J. R Monterose – J. R Monterose – Blue Note RVG series – Oct. 1956 50999-2-15387-28 Mono, 48:45 ***1/2:
(J. R. Monterose, tenor sax; Ira Sullivan, trumpet; Horace Silver, piano; Wilbur Ware, bass; Philly Joe Jones, drums)
One of the mysteries surrounding the RVG Blue Note series is on what criterion the present Blue Note management uses in reissuing classic 50s to 60s issues. On material like the previously unissued (US statewide) Lou Takes Off and Hank Mobley Quintet (reviewed above), it makes perfect sense. However, with sessions like J. R. Monterose’s self-titled session from 1956, it is more a mystery. This album was issued on Blue Note’s Connoisseur series, which was limited edition with Obi cardboard slip and session photo work by Francis Wolff. The Connoisseur Series was much valued by BN collectors for its exclusivity and package presentation. Ron McMaster did the remastering in 20-bit Super Bit mapping and though there were some complaints over sonics, most collectors were happy.
Then came Japanese issued TOCJ issues, thought to have the best sound, and after that there was the Japanese RVG series and jazz audiophiles argued over which Japan-issued Blue Notes sounded the best. Now we have the American RVG series at a price point under $12 and there are further debates over whether Van Gelder has “over” mastered some of the new series. My complaint lies not so much over sound quality but over the issue of re-issuing the Connoisseur Series, which diminishes its value, especially when that series was touted as limited edition with a premium $16.99 – $18.99 list price.
The decision to re-release J. R. Monterose’s self-titled 1956 session from its initial Connoisseur edition to the new RVG is an interesting one. Monterose is a great tenor sax stylist, who had an erratic career with a brilliant beginning and then disappearance from the scene and a return confined largely to the Midwest and Albany, New York. A bright flame became a faint flicker.
This CD can be recommended for J. R’s mastery of the tenor – with strong bop leanings as well as the sidemen appearance of the brilliant multi-instrumentalist Ira Sullivan – who here confines himself to trumpet, instead of his arsenal of saxes for which he is most noted. The rhythm section of Horace Silver, Wilbur Ware, and Philly Joe Jones is first class of course.
Monterose’s Wee-Jay is well known and both Silver and J. R solo nicely with effective choruses from Sullivan. Donald Byrd’s The Third makes an early hard bop appearance in 1956, as hard bop was beginning to eclipse bop in popularity. Bobbie Pin and Mark V showcase Monterose’s bop chops. Ka-Link is given a Latin base and Philly Joe’s cymbal work is highlighted. As did the Connoisseur, an alternate take of Wee-Jay is provided.
Someday we may find out whether it is for sound considerations, or a choice of Van Gelder’s, or just to milk the Blue Note catalog, that goes into the decision about which Blue Note sessions to give the RVG treatment. Let’s hope it’s not the latter reason….
TrackList: Wee-Jay, The Third, Bobbie Pin, Marc V, Ka-Link, Beauteous, Wee-Jay (Alt. take)
– Jeff Krow
