The jazz critic Harvey Pekar said in his August 29, 1963, review for Down Beat magazine, "Tyner's playing has many virtues, but one in particular is his tastefulness. There is nothing trivial about his music; he is, to quote an often used phrase, a 'musician's musician.'"[2] The Allmusic review by Stephen Cook states that the album "qualifies as one of the pianist's most enjoyable early discs".[3]
Reviewing the album in 2017, Marc Myers of JazzWax said: "For some strange reason, in late 1962 and the first half of 1963, Tyner was asked by producer Bob Thiele to record more straightforward jazz albums as a leader... Tyner's playing is exciting and exceptional on all of the tracks... On the album, he exhibits a reserved elegance and tenderness that reveals the other side of his personality—a lover of melody and standards. In this regard, there are traces of Oscar Peterson in his playing. Perhaps Thiele was using Tyner to take a bite out of Peterson's vast and successful early-'60s share of the jazz market."[6]
- "Satin Doll" (Ellington, Mercer, Strayhorn) - 5:40
- "We'll Be Together Again" (Fischer, Laine) - 3:40
- "'Round Midnight" (Monk) - 6:23
- "For Heaven's Sake" (Elise Bretton, Edwards, Donald Meyer) - 3:48
- "Star Eyes" (De Paul, Raye) - 5:03
- "Blue Monk" (Monk) - 5:22
- "Groove Waltz" (Tyner) - 5:31
- "Days of Wine and Roses" (Mancini, Mercer) - 3:21
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