![]() ![]() Monterose (Blue Note, 1956), produced by Alfred Lion with liner notes by Leonard Feather, and The Message (JARO, 1959), produced by Manny Albam, with Nat Hentoff providing commentary. Dorham, Monterose told critic Mark Gardner in 1975, "was one of the greatest leaders and players I ever played for.A wonderful musician." He also recorded two sessions as leader: J. In New York City in the mid- to late 1950s, Monterose was a featured soloist with Claude Thornhill's orchestra, and with vibraphonist Teddy Charles's modernist groups, Charles Mingus's Jazz Workshop and Kenny Dorham's short-lived Jazz Prophets. "After six months I was drugged with my own playing," he declared in a 1956 interview, "and I went back home and spent the next couple of years working in little joints but with good men." Though the band had some excellent bop-oriented musicians (Rich, Dave Schildkraut, Allen Eager and Philly Joe Jones), Monterose soon left, citing the lack of soloing opportunities. After a brief return to Utica, he joined the Buddy Rich big band in late 1951. In 1950, he joined Henry "Hot Lips" Busse's touring orchestra. #Encore montrose professional#Monterose's first professional experience was playing in upstate New York territory dance bands (1947–49). #Encore montrose how to#Monterose's earliest influences were Coleman Hawkins and Chu Berry, but, as he told critic Leonard Feather, he also found harmonic inspiration in pianists, citing Bud Powell and the instruction of Utica-based guitarist and pianist Sam Mancuso, in helping him learn how to use chord changes. He began formal clarinet studies at thirteen, but was largely self-taught as a tenor saxophonist, which he took up at the age of 15 after hearing Glenn Miller band soloist Tex Beneke. or JR (derived from Jr.) Monterose grew up in Utica, New York, where his family moved a few months after his birth. Born in Detroit, Michigan, United States, J.R. ![]()
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