J.R. Monterose (never to end up being baffled with fellow tenor Jack port Montrose) is most well-known for the gig that he individually didn’t enjoy, using Charles Mingus in 1956 and saving on Mingus’ discovery record Pithecanthropus Erectus. He was raised in Utica, NY, performed in territory rings within the Midwest, and moved to NEW YORK in the first ’50s. Monterose used Buddy Full (1952) and Claude Thornhill and documented with (amongst others) Teddy Charles, Jon Eardley, and Eddie Bert. After departing Mingus (whom he didn’t be friends with), Monterose used Kenny Dorham’s Jazz Prophets and documented a strong established for Blue Take note as a head. Although he performed in to the 1980s (doubling on soprano in old age), Monterose hardly ever really became well-known. Furthermore to his Blue Take note time, he led pieces for Jaro (a 1959 program afterwards reissued by Xanadu), Studio room 4 (that was reissued by V.S.O.P.), an extremely obscure 1969 outing for the Dutch label Large Spirit Music (1969), and, during 1979-1981, albums for Intensifying, Cadence, and two for Uptown.