Billboard : 03/10/1956
Score of 70

The material presented here is that which was previously available on Prestige’s 10-inch LP 142 – plus two items released now for the first time: Blue Monk and Just a Gigolo. The new additions were recorded in September, 1954, two years later than the selections on LP 142. They are significant supplements to the Monk discography. Aiding Monk on the 1954 date were Percy Heath and Art Blakey. While Monk is not a great commercial seller, his work is important and appreciated, at least, by the avant-garde. Basic as his work is for the development of modern jazz, so should his LP’s be for the modern jazz record collector.

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Liner Notes by Ira Gitler

The position of legendary figure is usually reserved for a deceased musician who has played two decades before. It usually requires this posthumous status and span of time, for the various stories concerning him to grow into a legend but it took a very much alive Thelonious Monk only five years to surround himself with an air of mystery and receive the title “High Priest of Bebop” in the Forties. Perhaps this element of weird glamour prevented many people from enjoying Monk’s music to the fullest extent. Certainly he is always low man on the totem pole whenever the triumvirate of founding fathers of bop is evaluated. This is due in part, no doubt, to the greater solo prowess of Charlie Parker and Dizzy Gillespie, but Thelonious’ contributions in time, chord patterns and the original lines resulting from them were unjustly minimized. Actually they were the basis for much of the jazz of the Forties and Fifties.

Today he stands as an individual, a highly original musician who is the mentor of many young musicians in New York and the influence of countless others all over the globe. In his writing and playing, he consistently proves his right to the often misapplied title of creator.

This album is composed of two separate sessions. Thelonious Monk, piano; Gary Mapp, bass; Art Blakey, drums. The first four were taped October 15, 1952. The last four were made on December 18, 1952 with Max Roach on drums in place of Blakey.

Little Rootie Tootie is a sort of train-song with Monk even punctuating to represent the whistle.

Sweet and Lovely is marvelously interpreted by Monk. His playing cannot be typed. It is of jazz but not particularly of any era.

Bye-Ya is a rhymically Latin romp with Blakey’s sticks complementing and driving Monk simultaneously.

Monk’s Dream has the undertone of a nightmare running through it. The bridge especially seems to echo this feeling.

Trinkle Tinkle does just that with its shimmering clusters of notes much like stars and silver bells.

These Foolish Things is another example of the unique way Thelonious lends his style to a standard. Notice the humourous “Please Mr. Sun” introduction.

Bemesha Swing is the joint composition of Monk and Denzil Best.[/I] Max Roach gets a chance for some interesting interplay with Monk.

Reflections is a beautiful set of musings. Monk can be very moving in his direct simplicity.

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Thelonious Monk, piano; Percy Heath, bass; Art Blakey, drums. Recorded September 22, 1954.

As a belated sequel to Thelonious’ successful trio sessions of 1952, this one was also richly rewarding. Though not a great soloist from the standpoint of technique, brilliance and flash, Monk’s originality of style and width of idea serve to make him a highly interesting and important one. His playing can be characterized by roast beef, and a martini in which vermouth plays a very minor supporting role; much meat and very dry.

The trio often serves as a workshop for Monk’s combos with the lines being embellished by Monk for his larger group.

Blue Monk is a plaintive wail (dictionary meaning intended but take it anyway you want to) in which Monk conjugates the blues in a curious combination of several elements and eras of jazz. Percy Heath solos with intelligence and warmth and Art Blakey constructs a solo as only he can.

Just a Gigolo is more than that. He becomes a whistful character with depth as Monk describes him in one of his finest solo performances.