Liner Notes

Ray Charles: Genius & Soul – The 50th Anniversary Collection

$69.98

THE INFLUENCE OF THE MAN

We all know what the music of Ray Charles has meant to the masses; a simple glance at the Billboard charts can tell us that. On a more personal basis, each of us can testify to his or her own intimate, emotional connection to Ray's songs. But let's not bare our souls. Let's talk about the effect Ray Charles and his music has had on subsequent singers and musicians over the past some odd 50 years.

Those who influenced Ray have been well documented. And some might say too well documented on the keys of this very computer. But, oh, what the hell, let's go through it one more time.

During his youth in Florida, Ray listened to a wide range of performers, from Louis Jordan to The Grand Ole Opry, from Art Tatum to Artie Shaw. His first trio recordings were heavily influenced by the King Cole Trio and Johnny Moore's Three Blazers, featuring Charles Brown.

As he matured as an artist, Ray's Swing Time and Atlantic recordings kept a record of his growth -- and of who was informing his work at any given point. Pianists Sonny Thompson and Horace Silver come to mind. So do singers Guitar Slim and Alex Bradford, as the deep blues and gospel hues began to show up on his palate.

Once Ray found his own voice and his own instrumental sound, the music world took notice. Along with Horace Silver, Ray led the "Soul Brother" movement in the field of modern jazz, adding the touch of blues and gospel that put the term "funky" on everyone's lips.

Ray's band members, too, have had their followers. Don Wilkerson and David Newman led the resurgence of the Texas tenor sound, paving the way for King Curtis and others. When Hank Crawford switched from baritone to alto sax, he opened the door for David Sanborn, Tom Scott, and virtually every sax soloist who followed him stylistically.

Suddenly, the intellectual explorations that bebop started in the '40s were joined by the emotional explorations of the younger guys. Milt Jackson, Ray Bryant, Wynton Kelly, and Bobby Timmons with Cannonball Adderley were only a few of the jazzmen turned loose by the Ray Charles style.

Pop vocalists were quick to pick up on Ray's songs: Peggy Lee, Harry Belafonte, and Sammy Davis, Jr., all recorded Ray's tunes. Jo Stafford, who might have been the first, cut "I've Got A Woman" as "I Got A Sweetie."

In the field of rhythm & blues, artists from the famous (Little Stevie Wonder) to the obscure (Prince La La and Alvin Robinson) found Ray to be a major source of inspiration. The late pianist Richard Tee cited Ray as his prime influence, although Tee's style went deeper into the church, as did that of Aretha Franklin, whose version of "Drown In My Own Tears" still retains the mark of Ray. Marvin Gaye's vocal style owes much to Ray Charles. And early '60s New Orleans performers like Jessie Hill, whose "Ooh Poo Pah Doo" is a sideways "What'd I Say," as well as Allen Toussaint, Ernie K-Doe, and Chris Kenner were definitely listening to the Atlantic Ray Charles.

Many rock 'n' rollers, starting with Elvis, who did a version of "I've Got A Woman" on his first album, were deeply into Ray Charles. Dr. John, Bill Medley of the Righteous Brothers, and Leon Russell are direct descendants, while the more indirect would include Eddie Cochran, Billy Joel, and Richard Manuel, who, when the Band was still known as the Hawks, used to do a letter-perfect "Georgia On My Mind."

The Ray Charles influence shows up a little more tenuously in the British rockers, such as Elton John, Georgie Fame, and Steve Winwood. It is most obvious in the singing of Joe Cocker, who covered Ray's records of "Drown In My Own Tears" and "Sticks And Stones."

In the country field, the Everly Brothers did a nice cover of "Leave My Woman Alone" and Willie Nelson's version of "Georgia On My Mind" follows the melodic changes Ray made in the original song. Ronnie Milsap began his professional life as a Ray Charles clone.

These and a thousand other artists, both great and schlocky, have, at the very least, done "Georgia" or "What'd I Say" in their acts and on records. Ray forced us all to dig a little deeper into our hearts and souls when addressing any piece of material. It is probably safe to say that there is no area of popular music that has not been altered by the genius of Ray Charles.

-- Billy Vera

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