J.R. Monterose And Tommy Flanagan - A Little Pleasure (1988)

J.R. MONTEROSE (not to be confused with fellow tenor Jack Montrose)
is most famous for a gig that he personally did not enjoy, playing
with Charles Mingus in 1956 and recording on Mingus' breakthrough
album Pithecanthropus Erectus. He grew up in Utica, NY, played in
territory bands in the Midwest, and then moved to New York City in
the early '50s. Monterose played with Buddy Rich (1952) and Claude
Thornhill and recorded with (among others) Teddy Charles, Jon
Eardley, and Eddie Bert.

After leaving Mingus (whom he did not get along with), Monterose
played with Kenny Dorham's Jazz Prophets and recorded a strong set
for Blue Note as a leader. Although he performed into the 1980s
(doubling on soprano in later years), Monterose never really became
famous. In addition to his Blue Note date, he led sets for Jaro (a
1959 session later reissued by Xanadu), Studio 4 (which was reissued
by V.S.O.P.), a very obscure 1969 outing for the Dutch label Heavy
Soul Music (1969), and, during 1979-1981, albums for Progressive,
Cadence, and two for Uptown.


Known for his flawless and tasteful playing, TOMMY FLANAGAN received
long overdue recognition for his talents in the 1980s. He played
clarinet when he was six and switched to piano five years later.
Flanagan was an important part of the fertile Detroit jazz scene
(other than 1951-1953 when he was in the Army) until he moved to New
York in 1956. He was used for many recordings after his arrival
during that era; cut sessions as a leader for New Jazz, Prestige,
Savoy, and Moodsville; and worked regularly with Oscar Pettiford,
J.J. Johnson (1956-1958), Harry "Sweets" Edison (1959-1960), and
Coleman Hawkins (1961).

Flanagan was Ella Fitzgerald's regular accompanist during 1963-1965
and 1968-1978, which resulted in him being underrated as a soloist.
However, starting in 1975, he began leading a series of superior
record sessions and since leaving Fitzgerald, Flanagan has been in
demand as the head of his own trio, consistently admired for his
swinging and creative bop-based style. Among the many labels he has
recorded for since 1975 are Pablo, Enja, Denon, Galaxy, Progressive,
Uptown, Timeless, and several European and Japanese companies. For
Blue Note, he cut Sunset and Mockingbird in 1998, followed a year
later by Samba for Felix.


What an excellent bob/hard bop session this is! Monterose teamed up
with Flanagan and producer Mark Feldman for the 1981 Uptown Records
release "A Little Pleasure". In 1988, Reservoir hired none other
than Rudy Van Gelder for a complete digital remaster of the album.