There isn’t a bassist alive who hasn’t been influenced by the progenitor of the modern sounds and pulse of Ray Brown (1926-2002). He has that magical “one sound and you know” feel that is desired by every artist. If you’re not hip to his playing, here’s a well-recommended place to start. Hey, I thought I had everything by him, and even I was missing some of these releases from his early years!
The earliest session has Brown with his then-wife Ella Fitzgerald in 1948 and with a swinging team of Charlie Brown/dr and Hank Jones/p in vintage bebop form on “Ool-Ya-Koo” and also mixing novelties like “Old Mother Hubbard” with soon to be classics like “Mr. Paganini”. Move up 8 years and Brown is debuting as a leader with an A-list of West Coaster in Pete Candoli/tp, Bill Holman/ts, Jimmy Rowles/p, Herb Ellis/g and Mel Lewis/dr for some sleek blues like “Blues For Silvia” and “Blues For Lorraine”. Two years later, you can see the beginnings of his being part of the classic Oscar Peterson trio, as Ellis and Peterson are included here along with Osie Johnson/dr and Jerome Richardson for a hip “Cool Walk” and lovely “The Nearness Of You”. Brown doubles on cello on a West Coast Cool session from 1960 with some rich reeds and brass for classy takes off “Tangerine” and “That Old Feeling”. Brown’s leads another larger ensemble, including guest Cannonball Adderley for a soul-infested “Work Song” and toe tapping “Toe For The Blues”.
A pair of summit meetings with vibist Milt Jackson along with Kenny Burrell/g, Wild Bill Davis/org, Hank Jones/p, Albert Heath/dr and Marion Williams/voc for a wondrous gospel’d “Swing Low, Sweet Chariot” and a greasy “Gravy Blues” for a small group session, while a big band reunion with Swing Era vets like Clark Terry, Snooky Young, Ernie Royal and boppers Phil Woods result in a hard swinging “Lined With A Groove” and “Now Hear My Meaning”. Last but not least is one of a handful of his classic Poll Winners albums with Barney Kessel/g and Shelly Manne/dr (why not do an entire set of them), with deft interplay and style on “You Go To My Head” and “Minor Mood”. Does music ever get better than this? I don’t think so!