[Tradjazz] Ray Sings - Basie Swings

[Bruce McNichols]

Recently I got hold of a CD called "Dream Concert."  It's Ray Charles singing with the Count Basie Band.  "Can't be," you say.  Well Natalie Cole can't possibly have recorded with her father either, but yet, listen to the recording.

Seems as if Concord Records purchased the extensive Fantasy catalog and came across tapes of some Ray Charles concerts from the 1970's.  The recordings (made from the mixing board) had been deemed unusable.  Upon further listening, it was discovered that Ray's voice (on a separate track) was impeccable.  

It was decided to record the current Basie Band (now led by Bill Hughes) and use them as the backup band for the recordings of Ray's vocals.  
  Basie was Ray's favorite band and his biggest influence, as an arranger, so it all made beautiful sense.
Then there's the matter of the Raylettes (Ray's wonderful backup singers).  Patti Austin was engaged to write and recreate the background harmonies.  

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When his "Georgia on my Mind" came out (a few hundred years ago) I really didn't think much of it.  I was a fan of his more dynamic offerings.  I remember thinking that although it wasn't my favorite, I was pleased that it was such a big hit, because I wanted him to do well.

For "Georgia" and others like it, the backup singers, then and now, unlike the Raylettes, were (are) a chorus of cherubs, seemingly straight from the other Ray Charles's camp.
    The other Ray Charles, had The Ray Charles Singers which were very good at what they did, but certainly not in the vein of our Ray Charles.
I'm listening to the CD as I write this.  It's amazing how the band sounds exactly as Ray's band, yet also is The Basie Band.  And the singers go from the Raylettes sound, to the cherubs, depending on the material.

I assumed that Columbia Records had sort of forced him into changing his basic style for those recordings.  Later I read in Ray's autobiography, that for years, he had wanted to do that type of thing and had finally convinced the recording execs to allow him to do so.  Also, he apparently was responsible for ALL of the arrangements that he and his band performed, recorded, etc.

~~~
I became aware of him when I was about 16 years old.  He had the hit "I Got a Woman."  I assumed that he was a big name star.  In his book, he said that at around that time, he was out of work and couldn't even keep a band together.  The power of the radio had snookered me. (yup "snookered.")
  The production of this CD is a marvel.  You'd never suspect that it was done with electronic wizardry.  That the original recording had his voice on a separate (and clean) track, is a gift to us all.
In the 60's, I vowed that I would get to see Brother Ray, before he, or I, died.  One time he was to appear in Town (NYC) on a Sunday evening.  A few days before, as I was about to get tix, my wife's mother died.  That ended that idea.

~~~
Then, in the 80's, he appeared in Stamford (CT).  I got the best tix available (at that time), which were in the balcony.  All the rest were sold out.  It was an unforgettable event.   First his band came on, and played a frantic and raucous set.  Very competent but very modern.  Then, after about 10 minutes, out came the man and things changed.  
  As with Vince Giordano's band (and scant few others), the band had a tremendous, yet reserved, power.  Not loud, but with immense intensity.  I LOVED IT, of course.
Then, to make it even better, out came the backup singers (Five - Count 'Em) - the Raylettes in all their glory.  

During the performance, Ray switched from a beautiful grand piano, to an electric one (a must for "What'd I Say").  He did not play alto sax, which he had played "live" and on records, years before. 

My regret/complaint was that the sound company did a lousy job.  They had huge speaker setups on each side of the stage.  Trouble is, there was no balcony coverage.  It was frankly, too soft.  That said, it was wonderful.

~~~
Ray was sumpthin' else, fersure.  I love that he did any style that he cared to.  I understand that he had lots of resistance when he did his Country & Western LP, which,  was a masterpiece and a commercial hit.

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Although certainly not Dixieland or San Francisco two-beat jazz, the music of Brother Ray is certainly pure blues and jazz.  

I feel that there is a close kinship among the styles of old-time jazz, Bluegrass, Folk, Country/Western, the blues, and many more.

What do you folks feel about that one?

McN