js This review is written using the double LP version of this recording. I would imagine when most Monk fans see the 1969 recording date on this album, they not only approach with caution, but probably assume this is one to avoid entirely. The previous year of 1968 had been one of Monk’s roughest, with more time spent in hospitals, rather than clubs. His long time rhythm section finally had to leave him for more work, and only saxophonist Charlie Rouse remained, who was also having problems of his own. Monk’s performances during this time had become spotty and many assumed his career was about over. So it was, in late 1969, Monk and Rouse set out for Europe with a young inexperienced rhythm section in an attempt to prove they still had something to say. “Paris 1969” was recorded on the last day of that tour, and the big surprise is that Monk and his young band sound great.

There are no big surprises on the first two sides of this four sided collection, on which Monk and his band play spirited renditions of well known Monk favorites. This is probably not the most exploratory playing from Monk and Rouse, but they aren’t exactly loafing either. The rhythm section is made up of two young unknowns, (Nate Hygellund on bass and Paris Wright on drums), who were never heard of much again outside of this recording, but they both turn in very strong performances. On side three things change up a bit when Monk plays a few numbers solo. The old school stride version of “I Love You Sweetheart of all my Dreams” is a real treat and must of sounded like a rare jewel during the heavy-handed musical environment of 1969. Also nice is Monk’s solo version of “Crespuscule with Nellie”, a tune that makes a lot more sense the way Monk plays it solo, as opposed to band versions which seem clumsy in comparison.

On side four things change again when Philly Jo Jones takes the drum chair for the last couple numbers. As mentioned earlier, Paris Wright is a solid and even inspired drummer, but Philly Jo is an absolute master of rhythm. Philly Jo’s drum solo on “Nutty” is a textbook example on how a good drummer can expand on the rhythms of the melody through increasingly imaginative variations. The concert closes with Monk and Philly Jo playing short versions of “Blue Monk” and “Epistrophy” that reveal what Monk’s music can really sound like. It’s a bit of a tease coming at the end of the album like it does.

Probably the biggest negative issue with this album is the sound quality. This concert was recorded for TV, and it sounds like a TV broadcast, which means it sounds much better than a bootleg, but not as good as a studio recording. Monk’s music is purposefully coarse and dissonant in the first place, so possibly a rough recording shouldn’t be a big issue.