philly Joe Jones are well documented but Sullivan, who is still alive, as is Silver, was an exceptional talent. He literally played anything with valves or keys and was gifted with an amazing ear. When he made this recording he was with an edition of Art Blakey's Jazz Messengers and was playing both trumpet and tenor saxophone. He was the first Caucasian to join Blakey's band. He is featured here on trumpet. Sullivan ran into some of the same problems as J.R. and went back to his hometown of Chicago where he stayed and recorded with everyone on that city's scene. Sullivan hated travel and after straightening out his personal life, moved to Florida where he lives to this day and still performs. His career was revitalized in the 80's when he and legendary trumpeter, Red Rodney formed a group and recorded extensively.
Wilbur Ware was an amazing musician. Self-taught and barely able to read music, he became in his time one of the most sought after bassists in New York. He was also from Chicago and seemed to appear on everyone's recordings in 1956-57. Ware became a huge influence on bassists like Charlie Haden, Ron Carter and others. His big springy sound and his choice of notes and his solos were like listening to Monk....if Monk played bass. Ware, like Sullivan was in Blakey's Messengers when this record was made. He later made musical history with Thelonious Monk's Quartet (with Coltrane) and later with Sonny Rollins (Rollins at the Village Vanguard) but Ware was a drug addict and an alcoholic and his tardiness and no-shows got him fired from Monk's band and his reputation prevented even the most irresponsible band leaders from hiring him. His appearances on recordings dwindled and although he re-emerged in the late 60's and into the 70's for some recordings, his time had passed. Ware, who was born in Chicago on September 8, 1923, died in New York, one day after his birthday in 1979.
I have made mention of these players as I feel that they should be better known and listened to as it's musicians like Monterose, Sullivan and Ware that represent the core of this great music. J.R. Monterose and company will be the Feature at 11pm (or a bit after, as usual) and I will also play a few more female artists that I didn't get around to presenting last week on the show dedicated to International Woman's Day. Mary Lou Williams, Jessica Williams and Shirley Scott will be heard as well as some more SF Jazz Collective music to preview their concert on March 17 at the Chan Centre. See you at 9pm.
Frank Anthony Monterose Jr. (J.R. Monterose) was born of Italian-American heritage in Detroit on January 19 1927, but was raised from childhood in Utica, New York. Many prominent Jazz players of Italian origin came from upstate New York.....The Mangione brothers (Chuck and Gap), tenorists Sal Nistico and Joe Romano, baritone master, Nick Brignola, trumpeters, Sal Amico and Sam Noto and many more, maybe there's something in the water. J.R. started on clarinet and went through the usual learning period, got a tenor and turned pro in 1948, working in territory bands. He then joined the big band of Henry Busse which took him to New York. He joined drummer Buddy Rich's band and met with other like minded players, including Philly Joe Jones, who was playing second drums in the Rich band (Buddy was drumming but also singing and dancing as well). J.R. established himself in NYC on the Jazz scene and played in Claude Thornhill's band then hooked up with vibist Teddy Charles and bassist Charles Mingus playing cutting edge creative Jazz and making a reputation for himself as a strong, individual soloist. Monterose, at first, liked Coleman Hawkins and Chu Berry but upon arriving in New York became absorbed in the music of Charlie Parker, and the Sonny's (Rollins and Stitt). Those are the influences one hears in J.R. After playing with Mingus off and on for several years, J.R. appeared on Mingus' pivotal Atlantic album, "Pithecanthropus Erectus" (with Jackie McLean as the other horn). After quitting Mingus over a personal matter, J.R. joined trumpeter Kenny Dorham's newly formed "Jazz Prophets" and through these connections and recordings with Mingus and Dorham, J.R., with his tough, stacatto, hard driving style and his unique sound, found a wider public. Blue Note's Alfred Lion became aware of Monterose through his live recording with Dorham and The Jazz Prophets (check out the 2CD set called "The Complete 'Round About Midnight at the Cafe Bohemia") and gave J.R. his Blue Note date. Critics sometimes confused J.R. Monterose with a West Coast tenor saxophonist named Jack Montrose because of their names but there was no mistaking J.R.'s hard charging style with the softer laid back playing of West Coast Jack. After Dorham broke up the Prophets to join Max Roach, Monterose freelanced in New York but ran into problems with his cabaret card (which every person needed to work in alcohol-serving clubs and bars).....this card could be confiscated by police and authorities if a person was convicted or charged with a felony...the cabaret card law was repealed in 1966. J.R. was caught with drugs and his card was lifted and he had to leave New York. He liked small clubs and thrived in upstate, and returned to NYC to record what he felt was his best record, called "The Message" for Jaro Records (worth looking for). He then wandered over the country making the odd record date and was in Los Angeles for a short time in 1964. I met and heard him at Shelly Manne's club (The Manne-Hole) playing with the great drummer's band and J.R. sounded great. After that he moved to Europe and learned the guitar, got married, divorced and returned to Albany in the 80's where he gigged and lived until his passing on September 26, 1993. All of J.R.'s recordings are worth seeking out as they represent the voice of a very individual stylist who always got to the center of the music.
The other players on the date are Ira Sullivan and Wilbur Ware. Horace Silver and Philly Joe Jones are well documented but Sullivan, who is still alive, as is Silver, was an exceptional talent. He literally played anything with valves or keys and was gifted with an amazing ear. When he made this recording he was with an edition of Art Blakey's Jazz Messengers and was playing both trumpet and tenor saxophone. He was the first Caucasian to join Blakey's band. He is featured here on trumpet. Sullivan ran into some of the same problems as J.R. and went back to his hometown of Chicago where he stayed and recorded with everyone on that city's scene. Sullivan hated travel and after straightening out his personal life, moved to Florida where he lives to this day and still performs. His career was revitalized in the 80's when he and legendary trumpeter, Red Rodney formed a group and recorded extensively.
Wilbur Ware was an amazing musician. Self-taught and barely able to read music, he became in his time one of the most sought after bassists in New York. He was also from Chicago and seemed to appear on everyone's recordings in 1956-57. Ware became a huge influence on bassists like Charlie Haden, Ron Carter and others. His big springy sound and his choice of notes and his solos were like listening to Monk....if Monk played bass. Ware, like Sullivan was in Blakey's Messengers when this record was made. He later made musical history with Thelonious Monk's Quartet (with Coltrane) and later with Sonny Rollins (Rollins at the Village Vanguard) but Ware was a drug addict and an alcoholic and his tardiness and no-shows got him fired from Monk's band and his reputation prevented even the most irresponsible band leaders from hiring him. His appearances on recordings dwindled and although he re-emerged in the late 60's and into the 70's for some recordings, his time had passed. Ware, who was born in Chicago on September 8, 1923, died in New York, one day after his birthday in 1979.
I have made mention of these players as I feel that they should be better known and listened to as it's musicians like Monterose, Sullivan and Ware that represent the core of this great music. J.R. Monterose and company will be the Feature at 11pm (or a bit after, as usual) and I will also play a few more female artists that I didn't get around to presenting last week on the show dedicated to International Woman's Day. Mary Lou Williams, Jessica Williams and Shirley Scott will be heard as well as some more SF Jazz Collective music to preview their concert on March 17 at the Chan Centre. See you at 9pm.