Last night was a triumphant send-off for the man known simply as "Genius". Last night's Grammy Awards ceremony was not so much a celebration of music as it was a tribute to the great Ray Charles. His 2004 album "Genius loves Company" was bestowed with 8 awards...including the inaugural presentation of "Best Surround Sound Recording".
The Grammies have been guilty of "over-awarding" in the past. The fix was surely in for Eric Clapton's sentimental sweep with "Tears in Heaven"..Bonnie Raitt's demolition gave everyone "Something to talk About" and Carlos Santana "Smooth"-ly brushed aside all comers. Last night though...no one was more deserving of the accolades and adulation. Those 8 awards will go up on a shelf somewhere alongside Ray's previous 12 awards. My hope is that there is a little room left on that shelf so Jamie Foxx will feel compelled to display his "soon to be" Best Actor Academy Award in its rightful place...
As an aside; the wife and I stared in wide-mouthed amazement as Jamie Foxx portrayed Ray Charles in the biopic "Ray". Although a brilliant performance, Foxx has to be criticized for being a tad "over the top". Ray Charles in person, on stage or vinyl was never over-the-top. He was always the most humblest and gracious sort.
With his last failing breaths, Mr. Ray Charles created a thing of beauty...truly one of his greatest accomplishments. Thank you Ray for all the gifts of you. But did Genius Loves Company" deserve all the accolades....?
The album kicks off with the double award-winning "Here We Go Again" featuring last year's Grammy sweetheart Norah Jones. This song is truly a delicate balance of youth and experience with Ray's vocals solidly commanding the left channel and Norah all right...alright! The arrangement dances and cascades all around with a joyful rebellion and resolute celebration. The piece comes alive as Ray provides a flitting piano fill while Billy Preston coaxes a B-3 fluorish from the rear channels. Simply amazing.
Next up is James Taylor and his original "Sweet Potato Pie". I've never been a fan of the folky Taylor...but after hearing this rendition, I can say that there's more to JT than "Fire and Rain". On this arrangement, a bounding rhythm section skips along in the front channels while the rears are saved for the dual guitar talents of Michael Landau and Irv Kramer. All is soon brushed aside by a horn section-section that Myles would've appreciated in his be-bop-a-lula days. Trust Ray Charles to blend SoCal folk with St. Louis be-bop to yet again trademark another's composition..
On further examination, every song on "Genius Loves Company" is a cover version. Ray Charles made a career of taking over other performer's songs and making them his own. At one time or another, I'm sure everyone has mistaken one of his covers for an original. On the other hand, no one has ever covered a Charles original better...let alone taken ownership. Before last night's Grammy sweep, Ray Charles won a Grammy in '93 for his take on Leon Russell's "A Song For You". Anyways..
As a further tribute to his scene-stealing, the album includes a cover of Eddy Arnold's gem "You Don't Know Me". Ray first covered this in 1962 as part of his classic "Modern Sounds in Country and Western Music". This time around Ray involves the considerable talents of jazz-miss Diana Krall who quickly establishes the song with a confident sneer. In the meantime, its Ray who astoundingly hits all the high notes! He was of course suffering from advanced liver disease and yet he found the strength to absolutely kill his part. A couple of weeks ago, I ran an interview with Producer Phil Ramone in which he spoke of Ray's condition. Many of Ray's takes were done in a single session not only to preserve his strength but because there was no need for third and fourth tries.
On the Elton John original "Sorry seems to be the Hardest Word", Ray seems noticeably diminished. This track stands as his final recorded performance. It immediately brings to mind Johnny Cash's cover of "Hurt"...and yet, Ray STILL manages to eclipse the session by hitting all the highs that Elton John couldn't....or wouldn't..
The dour "It was a Very Good Year" is suitably heartbreaking as Ray wistfully reminisces of days of old. Surprisingly; Willie Nelson adds to the somber occassion with his own wavering harken. Ray captures the moment with the poignant line, "and now the days grow short I'm in the Autumn of my life"...his held note fades into a mournful french horn whose cloudiness is soon cleared by those joyous rear horns again and a disquieting underbelly of mellow-cello...
But wait...."Genius Loves Company" isn't all "sturm und dirge"...it soon reverts to jubilation with the playful renditions of "Fever" starring Natalie Cole and "Hey Girl" featuring Michael McDonald....he of The Doobie Brothers. Ray manages to draw the best out of them while he conducts the session with wild abandon. Enter Bonnie Raitt who slyly tacks on her guitar and vocal to "Do I Ever Cross Your Mind" in much the same way that rejuvenated the career of John Lee Hooker...
Other noteworthy performances were quite simply provided by all involved. The bluesy "Sinner's Prayer" is typified by BB King's strings, Ray's pentatonic piano solo and a Billy Preston B-3 blister. "Over the Rainbow" may have been Judy Garland's signature song...but on this, Charles joins with Johnny Mathis for yet another scene-stealing epic to finally wind-up with Van Morrison and a live version of Van Morrison's "Crazy Love". The album appropriately ends with applause..not only for the Ray-Van duet but as a testament to the man..
It has to be said that everyone who contributed to this album was in awe of Ray Charles. Whether they held back out of respect or were simply out-cooled by Charles is open for speculation. This writer would like to believe that with his last dying breath Ray Charles was the soul of music. There will never be another like him...
