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| Alone at Montreux [ ÉLŐ ] |
| Ray Bryant |
első megjelenés éve: 1972
45 perc |
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| (2003)
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CD |
| 3.547 Ft
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| 1. | Gotta Travel On
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| 2. | Blues, No. 3 / Willow Weep for Me
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| 3. | Cubano Chant
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| 4. | Rockin' Chair
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| 5. | After Hours
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| 6. | Slow Freight
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| 7. | Greensleeves
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| 8. | Little Susie
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| 9. | Until It's Time for You to Go
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| 10. | Blues, No. 2
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| 11. | Liebestraum Boogie
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Jazz / Soul-Jazz
This album is a live recording made by pianist Ray Bryant in 1972 at the Montreux Jazz Festival in Montreux, Switzerland
Ray Bryant has long been a well-rounded and versatile yet distinctive pianist. His style, modern compared to the swing and stride players but traditional when matched against the boppers, is flexible enough to fit into many settings. This solo outing finds Bryant playing swing standards, blues, soulful versions of a couple of current pop tunes and even a bit of boogie. This LP's only fault is that it is out of print.
---Scott Yanow, AMG
Ray Bryant
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Dec 24, 1931 in Philadelphia, PA
Genre: Jazz
Styles: Bop, Soul-Jazz, Jazz Blues, Mainstream Jazz
Although he could always play bop, Ray Bryant's playing combines together older elements (including blues, boogie-woogie, gospel, and even stride) into a distinctive, soulful, and swinging style; no one plays "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") which 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, Ray Bryant is heard at his best when playing the blues on unaccompanied acoustic piano.
--- Scott Yanow, All Music Guide |
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