Cubano Chant – Ray Bryant

Other artists sometimes would hear Ray play his music before Ray had the opportunity to record it himself. This is a classic example, with Cal Tjader making the first recording. Ray's Latin jazz standard Cuban Fantasy has a similar story, except before Cal Tjader could record it, Ray's close friend, pianist George Shearing, made the first recording.

In Ray's words [from the liner notes of a re-release of Ray's "Con Alma" album:] 'Cubano Chant' was a little theme that was running through my mind which I would sit down at the piano and play once in a while. I just kept fooling around with it and finally developed it into a real song form. I did not write it as a Latin tune—I was playing it like a gospel chant—when Cal Tjader heard it. He played it a while and suggested that I use a Latin rhythm and call it 'Cubano Chant.'

Note from Don Sickler: This is Ray's own solo piano arrangement of his classic and popular composition. Ray worked very closely with me to get his music documented, starting in the late 1980s. Knowing I wanted solo piano arrangements of his compositions as well as a correct lead sheet, Ray often enjoyed this opportunity to refine little elements of his piano arrangements until he got them just the way he wanted. Then, he'd meticulously go over the music plates for the whole arrangement to make sure I got everything right.

Intro: Originally, Ray had no written intro. Group recordings had percussion setting up the start of his melody. Ray's use of an introduction other than percussion started with his 1961 "Con Alma" album.

Check out Ray's 1972 Montreux performance on video from his "Alone At Montreux" album (above right, scroll down). Ray said that spirited intro was the way he felt at that performance. He normally liked it much simpler.

Listen to Kenny Drew, Jr.'s recording of Ray's Piano Solo Arrangement in the clips below. If you look at the arrangement while listening to Kenny's recording, you'll see that the bass line is simpler. However, Kenny asked if he could play the bass line in octaves, making it a little more forceful. I said, if that's the way you hear it, go for it: CLIP

If you compare Ray's recordings of Cubano Chant with his solo piano arrangement, you'll find other interesting elements that he added, like a delightful second eight-measure theme added to the intro: CLIP

Here's the melody, so you can compare it with the melody played on other recorded performances: CLIP.

This was Ray Bryant's first recording with not just one, but two legendary drummers, conga artist Candido (on bongos) and Jo Jones. These two jazz greats also join Ray on the next recording of Cubano Chant, nine months later (Art Blakey's "Drum Suite."

This, Ray's second album for the Epic label, "Ray Bryant Trio" also includes Pawn Ticket and a version of Philadelphia Bound from an earlier session with Kenny Clarke on drums.

Note from Don Sickler: This is Ray's own solo piano arrangement of his classic and popular composition. Ray worked very closely with me to get his music documented, starting in the late 1980s. Knowing I wanted solo piano arrangements of his compositions as well as a correct lead sheet, Ray often enjoyed this opportunity to refine little elements of his piano arrangements until he got them just the way he wanted. Then, he'd meticulously go over the music plates for the whole arrangement to make sure I got everything right.

Intro: Originally, Ray had no written intro. Group recordings had percussion setting up the start of his melody. Ray's use of an introduction other than percussion started with his 1961 "Con Alma" album.

Check out Ray's 1972 Montreux performance on video from his "Alone At Montreux" album (above right, scroll down). Ray said that spirited intro was the way he felt at that performance. He normally liked it much simpler.

Listen to Kenny Drew, Jr.'s recording of Ray's Piano Solo Arrangement in the clips below. If you look at the arrangement while listening to Kenny's recording, you'll see that the bass line is simpler. However, Kenny asked if he could play the bass line in octaves, making it a little more forceful. I said, if that's the way you hear it, go for it: CLIP

If you compare Ray's recordings of Cubano Chant with his solo piano arrangement, you'll find other interesting elements that he added, like a delightful second eight-measure theme added to the intro: CLIP

Here's the melody, so you can compare it with the melody played on other recorded performances: CLIP.

Lord discography labels this session Art Blakey/Jo Jones Percussion Ensemble. A Jazz Messengers session of December 1956 was added to this session's tracks, and the album became Art Blakey's "Drum Suite." Two weeks after this percussion ensemble session, Blakey, Bryant, Jones, Specs Wright and Sabu Martinez recorded together again on Art's Blue Note album "Orgy In Rhythm"; they were joined by Herbie Mann on flute, Wendell Marshall on bass, and five more percussionists including Art Taylor. These were the first two of Blakey's four percussion ensemble albums; the third was "Holiday for Skins" of November 1958, again with Bryant, and the last, "The African Beat," was recorded in January 1962.

Note from Don Sickler: This is Ray's own solo piano arrangement of his classic and popular composition. Ray worked very closely with me to get his music documented, starting in the late 1980s. Knowing I wanted solo piano arrangements of his compositions as well as a correct lead sheet, Ray often enjoyed this opportunity to refine little elements of his piano arrangements until he got them just the way he wanted. Then, he'd meticulously go over the music plates for the whole arrangement to make sure I got everything right.

Intro: Originally, Ray had no written intro. Group recordings had percussion setting up the start of his melody. Ray's use of an introduction other than percussion started with his 1961 "Con Alma" album.

Check out Ray's 1972 Montreux performance on video from his "Alone At Montreux" album (above right, scroll down). Ray said that spirited intro was the way he felt at that performance. He normally liked it much simpler.

Listen to Kenny Drew, Jr.'s recording of Ray's Piano Solo Arrangement in the clips below. If you look at the arrangement while listening to Kenny's recording, you'll see that the bass line is simpler. However, Kenny asked if he could play the bass line in octaves, making it a little more forceful. I said, if that's the way you hear it, go for it: CLIP

If you compare Ray's recordings of Cubano Chant with his solo piano arrangement, you'll find other interesting elements that he added, like a delightful second eight-measure theme added to the intro: CLIP

Here's the melody, so you can compare it with the melody played on other recorded performances: CLIP.

"Taylor's Wailers" was recorded at Rudy Van Gelder's legendary Hackensack Studio.


Only three days later Ray is back in the studio recording Cubano Chant again, this time on drummer Art Taylor's "Taylor's Wailers" session. Check out his recording history with Byrd / Rouse / McLean / and A.T. This was Ray's second album with both Taylor and Jackie McLean; the first was a relatively obscure Miles Davis/Milt Jackson session in 1955. Ray did not otherwise record with either Jackie McLean or Charlie Rouse. The rhythm section from this session played on Art Blakey's second percussion ensemble album "Orgy In Rhythm" ten days later, as well as with Donald Byrd on the third, "Holiday For Skins," in November 1958.

Note from Don Sickler: This is Ray's own solo piano arrangement of his classic and popular composition. Ray worked very closely with me to get his music documented, starting in the late 1980s. Knowing I wanted solo piano arrangements of his compositions as well as a correct lead sheet, Ray often enjoyed this opportunity to refine little elements of his piano arrangements until he got them just the way he wanted. Then, he'd meticulously go over the music plates for the whole arrangement to make sure I got everything right.

Intro: Originally, Ray had no written intro. Group recordings had percussion setting up the start of his melody. Ray's use of an introduction other than percussion started with his 1961 "Con Alma" album.

Check out Ray's 1972 Montreux performance on video from his "Alone At Montreux" album (above right, scroll down). Ray said that spirited intro was the way he felt at that performance. He normally liked it much simpler.

Listen to Kenny Drew, Jr.'s recording of Ray's Piano Solo Arrangement in the clips below. If you look at the arrangement while listening to Kenny's recording, you'll see that the bass line is simpler. However, Kenny asked if he could play the bass line in octaves, making it a little more forceful. I said, if that's the way you hear it, go for it: CLIP

If you compare Ray's recordings of Cubano Chant with his solo piano arrangement, you'll find other interesting elements that he added, like a delightful second eight-measure theme added to the intro: CLIP

Here's the melody, so you can compare it with the melody played on other recorded performances: CLIP.

Cubano Chant is definitely a Ray Bryant jazz standard. It was first recorded by Cal Tjader on Fantasy Records on November 11, 1955. Six months later (April 3, 1956), Ray recorded it for the first time on his "Ray Bryant Trio" album for Epic Records. Organist Wild Bill Davis recorded it in July, 1956. Next, Ray's good friend and supporter, George Shearing, recorded it in January, 1957. Ray then recorded it twice more only several days apart in 1957, first with the Art Blakey/Jo Jones Percussion Ensemble (February 22) then on February 25, with Art Taylor ("Taylor's Wailers"). Next, in 1958, Ray recorded it on the "Jo Jones Plus Two" album with his older brother, bassist Tommy Bryant (our lead sheet is based on this recording). Cal Tjader recorded it again in 1958, Oscar Peterson in 1959; many more artists have added it to their performing and recording repertory from the 1960s to the present.

Vocal version: We also have a vocal version of this composition, with lyric by L. Aziza Miller. Take a listen to Tina May's recording of One Fine Day with Ray playing piano.

Transcribed Piano Solo: Ray plays two choruses [clip], swinging throughout. He combines bluesy and boppish vocabulary for what is mostly a single-line melodic solo. His left hand comping is very forceful, jabbing low sixths or sevenths on many offbeats. Occasionally some of the bluesy right hand figures are harmonized in thirds or octaves. Like much of Bryant's work, this solo is fun to listen to—and fun to play. Four pages.

Note from Don Sickler: This is Ray's own solo piano arrangement of his classic and popular composition. Ray worked very closely with me to get his music documented, starting in the late 1980s. Knowing I wanted solo piano arrangements of his compositions as well as a correct lead sheet, Ray often enjoyed this opportunity to refine little elements of his piano arrangements until he got them just the way he wanted. Then, he'd meticulously go over the music plates for the whole arrangement to make sure I got everything right.

Intro: Originally, Ray had no written intro. Group recordings had percussion setting up the start of his melody. Ray's use of an introduction other than percussion started with his 1961 "Con Alma" album.

Check out Ray's 1972 Montreux performance on video from his "Alone At Montreux" album (above right, scroll down). Ray said that spirited intro was the way he felt at that performance. He normally liked it much simpler.

Listen to Kenny Drew, Jr.'s recording of Ray's Piano Solo Arrangement in the clips below. If you look at the arrangement while listening to Kenny's recording, you'll see that the bass line is simpler. However, Kenny asked if he could play the bass line in octaves, making it a little more forceful. I said, if that's the way you hear it, go for it: CLIP

If you compare Ray's recordings of Cubano Chant with his solo piano arrangement, you'll find other interesting elements that he added, like a delightful second eight-measure theme added to the intro: CLIP

Here's the melody, so you can compare it with the melody played on other recorded performances: CLIP.

Ray recorded five trio versions of Cubano Chant over the years, one of which (from 1960) has not been issued. This is the fourth; the last was from 1992's "Through The Years" with Rufus Reid and Grady Tate. The "Con Alma" album was Ray's first collaboration with Mickey Roker, and the latter's fourth album; previously Mickey had recorded on the three classic Gigi Gryce albums "Saying Somethin'!", "The Hap'nin's", and ""The Rat Race Blues."

Note from Don Sickler: This is Ray's own solo piano arrangement of his classic and popular composition. Ray worked very closely with me to get his music documented, starting in the late 1980s. Knowing I wanted solo piano arrangements of his compositions as well as a correct lead sheet, Ray often enjoyed this opportunity to refine little elements of his piano arrangements until he got them just the way he wanted. Then, he'd meticulously go over the music plates for the whole arrangement to make sure I got everything right.

Intro: Originally, Ray had no written intro. Group recordings had percussion setting up the start of his melody. Ray's use of an introduction other than percussion started with his 1961 "Con Alma" album.

Check out Ray's 1972 Montreux performance on video from his "Alone At Montreux" album (above right, scroll down). Ray said that spirited intro was the way he felt at that performance. He normally liked it much simpler.

Listen to Kenny Drew, Jr.'s recording of Ray's Piano Solo Arrangement in the clips below. If you look at the arrangement while listening to Kenny's recording, you'll see that the bass line is simpler. However, Kenny asked if he could play the bass line in octaves, making it a little more forceful. I said, if that's the way you hear it, go for it: CLIP

If you compare Ray's recordings of Cubano Chant with his solo piano arrangement, you'll find other interesting elements that he added, like a delightful second eight-measure theme added to the intro: CLIP

Here's the melody, so you can compare it with the melody played on other recorded performances: CLIP.

Ray Bryant first recorded with Clark Terry in 1963 on Clark's album "'Tred Ye Lighty" for the Cameo label. Both Clark and Snooky Young were also on Ray's session earlier in 1966 (February 17) for his album "Gotta Travel On."

Snooky was on two more of Ray's sessions, one on December 8, 1966: that time Art Farmer was the other trumpet player, with Freddie Waits on drums. In September of 1968, Snooky was on Ray's "Up Above The Rock" album, with Ron Carter and Grady Tate in the rhythm section. Drummer Freddie Waits also continued working and recording with the Ray Bryant Trio, with Rufus Reid on Bass. Both of these albums were for the Cadet label.

Note from Don Sickler: This is Ray's own solo piano arrangement of his classic and popular composition. Ray worked very closely with me to get his music documented, starting in the late 1980s. Knowing I wanted solo piano arrangements of his compositions as well as a correct lead sheet, Ray often enjoyed this opportunity to refine little elements of his piano arrangements until he got them just the way he wanted. Then, he'd meticulously go over the music plates for the whole arrangement to make sure I got everything right.

Intro: Originally, Ray had no written intro. Group recordings had percussion setting up the start of his melody. Ray's use of an introduction other than percussion started with his 1961 "Con Alma" album.

Check out Ray's 1972 Montreux performance on video from his "Alone At Montreux" album (above right, scroll down). Ray said that spirited intro was the way he felt at that performance. He normally liked it much simpler.

Listen to Kenny Drew, Jr.'s recording of Ray's Piano Solo Arrangement in the clips below. If you look at the arrangement while listening to Kenny's recording, you'll see that the bass line is simpler. However, Kenny asked if he could play the bass line in octaves, making it a little more forceful. I said, if that's the way you hear it, go for it: CLIP

If you compare Ray's recordings of Cubano Chant with his solo piano arrangement, you'll find other interesting elements that he added, like a delightful second eight-measure theme added to the intro: CLIP

Here's the melody, so you can compare it with the melody played on other recorded performances: CLIP.

Recorded live and videotaped at the Montreux Jazz Festival, Montreux, Switzerland. This is a great opportunity to see Ray's performance style and technique. Blues #2 and Blues #3 also come from this performance, a day before the infamous Rahsaan Roland Kirk set recorded as "I, Eye, Aye; Live at the Montreux Jazz Festival."

This Ray Bryant classic melody starts call-and-response. The two-measure response stays the same, but check out the imaginative variations in the two-measure call. Cubano Chant captures the bright spirit of Cuban dance music as fantasized by America, then mixes it up with some blues and soul. We originally started with just Jo Jones Plus Two (Ray, and his brother Tommy on bass). Now we want to give you a more complete perspective of this great gem, from the first recording through eight recordings with Ray Bryant, so you can compare the varied ways he starts his melody. Also, Ray's solo piano arrangement functions as as a score to help you understand the harmonic, melodic and rhythmic details.


Piano Corner
Note from Don Sickler: This is Ray's own solo piano arrangement of his classic and popular composition. Ray worked very closely with me to get his music documented, starting in the late 1980s. Knowing I wanted solo piano arrangements of his compositions as well as a correct lead sheet, Ray often enjoyed this opportunity to refine little elements of his piano arrangements until he got them just the way he wanted. Then, he'd meticulously go over the music plates for the whole arrangement to make sure I got everything right.

Intro: Originally, Ray had no written intro. Group recordings had percussion setting up the start of his melody. Ray's use of an introduction other than percussion started with his 1961 "Con Alma" album.

Check out Ray's 1972 Montreux performance on video from his "Alone At Montreux" album (above right, scroll down). Ray said that spirited intro was the way he felt at that performance. He normally liked it much simpler.

Listen to Kenny Drew, Jr.'s recording of Ray's Piano Solo Arrangement in the clips below. If you look at the arrangement while listening to Kenny's recording, you'll see that the bass line is simpler. However, Kenny asked if he could play the bass line in octaves, making it a little more forceful. I said, if that's the way you hear it, go for it: CLIP

If you compare Ray's recordings of Cubano Chant with his solo piano arrangement, you'll find other interesting elements that he added, like a delightful second eight-measure theme added to the intro: CLIP

Here's the melody, so you can compare it with the melody played on other recorded performances: CLIP.

"Further Explorations With Larger Ensembles" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.

Don Sickler: This arrangement is also available with lyrics (see One Fine Day.) When I first approached Ray with the idea of a Bryant Songbook project with singer Tina May (thus creating an album with lyrics added to Ray's compositions), Ray was all for it, as long as he would be able to approve the lyrics. Ray had already approved the L. Aziza Miller lyric for Cubano Chant several years before, and also Fleurine's lyric to Chicken An' Dumplins (see Meant To Be!).

But then I hit Ray with the project shocker: his songs were going to have be be recorded in different keys to fit Tina May's range. At first Ray said that would make it "impossible" for him. With his perfect pitch, he couldn't imagine his music in different keys. However, once I got him to sit down with Tina and do some experimenting with keys, instead of fighting for his original key, he was elated to find the different keys were giving him fresh ideas to explore his compositions in new ways.

Don Sickler: For the 2017 overdub, I played the melody on flugelhorn.

For the Minus Melody version, there's a 16-bar instrumental introduction that sets the Latin groove, then one time through the melody, one solo chorus, a return to the melody at the bridge, then the Coda and ending.