And the eventual outcome? One of the truly great indispensible albums. Whatever the motivation, both Rollins and Henry seldom played better than right here. To make up for a shortfall in time, an unaccompanied Monk slipped behind the keyboard to rework ‘I Surrender, Dear.’ Perhaps because this was far from being a conveyor belt blowing session, all the participants had to face up to what became a real challenge when not only getting to grips with the dangerous curves that beset the title track but also ‘Ba-Lue Bolivar BaLues-Are’ and ‘Pannonica’. For instance only four tracks use horns: while Rollins appears on all four, Ernie Henry plays on three while Clark Terry is only heard on ‘Bemsha Swing’.
But seemingly, the three separate sessions that were needed to actually complete the five original tracks were all fraught with tension and frustration. The title track being patched together, by producer Orrin Keepnews, from fragments of no less than 25 incomplete takes. Brilliant in both title and content this album may well be, but by all accounts it was a bitch to make.
Back then, it really separated the men from the boys. Today, musicians tackle Monk’s music with apparent ease to where it has now become repertory. Thelonious Monk (p), Clark Terry (t) Sonny Rollins (ts), Ernie Henry (as), Oscar Pettiford, Paul Chambers, Tommy Potter (b), Max Roach and Art Taylor (d).
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