Much has been made of Monk's playing being rooted in the stride piano style originated by James P. Johnson and Willie "The Lion" Smith. Indeed, this does seem to be an influence and can be heard on this album in spots on the ballad "I Surrender, Dear", but his piano style is mostly marked by a muscular quality and a stiff-fingered style that can make his playing sound crude to the casual listener. A more accurate term might be "primitive", for like the primitive art done by folk painters, the lack of "schooling" in his technique reveals a truth beneath the notes that is sometimes lacking from the more "refined" players. You won't hear much stride influence on the uptempo numbers, however. Instead Monk throws in Debussy-style whole tone runs, and other unexpected but welcome goodies.

On this recording, Monk is surrounded by first-rate musicians who accept the challenges of his compositions and do them justice. The rhythm section of Max Roach and bassist Oscar Pettiford or Paul Chambers follows the twists and turns of a number like "Brilliant Corners" and provides the necessary punch to drive the soloists bravely into new territory. Roach may well be the perfect counterpoint to Monk's piano, drumming with robustness and kicking in all the right places. Rollins plays the first solo, beginning with an easy swing and gradually becoming more restless as the rhythm section bursts into double-time. A lot can be learned by listening to Monk's work behind the soloists on this record--he does so much more than merely comp on the chords, asserting the rhythms, gently needling the soloist, and generally becoming an all-round participant in the conversation rather than a mere listener uttering the occaisional "uh-huh". We also get a great solo contribution from Ernie Henry on alto sax. Henry's playing on the entire album is just wonderful, and it is a real opportunity to hear some great work from an underrecorded artist who, had he not died at the age of 31 less than a year after the recording of this album, would likely have been among the artists we consider jazz greats today.

"Ba-Lue Bolivar Ba-Lues-are", which is simply a phonetic spelling of the title "Blue Bolivar Blues" is indeed a blues, though as only Monk would play them. The group gets a chance to stretch out here and the solos are well-constructed and give a real flavor of each player's personality. "Bemsha Swing", a piece Monk had written long before this recording date, also provides an opportunity for extended solos, this time with trumpet great Clark Terry doing the honors. "Pannonica" is a beautiful piece that finds Monk doubling on celeste to great effect. Sonny Rollins acquits himself especially well on this track, with a solo that is in the best late-night, smoky bar tradition--offering a certain weariness without sounding weary itself. This was the third of several albums that Monk recorded for the Riverside label between 1955 and 1961, and it definitely belongs on the shelf of any jazz listener who wants to try to experience the unique sonic world of Thelonius Monk.