1.SuperBass Theme
2.Blue Monk
3.Bye Bye Blackbird
4.Lullaby of Birdland        play
5.Who Cares?
6.Mack the Knife
7.Centerpiece                play
8.Sculler Blues
9.Brown Funk (For Ray)
10.SuperBass Theme

Personnel: 
Ray Brown, John Clayton, Christian McBride (bass); 
Benny Green (piano); 
Gregory Hutchinson (drums).

This live Boston summit meeting between Ray Brown, Christian McBride and John Clayton was the logical outcome of several joint appearances, as well as an extension of a one-off bass troika track that McBride included on his first solo album. The idea of a bass trio on records probably would have been unthinkable in the primitive days of recording when Brown was coming up, but Telarc's fabulously deep yet clear engineering makes it seem like a natural thing to do. Whether pizzicato or bowed, whether taking the melodic solo or plunking down the 4/4 bottom line, all three perform with amazing panache, taste, humor, lack of ego, and the sheer joy of talking to and against each other beneath the musical staff. But if one has to pick out a single star, the choice has to be McBride, whose unshakeable time, solid tone and amazing ability to play his cumbersome bull fiddle like a horn stands out in astonishing fashion on the right speaker. On two tracks, the fleet-fingered Benny Green and drummer Gregory Hutchinson join Brown to form a conventional trio that serves as an effective change of pace. It's a fun set without a doubt, but these guys are also clearly making coherent music, and that is what will hold our interest over the long haul. ~ Richard S. Ginell

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1. 	Tangerine 	
2. 	Almost Like Being In Love 	
3. 	That Old Feeling 	
4. 	Ain't Misbehavin' 	
5. 	Alice Blue Gown 	
6. 	Rosalie 	
7. 	But Beautiful 	
8. 	Poor Butterfly 	
9. 	Memories Of You 	
10. 	Rock A Bye Your Baby

Ray Brown - Bass, Cello
Harry Betts - Trombone 
Jack Cave - French Horn
Bob Cooper - Reeds, Reeds (Multiple)
Don Fagerquist - Trumpet
Med Flory - Reeds, Reeds (Multiple)
Russell Garcia - 	Arranger, Conductor
Bill Hood - Reeds (Multiple)
Paul Horn - Reeds, Reeds (Multiple) 
Joe Mondragon - Bass
Jimmy Rowles - Piano
Dick Shanahan - Drums 

On the last day of August and the first day of September 1960, bassist Ray Brown recorded his third album for the Verve label, focusing most of his attention upon the cello while Joe Mondragon handled the bass. The 11-piece band on this date was conducted by arranger Russ Garcia and included reed players Paul Horn and Bob Cooper as well as pianist Jimmy Rowles. The results were typical of late-'50s West Coast mainstream jazz: familiar ballads and friendly, uplifting standards, tidily performed. Some of the tunes reach back to the 1920s, with "Rock-A-Bye Your Baby with a Dixie Melody" serving as a surprisingly hip link with vaudeville as Brown's pizzicato maneuverings are punctuated with punchy blasts from reeds and brass. If one takes the time to place this recording within an historical context, an impressive evolution reveals itself. The first bassist to cross over to cello on records in modern times is believed to have been Oscar Pettiford, while Fred Katz popularized the warm-toned instrument through his work with drummer Chico Hamilton. The progression of jazz cellists since then is impressive, from Ray Brown, Sam Jones, Percy Heath and Ron Carter to Abdul Wadud, David Holland, David Darling, David Eyges and Diedre Murray. By the first decade of the 21st century, an unprecedented number of improvising cellists had appeared, making Ray Brown's 1960 Jazz Cello album seem like a sunny little episode in the foundation of a fascinating modern tradition spanning several generations. ---arwulf arwulf, AllMusic Review

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1 	How High The Moon 	5:06
2 	America The Beautiful 	3:46
3 	Something For The Bass Boss 	4:40
4 	Ellington Medley 	13:02
5 	Trictatism 	4:36
6 	Bags Groove 	3:44
7 	Bossa Nova Medley 	9:09
8 	Bye Bye Blackbird 	6:21
9 	The Masquerade Is Over 	5:06

Bass – Ray Brown, Pierre Boussaguet
Piano – Jacky Terrasson

For this project, Ray Brown is featured in a two-bass trio with fellow bassist Pierre Boussaquet and the up-and-coming pianist Jacky Terasson. The unusual combination works quite well with Brown being the dominant solo voice and the main force behind the music. Included are such songs as "How High the Moon," "America the Beautiful," and "Bye Bye Blackbird" plus a four-song Duke Ellington medley and a three-tune medley of bossa nova songs. The frameworks are inventive, making this a disc of unusual interest. ---Scott Yanow, AllMusic Review

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