Ray Bryant • Groove House

 

Artist Biography by Scott Yanow
Although he could always play bop, Ray Bryant's playing combined together older elements (including blues, boogie-woogie, gospel, and even stride) into a distinctive, soulful, and swinging style; no one played "After Hours" quite like him. The younger brother of bassist Tommy Bryant and the uncle of Kevin and Robin Eubanks (his sister is their mother), Bryant started his career playing with Tiny Grimes in the late '40s. He became the house pianist at The Blue Note in Philadelphia in 1953, where he backed classic jazz greats (including Charlie Parker, Miles Davis, and Lester Young) and made important contacts. He accompanied Carmen McRae (1956-1957), recorded with Coleman Hawkins and Roy Eldridge at the 1957 Newport Jazz Festival (taking a brilliant solo on an exciting version of "I Can't Believe That You're in Love with Me"), and played with Jo Jones' trio (1958). Bryant settled in New York in 1959; played with Sonny Rollins, Charlie Shavers, and Curtis Fuller; and soon had his own trio. He had a few funky commercial hits (including "Little Susie" and "Cubano Chant") that kept him working for decades. Bryant recorded often throughout his career (most notably for Epic, Prestige, Columbia, Sue, Cadet, Atlantic, Pablo, and Emarcy), and even his dates on electric piano in the '70s are generally rewarding. However, Bryant was heard at his best when playing the blues on unaccompanied acoustic piano. After a lengthy illness, Ray Bryant died in Queens, New York on June 2, 2011; he was 79 years old.

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Biografía del artista por Scott Yanow

Aunque siempre pudo tocar bop, Ray Bryant combinó elementos antiguos (incluyendo blues, boogie-woogie, gospel, e incluso stride) en un estilo distintivo, conmovedor y de swing; nadie tocó "After Hours" como él. Hermano menor del bajista Tommy Bryant y tío de Kevin y Robin Eubanks (su hermana es su madre), Bryant comenzó su carrera tocando con Tiny Grimes a finales de los años 40. En 1953 se convirtió en el pianista de casa de The Blue Note en Filadelfia, donde apoyó a los grandes del jazz clásico (incluyendo a Charlie Parker, Miles Davis y Lester Young) e hizo importantes contactos. Acompañó a Carmen McRae (1956-1957), grabó con Coleman Hawkins y Roy Eldridge en el Festival de Jazz de Newport en 1957 (haciendo un brillante solo en una emocionante versión de "I Can't Believe That You're in Love with Me"), y tocó con el trío de Jo Jones (1958). Bryant se estableció en Nueva York en 1959; tocó con Sonny Rollins, Charlie Shavers y Curtis Fuller; y pronto tuvo su propio trío. Tuvo algunos éxitos comerciales funky (incluyendo "Little Susie" y "Cubano Chant") que lo mantuvieron trabajando por décadas. Bryant grabó a menudo a lo largo de su carrera (sobre todo para Epic, Prestige, Columbia, Sue, Cadet, Atlantic, Pablo, y Emarcy), e incluso sus citas con el piano eléctrico en los años 70 son generalmente gratificantes. Sin embargo, Bryant fue escuchado en su mejor momento cuando tocaba el blues en un piano acústico sin acompañamiento. Después de una larga enfermedad, Ray Bryant falleció en Queens, Nueva York, el 2 de junio de 2011; tenía 79 años.

Tracks:
1 - Joey
2 - Sweetest Sounds
3 - Glissamba
4 - My Reverie
5 - Long Way from Home
6 - Backroom
7 - Chariot Swing
8 - No. Two
9 - Gravy Waltz
10 - Be-Bop Irishman
11 - The Way You Look Tonight (Bonus Track)
12 - No Moon At All (Bonus Track)


Credits:
Bass – Tom Bryant
Drums – Bobby Donaldson, Panama Francis
Guitar – Wally Richardson
Piano – Ray Bryant

Recorded: 1963
Label: Salt&pepper
https://www.amazon.co.jp/Groove-House-Betty-Carter-Bryant/dp/B00GHKXO1E

 

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