Ray Ray Brown

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.

This live Boston summit meeting between Ray Brown, Christian McBride and John Clayton was the logical outcome of several joint appearances, as well as an extension of a one-off bass troika track that McBride included on his first solo album. The idea of a bass trio on records probably would have been unthinkable in the primitive days of recording when Brown was coming up, but Telarc's fabulously deep yet clear engineering makes it seem like a natural thing to do. Whether pizzicato or bowed, whether taking the melodic solo or plunking down the 4/4 bottom line, all three perform with amazing panache, taste, humor, lack of ego, and the sheer joy of talking to and against each other beneath the musical staff.

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.

The members of the Ray Brown Trio (the bassist-leader, pianist Gene Harris and drummer Jeff Hamilton) all grew to love the playing of tenor-saxophonist Ralph Moore when the four were traveling as members of Gene Harris' big band. On this Ray Brown CD, the veteran bassist virtually turned over the entire session to Moore. The quartet performs a variety of veteran standards (including some from the bop era such as Charlie Parker's "Quasimodo" and Dizzy Gillespie's "The Champ") plus Wes Montgomery's "SOS" and Brown's "Ralph's Boogie." Ralph Moore rises to the occasion and shows that, even though his sound is inspired by John Coltrane, he was fully capable of playing tunes from the swing and bop era; Moore sounds delighted to have the Ray Brown Trio as his backup group. This is a fine collaboration that works quite well.

This is one of the best post-stroke Oscar Peterson sessions in the catalog, thanks in great part to the distinguished company he keeps (Ray Brown and Milt Jackson) and the stimulating atmosphere of the live setting (New York's Blue Note club). Right from the first track, "Ja-Da," you can tell that this is going to be a fun session, as the slippery, swinging, totally interlocked, totally assured way in which these vets react to each other kicks in immediately. Peterson's right hand is fleet, feathery in touch, and bluesy in feel; the left providing just enough punctuation, and at 75, Jackson's bluesy eloquence had not diminished in the least. Ray Brown's time and placement of notes is, as usual, impeccable, and the very talented drummer in his group at the time, Karriem Riggins, provides a swinging kick for the quartet. In the spirit of democracy, each star gets a solo number - Peterson plays his ballad "When Summer Comes"…

Time and time again, the Manhattan Bop Police have claimed that a jazz album isn't legitimate unless it is recorded in the 212 area code. But if that's true, why did so many jazz heavyweights - from Dexter Gordon to Bud Powell - spend so much time living and recording in Europe? Why have so many important jazz indies (Steeplechase, Storyville, Owl, Black Lion, Timeless, among countless others) had European addresses? The fact is that if you're a serious jazz connoisseur, your CD collection is probably full of recordings that were made in Europe. Ray Brown certainly spent plenty of time performing overseas; Ludwigsburg, Germany, in fact, is where Brown recorded Summerwind, a 1980 session that finds the acoustic bassist forming a quartet with tenor saxophonist Johnny Griffin (one of the reasons jazz musicians are proud to be from Chicago), pianist Monty Alexander, and British drummer Martin Drew…

If the picture of three grown men hanging onto giant, colored swirl sticks looks a bit odd, or if the title The Poll Winners seems a bit conceited, the music, nonetheless - recorded in 1957 - still sounds great. Besides, guitarist Barney Kessel, bassist Ray Brown, and drummer Shelly Manne really did win polls in Down Beat, Playboy, and Metronome in 1956, and this is precisely what brought the players together. Here, on their first outing, they interpret nine pieces for 40 lovely minutes of modern jazz. After kicking off with a fine take on Duke Jordan's "Jordu," the group delivers an emotionally warm, six-minute version of "Satin Doll," one the album's highlights. While each player is always fully engaged in this small setting, Kessel's guitar supplies the lead voice…

In the liner notes to the initial CD SuperBass, Ray Brown assured that the next SuperBass release would be twice as good. He lives up to the promise, as he and John Clayton are joined by the young bass sensation Christian McBride this time. Although Brown is the senior statesman of the trio and hatched the conception of SuperBass, all three men equally share the solos, as well as the arranging and choosing of songs. Brown's contributions include a trio of imaginatively arranged, time-tested standards from Gershwin's Porgy and Bess as well as the group's lively signature theme and the campy "Taco With a Pork Chop" (which adds percussionists George Gludas and Larry Fuller). McBride's chart of "Get Happy" is a delightful swinger, while his pulsating rendition of the Temptations' "Papa Was a Rolling Stone" is a definite crowd pleaser that inspires the audience to sing along…

Guitarist Herb Ellis was the leader of six of the first dozen Concord releases. This lesser-known set has some fine playing from Ellis, trumpeter Harry "Sweets" Edison, tenor saxophonist Plas Johnson, bassist Ray Brown, drummer Jake Hanna and keyboardist Mike Melvoin although Melvoin's electric piano sounds a bit dated today. As usual the music is uncomplicated, straightahead, swinging and tasteful. Six of the songs are originals by group members which are performed along with Johnny Hodges' "Squatty Roo" and the ballad "But Beautiful."