For those unfamiliar with Brown’s discography, it’s worth noting that this member of the Rock & Roll Hall of Fame was considered a possible heir apparent to Nat King Cole in the early-1940s Los Angeles club scene, and his impact on a generation of musicians was substantial. With the help of top-ten R&B hits like “Drifting Blues” and “Merry Christmas Baby” (an updated version is featured on this LP), Brown’s buttery-smooth, easygoing vocal delivery and jazz-infused blues piano style were widely admired and emulated by performers like Johnny Ace, Fats Domino and Ray Charles.

While growing up near Galveston, Texas, Brown earned a college degree in chemistry and was the recipient of classical-music training. Building on that academic foundation, Brown devised a way to merge the heartache of 12-bar blues with the pop sophistication of the Ink Spots and the cerebral qualities of his idol, Art Tatum, to produce a distinctive and addictive musical blend. Proof of that formula’s effectiveness are the many covers of his songs by artists ranging from Elvis Presley to the Eagles.

While it’s tempting to dismiss holiday albums as trivial, Cool Christmas Blues exemplifies all the qualities that made Brown an icon, and it deserves a place alongside other holiday classics like Vince Guaraldi’s A Charlie Brown Christmas. Even though it may not trigger the nostalgic response of that TV special, Cool Christmas Blues does possess the same disarming combination of gentle poignancy and joyous celebration that makes Guaraldi’s work a perennial favorite. When the mahogany resonance of Brown’s voice intones the brooding lyrics of “Blue Holiday,” you can sense the ghost of Frank Sinatra sitting at the end of a smoky, after-hours bar. From there, Brown segues into a rendition of “Silent Night” so full of longing that I’ll never hear that song in the same way again. Brown’s ability to deliver the subtext of a piece of music is just one more reason he belongs in the R&B pantheon.

Through the talents of saxophonist Clifford Solomon (sideman for Art Farmer, Clifford Brown, Lionel Hampton), stand-up bassist Ruth Davies (a favorite of John Lee Hooker and Clark Terry) and drummer Gaylord Birch (a frequent member of Santana and Herbie Hancock’s rhythm sections) even the oft-covered chestnuts like “Please Come Home for Christmas” and “Merry Christmas Baby” have a wizened, unhurried quality that’s typical of the very best veteran musicians, who seem to be saying, “We’ve got nothing to prove but plenty to say.” This ability to make every note count makes slow, romantic numbers like “To Someone That I Love” and “Christmas in Heaven” utterly convincing and perfect for a crackling fire and two glasses of Courvoisier.