This was an era when the piano trios of Ahmad Jamal, Billy Taylor, Oscar Peterson, Erroll Garner, The Three Sounds and Ramsey Lewis were high profile, to where they easily captured the ear of a large section of both the jazz and non-jazz album-buying public. Much of this was down to the fact that they didn't aim over the heads of the listener but connected directly with their club-based audiences who liked to recognise the tune while being entertained at the same time. For some, it paid big dividends. In the case of Ramsey Lewis he knew precisely what his listeners liked and catered to that finger-poppin' element that made up his ever-increasing following. A most exuberant threesome, there was always plenty of scope for Lewis to exercise his formidable technique, while Holt and Young were far more creative than just time-keepers: ‘Bei Mir Bist Du Schoen’ is Young's showcase while Holt's offers a thoughtful display in constructing an extended drum solo during ‘But Not For Me’. Such characteristics and much more being displayed in their opening latinised arrangement of ‘Old Devil Moon’, while a funky re-jigging of Bizet's ‘Carmen’ (which previously gave them a hit of sorts) also connects with the Blue Note club crowd. Always attracted to a powerful melody, the trio give Victor Young's movie theme ‘Delilah’ a dramatic yet danceable makeover. It's a fail-safe formula that has kept Ramsey Lewis a top draw attraction for well over 50 years.