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Now along comes another on which the title, after the famous pianist’s name, is simply Monk.

Prestige was evidently by this time (early 1954) still trying to introduce Monk to the public.

This time they were trying to make his music more “user-friendly”.

So, behind his leadership were assembled not only a bassist and a drummer but also two horn-players.

The first four tracks have Sonny Rollins on tenor saxophone and Julius Watkins on French horn, while the last three have Frank Foster on tenor sax and Ray Copeland on trumpet.

On most of the tracks (except ‘Smoke Gets in Your Eyes’, on which Monk alone improvises a solo), the two horns get to share a fair amount of the solo time with the piano.

As a result the album is notable as much for Rollins, for whom it was an early career landmark, as for Monk.

For Watkins too, one of the rare exponents of the French horn in jazz, it’s a landmark.

Most of his work was done in big bands behind Miles Davis with lush orchestration, and this must have been the rare occasion on which he got to solo, with very pleasing results.

The bass and drums are rather quiet in support, and only Willie Jones on the latter takes a solo in “Hackensack”.

Art Blakey, who handles the drums on the last three tracks, is unusually in the background throughout his stint.

Except the slow ballad ‘Smoke Gets in Your Eyes’, all the music was composed by Monk and is in medium to brisk tempo, often quite lively.

If you’re not averse to Monk’s slightly idiosyncratic piano style, it is a good album to acquaint yourself with Monk or strengthen your acquaintance with him.

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