Pianist Ray Bryant's debut for Columbia was named after "Little Susie," a hit single he had a short time earlier recorded for Signature. The trio LP with bassist Tommy Bryant and either Gus Johnson or Eddie Locke on drums has a remake of "Little Susie," a few other originals that did not catch on as hits and Bryant's interpretations of such songs as "By Myself," "Willow Weep For Me" and Cole Porter's "So In Love."

On Benny Golson And The Philadelphians, the legendary American tenor saxophonist, master arranger, and structural titan of hard bop Benny Golson assembles a brilliant hometown vanguard of Pennsylvania modern jazz legends to deliver a towering, historically volcanic, and masterfully panoramic studio document. Recorded in 1958 and preserved beautifully in the digital era under the banner of the premier jazz archive imprint Blue Note Records, this monumental milestone stands as an exceptionally fluid, high-octane monument capturing the absolute golden era of East Coast hard bop. Spanning over 57 minutes of immaculate vintage spatial design across 10 tracks, the historical landscape operates with an intense, beautifully syncopated, and masterfully balanced acoustic kinetic energy. Golson acts as a brilliant sonic visionary, weaponizing his rich, darkly expressive tenor saxophone telemetry and intricate harmonic arranging frameworks alongside the blistering trumpet fire of a young Lee Morgan—tracking timeless, world-famous landmarks like his own defining signature classics Stablemates, Thursday's Theme, and Blues March, alongside a definitive reading of Bobby Timmons' historic jazz gospel anthem Moanin'. This archive remains an indispensable masterpiece for serious hard bop purists and classic mid-century acoustic jazz collectors worldwide.

Orgy In Rhythm Vol. 1 & 2 is a spectacularly explosive, historically monumental, and masterfully synchronized Afro-Cuban and world percussion studio masterpiece led by the legendary American drum titan and hard bop vanguard pioneer Art Blakey, digitally preserved and compiled on a single compact disc in 1997 under the prestigious Blue Note Records banner. Spanning over 68 minutes of breathtakingly intense, heavily syncopated organic-acoustic interactions across 8 sprawling, epic-length tracking alignments, this high-fidelity restoration serves as an absolute peak monument in late-1950s tribal jazz archaeology. Originally recorded in a single, high-voltage late-night session on March 7, 1957, at Manhattan's Manhattan Towers Hotel, this historic document showcases Blakey stepping completely outside the traditional horn-led combo format to execute a fierce, forward-thinking sonic blueprint that celebrates the direct ancestral lineages connecting African polyrhythms, Cuban street descargas, and modern American jazz syncopation.

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.

Pianist Ray Bryant remained very popular among Japanese jazz fans in the later stages of his career, and he made quite a few important albums for Japanese labels. Play The Blues, recorded in 1999 for M&I, is one of them. It's a collection of great blues performances and includes the past hit tunes made famous by Bryant such as "Gotta Travel On" and "Slow Freight." Backed by a superb rhythm section (Ray Drummond and Kenny Washington), Bryant shines with his expression of deep blues feeling and the unique style that fully utilizes both hands. Hugh McCracken, the famous studio musician who just passed away on March 28, 2013, plays harmonica on several tunes.

Despite some commercial tendencies, this 1970 LP is better than it looks. Pianist Ray Bryant uplifts such pop material as "Let It Be," "Bridge Over Troubled Waters," "Hey Jude," and "Spinning Wheel." Four selections find Bryant's trio (with electric bassist Chuck Rainey and drummer Jimmy Johnson) augmented by either horns (on "Let It Be") or by strings effectively arranged by Eumir Deodata. The colorful results are not essential but are less dated than one might think.

One of the hardest, heaviest albums that Ray Bryant ever cut - even on the ballads - a monster little record that grabs you from the very first note! Ray did the arrangements for this one himself - working with his core trio that featured Ron Carter on bass and Grady Tate on drums, and adding in a twin-trumpet frontline that cooks the groove over the top with a really righteous sound! The rhythms are complicated, yet really funky - and the album's almost worth it alone for the title track "Up Above The Rock", which will forever be remembered for its monster break. The whole thing's great, though - and Ray follows up the leadoff cooker with other great tunes.

Supported by either Bill Lee or Arthur Harper on bass and drummer Mickey Roker, Bryant is typically soulful, swinging and reasonably explorative on eight compositions that are highlighted by "Con Alma," "Milestones," his popular "Cubano Chant" and "Autumn Leaves."

Pianist Ray Bryant solidified his reputation with this outstanding 1957 trio release. It displayed his facility with the blues, speed, gospel influence, and interpretive abilities on such songs as John Lewis' "Django" and Clifford Brown's "Daahoud." It also contained Bryant's funky originals "Splittin" and "Blues Changes," and was punctuated by Ike Isaacs' careful bass work and Specs Wright's loose, in the groove drumming.

Ray Bryant, whose inimitable, blues-drenched piano style with a truly strong left hand was revered and appreciated by Japanese jazz fans, returned the favor by visiting the country many times and recording quite a few albums for several Japanese labels in his golden years. Godfather is one of these cherished treasures. Originally released in 2003, Bryant dedicated this album to the memory of John Lewis, who had passed in 2001. Aptly, the program opens with two iconic compositions by Lewis, who also had a strong affinity to the blues. Other highlights include an ambitious "Elevation Suite" which is a collage of John Coltrane's "Impressions", Miles Davis's "So What" and Bryant's own "Elevation".

Sound Ray is an album by pianist Ray Bryant recorded and released by Cadet Records in 1969.
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…

Ray's choice of material again borrows from a wide musical palette and we are treated to fine performances of jazz originals, standard ballads, a folk tune and a recent Rock 'n Roll hit. The title tune, Lonesome Traveler, is a fitting follow-up to Gotta Travel On of the previous Cadet album. If someone can be lonesome and happy at the same time, then this condition must apply to Ray; because there's nothing lonesome sounding about the joyful groove he and his companions achieve on this track.

Avid Jazz continues with its Four Classic album series with a re-mastered 2CD release by Ray Bryant, complete with original artwork and liner notes. “Ray Bryant Trio 1956”; “Alone With The Blues”; “Little Susie” and “Hollywood Jazz Beat”.
Born on Christmas Eve in Philadelphia, 1961, Ray Bryant began picking out tunes on the piano at the tender age of six. His mother, an accomplished pianist gave him his first lessons before he moved on to other teachers and finally joined the local musicians union at fourteen! He quickly became the house pianist at the Blue Note club in Philadelphia where he says he made more money than his piano teachers! Finally he headed out on tour with his trio supporting vocalist Carmen McCrea and in 1958 joined the Jo Jones Trio…