Ray Brown – “Things Ain’t What They Used to Be”
Ray Brown – “Things Ain’t What They Used to Be”
(This One’s for Blanton)
Ray Brown — This One’s for Blanton (1972)
with Duke Ellington, piano
Ray Brown’s performance on “Things Ain’t What They Used to Be” from This One’s for Blanton is a masterclass in intentional motion, contour-based line shaping, and the kind of trio awareness that defines mature jazz playing. This isn’t simply Ray walking — it’s Ray designing momentum with the same care that a soloist would craft a melody.
The Line Itself — Authority, Lift, and Forward Motion
Ray’s quarter-note feel is big, centered, and unhurried, but always traveling. The magic here is the balance: he maintains a wide pocket while still shaping each chorus with subtle rhythmic inflections. His use of anticipations, delayed resolutions, and occasional displaced accents gives the line a conversational quality — not busy, but deeply intentional.
A defining characteristic in this version is Ray’s contour work. He consistently uses ascending shapes to generate lift into harmonic landmarks, then resolves downward to open the sound back up. These rises and falls aren’t ornamental — they create the tune’s architecture. This is Ray applying vocal phrasing to a blues form, something he leaned into heavily during this era.
Harmonic Interpretation — Clean, Functional, and Melodic
On this record, Ray’s harmonic approach is transparent but never predictable. He outlines the changes with clarity, but finds opportunities to insert voice-leading lines that act almost like counter-melodies to Duke’s comping. When he leans on chord tones, the time gets deeper; when he pulls connective tissue between them, the time opens up. It’s that balance of grounding and stretch that defines Ray in the 1970s.
Working Pro players will hear how Ray uses placement instead of ornamentation to add color. He rarely forces substitutions — the sophistication comes from how he moves through the harmony, not how much he adds to it.
Interaction With Duke Ellington
This duo format exposes everything — there’s no hiding. Duke’s comping is sparse, often just two or three-note voicings, leaving Ray responsible for harmonic stability, groove continuity, and emotional shape. This means the bassline becomes the trio’s foundation and commentary at the same time.
Notice how Ray adjusts his phrasing when Duke plays denser left-hand material. He subtly lengthens notes to lock down the groove, then shortens them when Duke opens the space. This is deep musicianship — responding without reacting, anchoring without overpowering.
What This Teaches Modern Bassists
Responsibility in sparse settings: how to carry the harmony and groove simultaneously.
Melodic walking: using contour and phrasing to shape the tune on a macro level.
Time feel as a dynamic element: Ray proves that time isn’t a static grid — it breathes, leans, and guides.
Interaction principles: when to lead, when to support, and how to create an elastic pocket with a sensitive pianist.
Line clarity: prioritizing sound and placement over harmonic “busy-ness.”
This is a recording every serious bassist should internalize. It’s not just a blues — it’s a blueprint for how to get depth, maturity, and emotional weight into your walking.