Ray Bryant


Montreux '77

  • Release Date: 18 Jul 1989
  • OJCCD-371-2

Ray Bryant has played with an impressive number of the most important jazz artists, including Charlie Parker, Lester Young, Sonny Rollins, Miles Davis, Jo Jones, and Coleman Hawkins. For 30 years, his own trios have been extremely popular. But Bryant's cult status, not only among jazz listeners but with classical and rock musicians and fans around the world, has been achieved through his solo piano recordings. This album of performances at the 1977 Montreux Jazz Festival is one of his best, i… MORE


Ray Bryant came to general attention when Miles Davis chose the young Philadelphia pianist for a memorable 1955 recording session. Before the… More

When Ray Bryant rose out of Philadelphia to national prominence in the 1950s, he was noted for his ability to meet the sophisticated harmonic… More

The jazz audience outside Philadelphia became aware of Ray Bryant when he recorded for Prestige with Miles Davis and Sonny Rollins. These sidemen… More



Ray Bryant


A pianist with a timeless style, Ray Bryant (b. 1931) has always been a master of blues and swing (he owns the blues classic “After Hours”) but flexible enough to fit into more modern settings too.

Born in Philadelphia, Bryant (whose older brother Tommy was a bassist) gained experience playing early rhythm ’n’ blues and swing with guitarist Tiny Grimes in the late 1940s. As the house pianist at Philadelphia’s Blue Note, he had opportunities to play with Charlie Parker, Lester Young, and Miles Davis. Bryant began to gain attention during 1956-1957 when he worked with Carmen McRae and appeared at the 1957 Newport Jazz Festival with Coleman Hawkins and Roy Eldridge. After recording with the Jo Jones Trio, Bryant moved to New York, worked with Sonny Rollins, Charlie Shavers, and Curtis Fuller, and led his own series of trios. Of his early recordings, Django (recorded for Prestige in 1957) features his trio work on a bop-oriented repertoire while Alone with the Blues is a masterful set of unaccompanied solos.

Bryant, who wrote such catchy numbers as “Little Susie” and “Cubano Chant” and was never shy to show the influence of gospel music and soul in his playing, has worked and recorded steadily ever since. During 1976-1980 he was in peak form when he cut five albums for Pablo: the trio dates Here’s Ray Bryant, All Blues, and Potpourri, and a pair of solo gems in Solo Flight and Montreux ’77.

Standing apart from musical trends and always being his own man, Ray Bryant has long been a unique, distinctive, and very accessible pianist.