Ørsted Pedersen was only 16 years old at the time of the recording session. The album is unusual for its preference for up-tempo tunes, as Powell did not want to play a slow blues on the session as was typical on his later albums.[4]
In a review for AllMusic, Scott Yanow called the album "an excellent set," with eight tracks that "showcase Bud Powell during his European renaissance period, giving pianists a definitive lesson in playing bop."[5]
Author Len Lyons wrote: "Bud's improvisations... are singable, nearly begging for lyrics. Bud's technique may have been blunted but not his imagination."[8]
Pianist and composer Ethan Iverson described the recording as "a powerful album that should be much better known," and commented: "The repertoire choices are terrific... He's slowed down a bit since 1948 but Bud's still got it."[9]
Marc MyersofJazzWax noted that, on the Monk tunes, Powell can be heard "giving each just the right amount of jagged edge and keyboard pounce that were Monk hallmarks." He concluded: "Despite suffering from mental illness and self-medicating with alcohol, Powell remained a singular talent up until his death."[10]
Harvey Pekar praised the album in DownBeat, giving it 4.5 stars out of five and noted "it may be the finest record he's cut since 1953... He constructs very well, resolving his ideas intelligently. His slow, stern, majestic '[I Remember] Clifford' theme statements stand out; on them he mixes chords and single-note lines effectively."[6]
Years given are for the recording(s), not first release. Because Powell's discography features albums with the same title, record labels are identified to avoid any confusion.
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