Ray Charles Crrying Time

The Genius Sings the Blues began as a simple compilation. Comprised of a dozen songs Ray Charles made between 1952 and 1960, the collection was released in 1961 by Atlantic Records to counter the singer’s migration to rival ABC Paramount. What Atlantic originally underestimated is that the album contained many of Charles’ greatest works, all unified by their bluesy emotions and stirring arrangements. A classic of the soul and R&B canon, The Genius Sings the Blues is a snapshot of the evolution of timeless American music captured by the pianist’s indelible rhythmic pace, gospel roots, jazz backgrounds, and Southern-styled accents.
From the iconic cover art to the distinguished music within, everything about the thematic record is iconic…

With John Scofield, a big part of the fun is never knowing what the guitarist will do from one album to the next. He might provide an album that is abstract and cerebral, or he might come up with something funky and groove-oriented; That's What I Say: John Scofield Plays the Music of Ray Charles is a perfect example of the latter. Featuring well-known guest vocalists who include Dr. John, Mavis Staples (as in the Staple Sisters), Aaron Neville and John Mayer, this tribute to the late Ray Charles is definitely one of Scofield's more commercial projects - which isn't to say that he shouldn't be proud of the album. Commercialism isn't necessarily a bad thing as long as it is tastefully done, and That's What I Say is a tasteful effort that finds Scofield fluctuating between instrumental soul-jazz and vocal-oriented soul…

Come Live With Me showcases Charles in full '70s crossover mode - embracing string-laden arrangements, country-tinged ballads, and soulful soft rock. With a blend of pop and gospel-infused soul, Ray demonstrates his unmatched versatility. The album plays like Two Sides of a Saturday Night - elegant and introspective at the start, loose and electrifying by the end. Side A, arranged by longtime collaborator and conductor Sid Feller, features lush, orchestrated ballads such as Till There Was You and If You Go Away, highlighting Charles's emotive vocal delivery. In contrast, Side B shifts to a more upbeat, R&B - driven sound with tracks like Somebody and Problems, Problems, showcasing his dynamic range and adaptability. At a time when music was defined by the politically charged, genre-blending work of Funkadelic, Sly Stone, Curtis Mayfield, and Stevie Wonder and the singer-songwriter boom was in full swing. Ray Charles didn't chase trends. Instead, he carved his own path, doing something entirely his own.

This pairing of two totally idiosyncratic vocalists acquired legendary status over the decades in which it had been out of print. But the proof is in the listening, and frankly it doesn't represent either artist's best work. There is certainly a powerful, often sexy rapport between the two – Charles in his sweet balladeering mode, Carter with her uniquely keening, drifting high register – and they definitely create sparks in the justly famous rendition of "Baby, It's Cold Outside." The main problem is in Marty Paich's string/choir arrangements, which too often cross the line into treacle, whereas his charts for big band are far more listenable.