Charlie Rouse "Unsung Hero"

Charlie Rouse-"Unsung Hero"
Epic EK 46181

Charlie Rouse - tenor saxophone
Gildo Mahones - piano
Reggie Workman - bass
Arthur Taylor - drums (July 13, 1961, NYC)

Rouse - tenor saxophone
Billy Gardner - piano
Peck Morrison - bass
Dave Bailey - drums (December 21, 1960, NYC)

"Unsung Hero" clearly locates Charlie Rouse's major tonal influence in Ben Webster. Rouse's lines are more concise with a bare hint of the stylized vibrato so common in Webster's playing. The opening cadenza in the only tune recorded in the 1961 session, "When Sunny Gets Blue" displays not only the beauty of Rouse's tone, but an extremely well thought out mix of an emotive and intellectual approach to improvisation. Rouse begins the cadenza with one of his signature calling cards, where he scoops up a major 2nd or minor 3rd and moves downwards in a scalar fashion. He continues his beautiful line into a highly emotive climax during the rhythm section's entry to the tune.

Listening to this opening number would make any detractor of Rouse's playing realize why Ellington hired him for his band, a gig for which he literally missed the boat for lack of a birth certificate, eventually becoming the longest tenured tenorman in Thelonius Monk's band. "Billy's Blues" follows, a jive groove on the blues followed by "Stella By Starlight," given a shuffle-ish treatment by the rhythm section of the 1960 sessions leading nicely into the playfulness of "Lil Rousin."

Perhaps the most intriguing thing about this showcase of Rouse's playing, made after the beginning of his tenure with Monk's band, is his multiplicity of approaches. Although his playing has a decidedly hard bop feel and conception, he nods his head not only to the swing players of an earlier era, but occasionally growls and honks like an R & B player. You also hear the influence of Monk in his whole-tone runs and impressionistic use of space. The biggest surprise for this listener was in the thoughtfulness of his ballads and the smoothness of a rhythmic conception normally rendered rough and jagged in some of his best performances with Monk. Another standout track is his rendition of "I Should Care." It holds its own against one of my own personal favorite versions, from Hank Mobley's sessions, "Messages."

Any fan of tasty tenor playing and solid and rhythmic tenor playing will not be disappointed by this early '60's Rouse session. His fusion of Webster's tonal ideas with a solid bop conception and his unique ideation make a great album

As a showcase of