Monty Alexander, Ray Brown, Herb Ellis: Straight Ahead

Monty Alexander, Ray Brown, Herb Ellis
Straight Ahead

The trio of Monty Alexander, Ray Brown, and Herb Ellis swings with such breezy authority that you'd absolutely swear you heard a drum in there somewhere. But no, this is one of jazz music's most wonderful drum-less trios. This group later recorded quite a few outings together, including their well-known "Triple Treat" volumes. Straight Ahead compiles the albums Trio, released in 1981, and Overseas Special, recorded in Japan and released in 1984. Both are a sheer delight and a chance to hear these individual masters combine forces to create something truly special.

Alexander was once compared to Oscar Peterson, but his influences extend to Ahmad Jamal (a pretty strong influence, I'd say), Nat Cole, and Sonny Rollins, which might seem odd until one remembers that Alexander is from Jamaica and is quite interested in the rhythmic interplay of jazz, as is Rollins. Ellis is, of course, a master guitarist, and Ray Brown is one of the best and most swinging bassists who ever lived.

You'll discover quickly how needless drums are to this group when you hear the kickoff number of Trio, "The Masquerade Is Over." The number cooks along and the group swings with ferocity."Blues for Junior" is a standard 12-bar affair that shows just how tasty the blues can be in the hands of a group of masters. "Sweet Georgia Brown" is given a slinky, lazy rendition that allows both Alexander and Ellis lots of room to stretch. "I Want to Be Happy" is a barn burner on which Brown again shows why a sure and steady bassist can provide all that's needed for a hot rhythm section. "Captain Bill" is a tribute to Count Basie that features Alexander playing with some of that bandleader's deceptively simple K.C. swing. The album concludes with a perfect rendition of Horace Silver's classic "Sister Sadie."

Disc Two, Overseas Special, kicks off with "But Not For Me," a nice middle-tempo number that allows the trio to set the tone for their performance. The ballads "A Time For Love" is a bit of a feature for Herb Ellis, while "For All We Know" provides the same opportunity for Alexander. "Orange In Pain" is a bizarre title, but it comes from Ellis' nickname "Orange" and the fact that he has an ecstatic/painful expression on his face during moments of sublime improvisational inspiration. Brown and Ellis weave in and out, providing superb interplay that dazzles the listener. "F.S.R." stands for For Sonny Rollins, and this Ray Brown composition is bop-oriented, constructed in a similar fashion to Rollins' tune "Doxy." The concluding number is an uptempo "C.C. Rider" which the group tackles with verve and vigor, much to the delight of their Japanese audience.

For anyone who enjoys the trio format (in this case, sans drums) Straight Ahead is a most enjoyable experience.

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