Bassist Ray Brown, a pioneer in bebop whose associations included some of t… Read Full Bio ↴Bassist Ray Brown, a pioneer in bebop whose associations included some of the most prominent names in modern jazz, was as hard working and prolific as he was talented. A contemporary of Dizzy Gillespie, Charlie Parker and Bud Powell, his artistic credits ranged from the recording studio to the international jazz stage to television, and his half-century resume includes an impressive string of Grammys and other awards. He’d just released the latest in his Best Friends series on Telarc less than two weeks before his death, and his touring schedule was full when he passed away in his sleep on the afternoon before a gig in Indianapolis on July 2, 2002, after doing what he loved almost as much as music, playing golf.

Fortunately for his fans, Brown has left one final gift—a brilliant recording with pianist Monty Alexander and guitarist Russell Malone that showcases the individual and collective talents of three fine jazzmen playing a mix of standards as well as their own compositions. Ray Brown, Monty Alexander and Russell Malone, is a collection of eleven tracks that merges the formidable talents of a veteran bassist, a versatile cross-cultural pianist and a young lion of jazz guitar.

From the poignant opening piano notes of John Lewis’ “Django,” Ray Brown, Monty Alexander and Russell Malone cruises through a mix of familiar standards like Bart Howard’s “Fly Me To the Moon,” Fats Waller’s “Honeysuckle Rose” and Dexter Gordon’s eponymous “Dexter’s Dex.” The standards blend seamlessly with some fine original material, including two highly contrasting compositions from Brown: the smoky “Blues for Junior” and the lively “One for Hamp.” Alexander takes the lead on his wistful “Don’t Go,” followed a couple tracks later by his playful “You Can See,” while Malone weighs in with his easygoing “Look Who’s Here.”

Had Brown known this would be his last recording, he couldn’t have picked more simpatico partners. Jamaican born Alexander, another prominent jazz figure on the Telarc label, had already soaked up the sounds of American legends like Count Basie, Nat Cole and Frank Sinatra by the time he came to the United States as a teenager in the early ‘60s. His most recent Telarc release, My America, is a tribute to the many musical and cultural icons of 20th century America who have shaped his artistic identity.

Over the past decade, Russell Malone has maintained a highly successful dual career as a solo artist on Columbia and Verve and as a valuable session player for a host of high-profile artists, including Wynton Marsalis, Diana Krall and Harry Connick, Jr. Malone appeared on three prior Ray Brown albums—Some of My Best Friends Are...Singers in 1998, Christmas Songs with the Ray Brown Trio in 1999 and Some of My Best Friends Are...Guitarists in 2002.

Russell Malone Lyrics

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I must confess what you say is true
I had a rendezvous with somebody new
That's the only one I ever had
Baby, baby, don'cha go away mad

Cheatin' shows and it never goes
You got a reason to be mad I suppose
But she only was a passin' fad

Baby, don't you be mad

Her kind's a dime a dozen
And that's not the kind I want
Who'd ever dream your cousin
Would wander into that restaurant?

I understand that you feel upset
What do you say that you forgive and forget?
Come on and kiss me just to show you're glad
Baby, baby, don'cha go away mad

Now, her kind's a dime a dozen
I should've passed her by
Who'd ever dream your cousin
Would come along and give us the eye?

I understand that you feel upset
What do you say that you forgive and forget?
Come on and kiss me just to show you're glad
Baby, don'cha go away mad

Understand that you're quite upset
What do you say that you forgive and forget?
Come on and kiss me just to show you're glad
Baby, baby, baby, baby, baby, baby, baby

Baby, baby, baby, don'cha go 'way mad
Now, don'cha go away mad

Overall Meaning

The lyrics of "Don't Go" by Ray Brown/Monty Alexander/Russell Malone speak about a man who has been caught cheating on his partner. He is trying to apologize and make amends, believing that the affair was only a passing phase and that he truly loves his partner. The man acknowledges that he made a mistake and that his partner has a right to be angry, but he is pleading with her not to go away mad.

The song's lyrics use a lot of repetition and reflect the genre of jazz, with a hint of blues. The lyrics explore the theme of forgiveness, with the man asking for his partner's forgiveness, which he hopes will enable them to move past the affair and strengthen their relationship.

The song also acknowledges the pain that the partner must be feeling, and the man tries to validate that. He mentions that the woman he had an affair with was a passing fad and not someone he really wanted, and that he should have ignored her. He asks for forgiveness and tries to express that he wants to move forward without any anger or resentment.

Line by Line Meaning

I must confess what you say is true
I admit that what you're saying is correct

I had a rendezvous with somebody new
I had an affair with someone else

That's the only one I ever had
That's the only time I ever cheated

Baby, baby, don'cha go away mad
Please don't leave me angry

Cheatin' shows and it never goes
Infidelity always has consequences

You got a reason to be mad I suppose
I understand why you're upset

But she only was a passin' fad
The other woman meant nothing to me

Baby, don't you be mad
Please don't be angry with me

Her kind's a dime a dozen
Women like her are common and unimportant

And that's not the kind I want
I don't want someone like her

Who'd ever dream your cousin
Who would have guessed that your cousin