Billboard : 08/12/1957
Special Merit Jazz Album

Bryant, a fast-maturing modern pianist, in a set of sensitively turned performances. Especially laudable for his excellent touch and development of ideas to a point of eloquence without unnecessary adornment, Bryant is most compelling in his ballad renderings, i.e. Angel Eyes, Django, and notable on the faster selections for the rhythmic thrust and vigor of his playing. Support of bassist I. Isaacs and the exceptional drumming of Specs Wright add appeal.

—–

Miami Herald
Fred Sherman : 09/01/1957

When the hour grows late and the mood goes to the heavy side, there’s nothing that can satisfy like an emotional piano trio. Get the piano searching against an insistent rhythm from the bass and drums and you have the beginnings of a beautiful ending for the evening. I find myself turning to Lennie Tristano or Billy Taylor or Erroll Garner most often for the final spinning of the turntable.

Here now are three new candidates. The Ray Bryant Trio plays eight tunes on the soft side of jazz, all with a deep blue flavor. With Bryant are Ike Isaacs on bass and Specs Wright on drums. They move through three standards and five jazz originals. Included are Clifford Brown‘s Dahoud, John Lewis‘ Django and Bryant’s own Changes which he recorded last year with the Miles Davis group. Bryant’s is a fluid style, moving effortlessly.

—–

Pittsburgh Courier  : 08/24/1957
Harold L. Keith : 3.5 stars

The Ray Bryant trio has torn itself away from accompanying Carmen McRae‘s voice long enough to product a fine album on the Prestige ticker. Ray Bryant, a delicate craftsman whose approach to the instrument is somewhat reminiscent of Herb Nichols from the standpoint of technique, is backed up with Ike Isaacs (Carmen’s hubby) on bass and Specs Wright on drums. We liked Sonar, Dahoud and Splittin’. The album is strictly cocktail lounge stuff.

—–

San Francisco Chronicle
Ralph J. Gleason : 12/01/1957

The former accompanist for Carmen McRae in a series of eight solos with rhythm accompaniment. He has an interesting treatment of Django and of the ballad Golden Earrings. Good, listenable piano jazz.

—–

Down Beat : 11/28/1957
Don Gold : 3 stars

Bryant, 26, is the Philadelphia pianist who has been heading the trio backing Carmen McRae. This is that trio, and it is a well-integrated one. In addition to his work with Miss McRae, Bryant has recorded with such artists as Miles Davis and Sonny Rollins.

The trio, as a trio, works cohesively well. Here, however, much of the burden falls on Bryant and he does not sustain interest throughout. His pianistic approach is a distinct, important virtue. It is a delight to hear a pianist use both hands effectively and simultaneously. However, despite this two-handed approach, he is not consistently inventive. On several tracks, for example, his playing appears superficial, without emotional depth, and more like a recitation than an improvised performance.

His originals, Changes and Splittin’, are more rhythmically inspired than concerned with melodic lines. The ballad performance on Angel is somewhat perfunctory for one of Bryant’s background. His interpretation of the John Lewis composition, Django, is melodic and sympathetic, indicating that he can project himself into a tune. And although his best moments here are encouraging, he doesn’t maintain a level of consistency which would make this a vital part of a record collection.

—–

Liner Notes by Ira Gitler

This album is by a fellow named Raphael and while [Artist14184,Raphael Bryant, known better as Ray, may never equal the heights of his Italian Renaissance namesake, there is still a parallel which exists between them in addition to their having the same moniker. For as Raphael was an artists with brush and oils, Ray is an artist of the keyboard; not merely a piano player. The piano becomes a shimmering instrument under his sensitive touch. Art Blakey in praising him to me, said, “He’s beautiful; that sound he gets is somewhere between a guitar and a harpsichord.”

Ray is a Philadelphian (born December 24, 1931) who comes from an essentially pianistic family. His mother and sister both play; his eldest brother is a bassist. Ray, himself, started on bass in junior high school before switching to his present instrument.

From 1953 to 1953, Ray got his first professional experience with the local band of clarinetist Billy Kretchmer. Later, he became the house pianist at the Blue Note club (also in Philly) where he backed such greats as Charlie Parker and Miles Davis. Evidently, he made an impression on Miles, for in 1955, Ray was called in to New York to record with Davis, Milt Jackson and Jackie McLean. This can be heard on Miles Davis Quintet/Sextet (Prestige LP 7034). With this first date under his belt, Ray who was then heading his own trio in his home city, began to be more widely known. He did another recording for Prestige with Sonny Rollins (Worktime, LP 7020) and continued to be active around Philly.

In 1957, he joined with bassist Ike Isaacs and drummer Specs Wright to form the accompanying unit for Carmen McRae and this is the trio which is heard in the eight selections here.

There is a variety of material in this set equally good for serious listening or just to relax with.

There are modern jazz originals of merit such as Daahoud by Clifford Brown, Sonar by Gerry Wiggins and Kenny Clarke and Splittin’ by Bryant himself.

Those of you who thought you could never enjoy John Lewis‘ Django unless it was rendered by MJQ, will be pleasantly surprised by Ray’s rhapsodic version.

Ray’s Changes, first head in the Miles Davis album mentioned earlier is as sadly beautiful as ever under the composer’s personal guidance.

The standards are handled flawlessly and Ray has also shown excellent taste in their selection. Angel Eyes and The Thrill Is Gone have not been done too often and Golden Earrings, a minor key pop of the late Forties was never treated as well before.

In the Encyclopedia of Jazz, Ray named Art Tatum and Teddy Wilson as his favorite pianists, and although his own style is very different than either of theirs, he has definitely learned from them in the matter of approaching the piano. In the abundant crop of fine young pianists playing today, Ray Bryant still manages to stand out and shine.