Arni Egilsson, Ray Brown, Pete Jolly, Jimmie Smith Basses Loaded (1985) [remastered 1996]

Pianist Hank Jones teams up with bassist Ray Brown and drummer Jimmie Smith for this trio set which has been reissued on CD. An unusual aspect to the music is that on half of the eight standards Jones switches to electric piano; although he does not display as strong a musical personality on that instrument, he plays quite well. Highlights of the boppish set include "My Ship," "Rockin' in Rhythm," "Bag's Groove" and an effective instrumental version of "Your Feet's Too Big."

Though not partners as had been planned in the initial Modern Jazz Quartet, Ray Brown and Milt Jackson did work together in the early to mid-'60s, this double-CD set includes some fine collaborations and interesting combinations. There are 12 big-band cuts from 1962 led by Brown, primarily featuring Cannonball Adderley with Jackson on the side. From 1965 another eight tracks concentrate on small group efforts with Brown, Jackson, pianist Hank Jones, and different horn soloists, while the final 14 selections from 1964, still as small ensembles with set lineups of guitarist Kenny Burrell, drummer Al Heath, keyboardists Jones, or Wild Bill Davis, also highlight the singing of the gospel vocalist Marion Williams. This can easily be considered a valuable reissue, showcasing two jazz giants in the prime of their careers, playing music not readily identifiable aside from their work with Oscar Peterson (Brown) or MJQ (Jackson) around this time.

Pete Jolly and his sidemen (bassist Chuck Berghofer and drummer Nick Martinis) celebrated their 21st year as a regularly working trio with this fine V.S.O.P. CD. The musicians sound quite enthusiastic and creative within the boundaries of straight-ahead jazz, showing that they had not run out of ideas yet. Jolly alternates hot pieces with ballads, standards with obscurities. It is a particular pleasure to hear the powerful pianist interpret such rarely performed songs as George Wallington's "Variations," "Crazeology," Al Cohn's brooding ballad "Ah-Moore" and Shorty Rogers' "Diablo's Dance." Other highlights of the enjoyable set include Horace Silver's "Yeah," "Lullaby of the Leaves" and Zoot Sims' "The Red Door." All those years of playing together have definitely paid off.

Ray Brown was in at the beginning of the Concord Jazz record label in the early '70s, and starting with Brown's Bag in 1975, he recorded a dozen albums as a leader for Concord before departing for Telarc Records in the early '90s. This two-disc compilation, with a running time of almost two hours and 20 minutes, presents 24 selections drawn from 19 Concord Jazz albums recorded between 1973 and 1993, including live performances at the Concord Jazz Festivals, recordings by Brown's trio and the L.A. 4, and a Brown duet with Jimmy Rowles, among other configurations. As a bass player, Brown only rarely solos, so one usually notices the horn players (Harry "Sweets" Edison, Red Holloway, Plas Johnson, Richie Kamuca, Blue Mitchell, Ralph Moore, and Bud Shank), the pianists (Monty Alexander, George Duke, Gene Harris, Art Hillery, and Rowles), or other frontline musicians…

One of the most successful Japanese piano trio recordings of the 70s – a super-session performed by a a trio of Americans that includes Joe Sample on acoustic piano, Ray Brown on bass, and Shelly Manne on drums! Given that Sample's best known during the era for his electric keys with the Crusaders (and on countless studio sessions), it's a real treat to hear him tickle the ivories in an acoustic way – and a genuine surprise to hear how strong his work is in such a format.

Brown took a fresh approach for this 1982 date, retaining the trio format but substituting flute for drums and using Monty Alexander instead of regular pianist Gene Harris. The results were intriguing; Most provided colors and sounds that haven't been on a Brown date since, while Alexander added some Caribbean flavor and a bit more adventurous sound.

Brown took a fresh approach for this 1982 date, retaining the trio format but substituting flute for drums and using Monty Alexander instead of regular pianist Gene Harris. The results were intriguing; Most provided colors and sounds that haven't been on a Brown date since, while Alexander added some Caribbean flavor and a bit more adventurous sound.

Pete Jolly and his longtime sidemen (Chuck Berghofer has been his regular bassist since the late '50s while drummer Nick Martinis joined up in 1964) perform 11 standards plus his old hit "Little Bird" on this fine outing. The virtuosic pianist dominates the ensembles but the contributions of Berghofer and Martinis (who have to think fast to keep up with him) should not be overlooked. Jolly's total command of the piano and infectious enthusiasm, which can result in some explosive outbursts, do not overshadow his good taste and the self-restraint that he shows on the ballads.