What better way to honor the Jones brothers than to entitle Jeff’s new composition just that: "The Jones Brothers"? Combining the melodic approach of Thad, the elegance of Hank and the percussive power of Elvin, the piece changes rhythms throughout as it portrays each of the brothers, its three against four feel ever present. Allowing jaw-dropping solos for each of the musicians throughout the course of the tune’s almost eight minutes, "The Jones Brothers" ends with drummer and John Clayton protégé Obed Calvaire’s rolling, thunderous work over which the Claytons and Stafford end with surprisingly gospel-influenced two-note softness. Specifically, "Wild Man" depicts Elvin Jones with a ever-shifting panorama of rhythms that no doubt kept Calvaire keenly challenged and still provided some special horn-led moments like Jeff and Terell’s low- to mid-register trill and the resulting upsweep of pitch until the final exclamation and Stafford’s unrelenting power throughout his solo.
However, Brother to Brother includes some of the Claytons’ favorites, not to mention adding some un-Adderley-like variety, as they digress from the family theme, or as they stretch it to include, for example, Kenny Burrell’s or Monty Alexander’s brother. Wisely, the Claytons include one of their most requested songs, the hilarious "Walking Bass" written by respected and missed bassist Keter Betts and narrated with loads of rhyming, narrative humor by John Clayton. And then John reminds us how fine a bassist he is when he bows "Where Is Love," only to be followed by Jeff’s eloquent, dynamically affecting interpretation. Even without its themes of family and jazz brotherhood, Brother to Brother stands on its own as an outstanding recording of top-shelf, like-minded matured and maturing jazz musicians.