This first of a pair of articles about Ray Brown by bassist John Goldsby. He surveys Ray Brown’s legacy through UKJN’s ten tracks format.
John Goldsby recently bid farewell to the WDR Big Band, wrapping up a stellar 30-year collaboration. During his 50-year bass journey spanning the globe, he’s played with jazz legends and made his mark as a sideman and bandleader on recordings and stages worldwide. His second feature will be a review of the new Ray Brown biography by Jay Sweet…
- “Lined with a Groove” from Ray Brown / Milt Jackson (1965)
The first thing that grabs me when I hear Ray Brown’s 1965 recording of “Lined with a Groove,” with Milt Jackson plus big band is the sound of the low C on the bass. Ray nails the low C over and over in his bass counterpoint to the horns in the melody chorus. Brown always lands on his feet when he plays licks from the top of the bass to a low target note. His seamless ability to move from the upper register of the bass to the lowest notes underscores his mastery, and that singular “C” encapsulates the magic of his tone—instantly recognizable to any listener familiar with his work.
Following the melody chorus, which features a swinging call-and-response between the bass and horns, Brown drives the band with his incessant four-four walking. His solo chorus demonstrates his unlimited chops and thick, chocolaty sound—vintage 1965.
2. “How High the Moon” from At the Stratford Shakespearean Festival (1956)
In the Oscar Peterson Trio’s live recording of How High the Moon from At the Stratford Shakespearean Festival, Ray Brown’s bass playing is nothing short of extraordinary. The piece begins with Peterson’s stomping foot and swinging piano intro, setting the stage for a relaxed rendition of the melody. Following a guitar chorus by Herb Ellis, Ray Brown delivers a masterclass in advanced bass soloing. His performance seamlessly weaves melodic, singing bass lines with quotes from standard tunes such as “They All Laughed,” “Moose the Mooch,” and “Without a Song,” intertwined with fantastic flights of double-time. At just 29 years old in 1956, Brown redefined bass virtuosity with this remarkable solo, brimming with youthful energy and unparalleled skill.
3. “Body and Soul” from Sarah Vaughan: “How Long Has This Been Going On?” (1978).
When I first began learning the double bass as a teenager, I practically wore out the Sarah Vaughan album How Long Has This Been Going On? [Pablo, 1978]. Vaughan’s rendition of Body and Soul is a stunning duet that showcases both her extraordinary vocal talent and Ray Brown’s masterful bass playing. The performance is mesmerizing, as Vaughan’s rich, emotive voice glides effortlessly over Brown’s fleet and resonant bass lines. Brown’s subtle yet commanding presence provides the perfect counterbalance to Vaughan’s soaring melodies, creating a dialogue that feels both intimate and deeply expressive.
Brown not only offers rhythmic support but also acts as a melodic partner, weaving intricate lines that beautifully complement Vaughan’s phrasing. While Brown collaborated with many vocalists throughout his career, there’s a unique chemistry between the two jazz legends that makes the performance truly unforgettable.
4. “Things Ain’t What They Used to Be” from “This One’s for Blanton“ (1973)
The 1973 duo album This One’s for Blanton, featuring Duke Ellington and Ray Brown, is a masterful tribute to the pioneering bassist Jimmie Blanton. In my conversations with Brown, he shared his deep connection to the music of Ellington and Blanton, who played bass for Ellington from 1939 to 1941. As a high school student, Brown would take a bass home every day to practice along with Ellington records featuring Blanton—immersing himself in the bass lines and striving to emulate the innovative sound and style that Blanton had introduced.
Blanton revolutionized jazz bass playing in the early 1940s, and Brown, building on Blanton’s techniques, reinvented the role of the bass in jazz during the 1950s and beyond. “Things Ain’t What They Used to Be” showcases Brown’s remarkable ability to swing with unmatched energy while providing seamless and virtuosic accompaniment to Ellington. The album serves as a demonstration of Brown’s artistry and his profound respect for Blanton’s groundbreaking contributions to jazz history.
5. “The Gravy Waltz” (1964)
During the 1950s and 1960s, jazz musicians began exploring time signatures beyond the conventional 4/4 meter. One notable early example is drummer Max Roach’s 1956 album Jazz in 3/4 Time. Jazz artists such as Bill Evans, Charles Mingus, and Thelonious Monk also crafted compelling standards in 3/4 meter, showcasing its versatility in jazz composition.
“Gravy Waltz,” a bluesy 3/4 waltz co-written by Ray Brown (composition) and Steve Allen (lyrics) – not on Jazz in 3/4 Time – stands out. The tune earned a Grammy Award for Best Original Jazz Composition in 1964 and later served as the theme song for Steve Allen’s TV show. With its lilting swing feel and memorable melody, “Gravy Waltz” became a jazz standard. Its success also reflected Ray Brown’s growing interest in composing and placing his works on notable recordings, marking the tune as both a business triumph—in addition to being a swinging, memorable tune! Brown recorded “Gravy Waltz” on numerous occasions with different bands.
6. “Sophisticated Lady”
Ray Brown’s exceptional bass tone has always been a hallmark of his playing. However, in some recordings, his sound was compromised by the use of transducers (pickups) that became popular among bassists in the late ’60s and beyond. While Brown endorsed the Polytone pickup as a reliable option for amplifying the bass in live performances, the convenience of pickups led many recording engineers to rely on them in studio settings. This approach, especially prevalent in the ’70s and later, often resulted in a thinner, electronic-sounding bass tone that lacked the natural warmth and depth of the instrument.
On the 1978 album As Good as it Gets, recorded at Coast Recorders in San Francisco, Brown’s bass sound is nothing short of remarkable—woody, rich, and complex, with a subtle touch of reverb—probably recorded with only a microphone and no pickup. This collaboration with pianist Jimmy Rowles is a gem not only for Brown’s stellar tone but also for Rowles’ understated piano work.
After years of performing with Oscar Peterson, it’s refreshing to hear Brown in dialogue with Rowles, whose minimalist approach emphasizes nuance and elegance. A standout track, Sophisticated Lady by Duke Ellington, receives a beautifully crafted interpretation, with both artists infusing the standard with their distinct styles and remarkable musical chemistry.
7. “F.S.R. (for Sonny Rollins)”
“F.S.R. (for Sonny Rollins”) is a swinging track from the Ray Brown Trio’s album Live from New York to Tokyo, released in 1989. It’s one of Brown’s “most covered” compositions, based on the 16-bar chord sequence to “Doxy”—composed by Sonny Rollins—which is based on the chord sequence to “Ja-Da”—an old jazz standard composed by Bob Carleton in 1918. The practice of borrowing and reimagining chord progressions with new melodies is a celebrated tradition in jazz, and Brown’s composition exemplifies this creative legacy.
Brown’s funky bass melody is framed by his elegant and swinging trio at the time: Gene Harris on piano and Jeff Hamilton on drums. Their astonishing interplay creates a dynamic blend of intricate rhythms and melodic improvisation, setting a gold standard for jazz trios—with the bass up front.
8. “Kelly’s Blues”
Kelly’s Blues is a track from Ray Brown’s album Don’t Get Sassy, which was recorded in April 1994 at Signet Sound Studios in West Hollywood, California. The album features Brown with Benny Green on piano and Jeff Hamilton on drums—the next incarnation of the trio after Gene Harris left. “Kelly’s Blues” is on fire from the first beat—the youngster Benny Green delivering his take on the blues, and the unmistakable and unshakable groove conjured by Brown and Hamilton. Although Brown is into his last decade at this point—67 years old at the time of this recording—his playing is strong and impressive, and a tribute to the artistry and strength of his vision.
9, “Two Bass Hit”
Two Bass Hit, co-written by Dizzy Gillespie and John Lewis, is a 1947 bebop classic that showcases the energy and innovation of Gillespie’s big band, and features 20-year-old Ray Brown on bass. This tour-de-force was recorded in the same decade that Jimmie Blanton made history with the Duke Ellington band. Brown displays his command of the new bebop language, playing hip solo lines with confidence, intelligence, and swing. At this point, Brown had far surpassed Blanton technically and was bringing the bass out of the swing era into the world of bebop. “Two Bass Hit” remains a testament to the virtuosity and creativity of Gillespie’s band, as well as Ray Brown’s early contributions to jazz history.
10. “Solo for Unaccompanied Bass”
“Solo for Unaccompanied Bass” is a standout track from Ray Brown’s 1956 album Bass Hit!, which was his first album as a leader. The piece showcases Brown’s extraordinary skill and creativity on the double bass, as he performs without accompaniment, allowing his bass and inspiration to take center stage. The track is a masterclass in technique, blending intricate melodies, double stops, rhythmic precision, double-time passages, and dynamic expression. We can hear Brown breathing through his phrases and sometimes tapping his foot in subtle quarter-notes. The sound is beautiful—gut strings on the bass with only a microphone capturing the sound. Brown’s ability to convey emotion and musicality through the bass alone—at age 30—forecasts his status as one of the greatest jazz bassists of all time.
NEW ALBUM: John Goldsby’s Farewell Concert with the WDR BIG BAND is being released later in 2025 as an album: “WDR Big Band—Big Band Bass, featuring John Goldsby” with his composition ‘Baden-Baden Suite’ – arranged by Bob Mintzer, followed by a further selection of Goldsby’s compositions, in arrangements by Vince Mendoza, Michael Abene…..
