J.R. MONTROSE IN ACTION

[JSngry]

Oh yeah, the dynamics too. The cat plays with what strikes me as an unusual amount of interphrasal (and if that's not a word, it is now!) dynamics.

I can see why cats like Monterose, Tina Brooks, Bill Barron, Ernie Henry, etc. get to be "cult" favorites. What they do is on the one hand totally unique, and on the other so within such a narrow range in the overall scheme that it's understandable why some would "walk on by" their work, or at best take a look, say "that's interesting", and keep going.

You know, the tune that really intrigued me was #4 ("Red Devil", I think). It's got a weird sturcture - 14, not 16, bars, but it's accomplished without any awkwardness in the resolution of the changes. The lack of the expected extra 2 bars creates this cool, organic, "looping" effect where you're back at the beginning sooner than you expect but you look around and everything SEEMS normal, so you keep it to yourself and act like nothing's wrong, even though you KNOW there is. A perfect vehicle for a NY cat trying to straighten out in Iowa, I'd think....

[DrJ]

I know what you mean about limited appeal in the players you list to a degree, but someone like Tina Brooks I see as mainly being in that category because he had a problem with a short career and got limited hearing outside the "connoisseur" circle during his lifetime. You listen now, with mucho years of hindsight and ears attuned to a whole lot of post-bop sounds, and you think, "Why the HELL wasn't this guy more widely heralded?" His sound goes down easy and can almost immediately be appreciated by relatively neophyte ears (everyone I play his stuff for, no matter how casually interested in jazz, digs it), yet there's a whole lot of new subtleties to discover and enjoy every single time you listen, even for an experienced listener. Clearly, just bad juju or something (well, that and some unfortunate habits that foreshortened his chances). At least that was my reaction to Tina, I loved him on first hearing of TRUE BLUE and my admiration has only grown over the years (most recently have been digging his playing on the Howard McGhee-led version of THE CONNECTION, and have become firmly convinced this one blows the more widely known BN version out the water...Tina's solo on "Wigglin'" is one of the best of his career).

Someone like Monterose (and Ernie Henry to a lesser degree), on the other hand, particularly on an album like IN ACTION, I fully understand why he's got a limited appeal - it has nothing to do with talent or merit, but just that he's REALLY subtle, has a tone that doesn't immediately captivate with beauty or sound real distinctive, and he's also not conventionally swinging or bluesy - or conventionally ANYTHING. But again, a seasoned listener admires that, and he's someone who you keep coming back to because of the subtleties and the "inside" the music thing you so eloquently described.

Barron - OK, he's in that grouping because he's just too "odd" to unprepared ears (people I play this for tend NOT to like it unless they have the proverbial "big ears"), but he's another one who I personally enjoy all I've heard by so far, which isn't enough I'll be the first to admit. Really enjoyed the MODERN WINDOWS and other Savoy stuff and I'm now trying to track down all his stuff with Ted Curson.

Now if only Mosaic would suddenly announce a Paul Jeffries box, that would lead to the kind of posthumous career boost and righteous recognition Tina got, I could die happy.

Edited August 30, 2003 by DrJ

[JSngry]

Someone like Monterose (and Ernie Henry to a lesser degree), on the other hand, particularly on an album like IN ACTION, I fully understand why he's got a limited appeal - it has nothing to do with talent or merit, but just that he's REALLY subtle, has a tone that doesn't immediately captivate with beauty or sound real distinctive, and he's also not conventionally swinging or bluesy - or conventionally ANYTHING. But again, a seasoned listener admires that, and he's someone who you keep coming back to because of the subtleties and the "inside" the music thing you so eloquently described.

Barron - just too "odd" to unprepared ears, but another one who I really dig all I've heard by so far, which isn't enough I'll be the first to admit. Really enjoyed the MODERN WINDOWS and other Savoy stuff and I'm now trying to track down all his stuff with Ted Curson.

Could disagree more about J.R.'s tone, but that's entirely a personal matter.

And I LOVE Ernie Henry, and have from note one, but again, that's entirely a personal matter.

You do vinyl, right Tony? If you ever come across Barron's 80s work on Muse, check it out. It's everything his earlier work was, only moreso. Fascinating stuff.

Also, Bill Barron did a CD on the Joken label (something Kenny was a partner in, or some such) in 1989 called HIGHER GROUND where he plays a bunch of standards. That's some hip shit!

Now - I gotta go to work and listen to this Blindfold Test that some doctor made up. Wonder what the hell is gonna be on THAT?

[DrJ]

Now - I gotta go to work and listen to this Blindfold Test that some doctor made up. Wonder what the hell is gonna be on THAT? 

Some crap, probably!

I'll look for the Barron Muse and other date (yep, I do vinyl, and I've seen some of the Muses in the bins - now that sounds like the punch line to some hip Greek tradgedy-referencing joke, doesn't it? - and passed due to uncertainty, won't in the future).

PS - Just to clarify about both Monterose and Henry, lest I sounded too critical, I REALLY like both quite a lot, but just not in the sort of starry-eyed way I admire Tina Brooks' playing at this point in time. If this makes sense, they sound supremely qualified and talented but ultimately still like mortals to me - which is very cool in its own way and again I think why those who seek a deeper appreciation of the music enjoy them so - while Brooks, well, it's like he came down from Planet Tenor to beautify our planet, not with supreme chops or overwhelming Rollins power but just by having such a uniquely complete thing going...which makes for an amazing and inspirational listening experience, but can oddly also be offputting at times when you want something a little more earthly. Or maybe that doesn't make sense to anyone but me!

Edited August 30, 2003 by DrJ

[BFrank]

Just picked up "Straight Ahead" not realizing that it was the same album as "The Message". I had downloaded "Message" from EMusic, but had yet to listen to it. Anyway, I'm sure the CD is better quality than than the 128K MP3s that I already have.

First time through, it's not grabbing me as anything special, but I think it needs repeated listenings. I'm still learning about J.R. at this point, anyway. The only other album I have with him is the live Kenny Dorham set.

[king ubu]

BFrank, if you enjoy the Dorham live, get the "Jazz Prophets Vol. 1" disc as soon as you can. That one was reissued as a "Chessmate" a few years ago (and is OOP if I remember right, for one or two years now). It has the same band except for Dick Katz in Timmons' place, and Burrell (who was a special recording-session-guest for the Blue Note date) is omitted. Very nice playing by all included, sort of a minor masterpiece. I love "Blues Eleganté"!

ubu

[AndrewHill]

Just found this used today and picked it up because I remembered reading about this date (here in this thread in fact ) years ago. This is a great disk and its hard to believe that In Action was cut on such an obscure label and got so little circulation at the time, and although I really can't add more than what's already been said (I think Sangry nails it prefectly) its a definite keeper.

[EKE BBB]

Just found this used today and picked it up because I remembered reading about this date (here in this thread in fact ) years ago. This is a great disk and its hard to believe that In Action was cut on such an obscure label and got so little circulation at the time, and although I really can't add more than what's already been said (I think Sangry nails it prefectly) its a definite keeper.

Do you have it as

Studio 4 CD: TFCL-88925 — In Action (1992)

or as

Bainbridge CD: BCD 503 — In Action ?

If it is the Bainbridge CD, could you provide release (copyright/print) date? Thanks in advance!

Agustín

[Big Beat Steve]

I picked up a facsimile LP reissue of this Studio 4 LP a couple of years ago through eBay as I'm always after obscurities of 50s/early 60s jazz and also on the assumption that there must be something to it since the few original copies that came up for auction fetched prices that were just SILLY - SILLY - SILLY!

As said by others before his tone takes some getting used to but this IS great and forceful playing. Couldn't say, though, if I prefer this or the Jaro/Xanadu album.

And thanks, Chuck Nessa, for your recollections of the moments spent with J.R. Must have been quite a time.

[clifford_thornton]

I have a Japanese LP boot of this that saved me about $2000 off the orig. This one and the one on Heavy Soul are my two favorite Monterose dates. I was glad to reread Chuck's stories - they made me very happy.

Still have an eye out for the duo LP with Flanagan, I suspect it's "good."

[AndrewHill]

Just found this used today and picked it up because I remembered reading about this date (here in this thread in fact ) years ago. This is a great disk and its hard to believe that In Action was cut on such an obscure label and got so little circulation at the time, and although I really can't add more than what's already been said (I think Sangry nails it prefectly) its a definite keeper.

Do you have it as

Studio 4 CD: TFCL-88925 — In Action (1992)

or as

Bainbridge CD: BCD 503 — In Action ?

If it is the Bainbridge CD, could you provide release (copyright/print) date? Thanks in advance!

Agustín

It is the Bainbridge issue, but it makes no mention anywhere of when it was printed. All it says is this:

copyright (the "p" and "c" in circles) 1964 J.S. Productions Inc, Mfrd & Dist. by Bainbridge Entertainment Co. Inc, PO Box 8248 Van Nuys, Ca 91409-8248.

Don't know if that helps or not.

HG