Bass player Ray Brown is one of the Grand Old Men of jazz. Now aged 72, he has worked with everyone from Charlie Parker and Dizzy Gillespie to Ella Fitzgerald and Oscar Peterson. Onstage at Vicar Street, he had an air of regal benevolence, presiding over his trio and playing as immaculately as ever. Too often, jazz bassists produce only a blurred rumbling sound, but Brown's playing is always clear and powerful.
He was joined by two exceptional young musicians: Geoff Keezer (piano), played with thrilling virtuosity, while drummer Karriem Riggins provided intelligent, sympathetic support. The music was for the most part conservative, and none the worse for that.
The ballad playing was outstanding. Count Basie's Little Darling was presented softly on piano, leaving space for Brown's novel contrapuntal entries. There followed two dramatically contrasting solos: Keezer's fast but painfully delicate approach giving way to Brown's aggressive, swinging improvisation.
On Mona Lisa Brown took the melody. The treatment here was remarkably restrained and direct. In contrast, Dizzy Gillespie's Con Alma was put through the paces, moving from an almost classical duet for piano and bowed bass to a vigorously syncopated reworking of the theme. Brown is not only a great musician but a great showman. On several occasions he had the audience clicking or clapping along to his humorous solos - most notably on the extended blues introduction to Captain Bill. In another solo he casually quoted Eleanor Rigby and Ain't Misbehaving. The trio richly deserved their standing ovation.