by Jim ToddPianist Ray Bryant covers a lot of ground in the 30-odd minutes of this release from 1963. For much of the time, the versatile pianist -- accompanied by a classic, supportive rhythm section -- plays like a less intense version of piano giants such as Art Tatum, Bud Powell, and Oscar Peterson. While he has the depth of talent to merit these comparisons, on Groove House Bryant rarely uses his gifts to explore beyond the fundamental structure of a piece. The pianist's most adventurous playing comes on his own "Be-Bop Irishman" and a version of Ray Brown's "Gravy Waltz." These two tracks demonstrate why Bryant has been called on to accompany jazz legends from Tiny Grimes to Miles Davis. Elsewhere, Bryant evokes the Chicago blues-boogie stomp of Otis Spann on "Backroom" and pure gospel sounds on "Chariot Swing." When guitarist Wally Richardson joins the trio for three tracks, the feel approaches the soulful groove of Booker T. & the MG's. For his solo spots, Richardson plays with a sound similar to the great Freddy King instrumentals from this same period. For most of Groove House, Bryant harnesses his massive technique to offer unpretentious entertainment. Listeners can look to other entries in the pianist's discography, for example, Little Susie from 1960, to hear Bryant make more consistently substantial demands on his talents.