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“The Best Album Otis Redding Never Made”

2 Mar

otis

I have always loved the voice of Otis Redding. Who doesn’t, right? So much soul and feeling. So raspy and unique. More of a song stylist than a true singer. He could scream and shout with the best of ‘em, but his talents were perhaps best on display when he performed a slower ballad. That is especially true when the ballad tackled the topics of pain, loneliness, heartbreak or sorrow.

The cover looks like an old, time-worn LP cover. The cover art fits within the time period. Yet this is a completely new collection being released for the first time. Cool concept — and it works. The album is a mix of the familiar and the unfamiliar. The original songs and a few alternate versions. Some Redding penned originals and compositions by the likes of Eddie Floyd and Lloyd Price.

Most all the cuts here click. Those that don’t on all levels still demand your attention and curiousity. An example of the latter would be the alternate take of “I’ve Got Dreams To Remember.” There are a few awkward key changes that can be hard on the ear, but the feeling and emotion is still very much there. The backing band (Steve Cropper, Booker T and the boys) seems to be experimenting — trying to find their way at times on this take. I’m guessing that is why this version is subtitled “Rougher Dreams.” You can understand why this rougher take didn’t make the original record back in the late 60′s.  

On the other hand, the alternate version of “Open the Door” is simply killer stuff. Subtitled “Skeleton Key Version,” this one delivers the goods in the best Redding tradition. The 2:29 slow burn comes complete with door knocks and goosebump-inducing blasts from the mighty Memphis Horns and Booker T’s Hammond B-3. The collection closes with the hopeful “My Lover’s Prayer” — long one of my favorite Redding performances. It leaves you wanting more, so don’t forget to punch that REPEAT button. This makes for ideal late night listening.  

Turn the lights down and the volume up.

You’ll find plenty to like about this new addition to Otis’ legendary catalog.

LOS ANGELES, Calif. — Otis Redding’s Lonely & Blue: The Deepest Soul of Otis Redding could pass for a title Stax/Volt might have released in the late ’60s. The look of the album reflects Stax’s design themes of the era. But in fact it’s a collection that never existed, until now, that homes in on one mood and one theme —heartbreaking, yearning ballads — of which Redding had many. The album will be released as a CD and blue vinyl LP on March 5, 2013 on Stax Records through Concord Music Group.

Lonely & Blue: The Deepest Soul of Otis Redding contains the hits (“I’ve Been Loving You Too Long,” “These Arms of Mine,” “My Lover’s Prayer,” “Free Me”) alongside many lesser-known songs (“Gone Again,” “Open the Door,” “Waste of Time,” “Everybody Makes a Mistake,” to name a few). They’re all included in this compilation because they share the tangled theme of sorrow.

According to compilation producer David Gorman, “Given how nobody delivered a gut-wrenching sad song like Otis, I always felt he should have made an album you could put on late at night and settle into with a glass of something strong. The mood and the subject of every song is the same — Otis, heartbroken, and begging for love. I tried to find the saddest most potently heartbreaking songs he ever sang, with no regard for chart position or notoriety. There are a few hits on the album, but they’re there because they fit the mood, not because we wanted to include the hits.”

For instance, an alternate version of “I’ve Got Dreams To Remember” features lyrics that are darker and tell a more personal story than the better-known hit version. Little-known tracks like “Gone Again” and “A Waste of Time” are given the same weight as “I’ve Been Loving You too Long.” The motif of love is even subtly addressed in the sequencing, the album closing with “Send Me Some Lovin’” and “My Lover’s Prayer.”

The concept of Lonely & Blue: The Deepest Soul of Otis Redding plays out in the packaging as well, which was intentionally designed by Gorman to look as if Redding actually did put this album out at the height of his career. The typography, color palette, and layout are all meant to adhere to the Stax/Volt LP designs of the time. This extends to the liner notes, which are written in the present tense and credited to a fictitious DJ so that they read as if they were written while Redding was alive at his peak.

“The goal,” explains Gorman, “was to create the best album Otis never made and ‘reissue’ it in 2013 rather than do another hits compilation. We hope this album will reframe him as something more than an oldies radio staple and become his Night Beat (a classic 1963 Sam Cooke LP) — the album that exists as a starting point for people wondering why so many consider Otis Redding the greatest soul singer of all time.”

Track Listing:
1. I Love You More Than Words Can Say
2. Gone Again
3. Free Me
4. Open the Door [Skeleton Key Version]
5. A Waste of Time
6. These Arms of Mine
7. I’ve Been Loving You Too Long (To Stop Now)
8. Everybody Makes a Mistake
9. Little Ol’ Me
10. I’ve Got Dreams to Remember [Rougher Dreams]
11. Send Me Some Lovin’
12. My Lover’s Prayer

Mitch Ryder is BACK? Well, Sock It To Me, Baby!

4 Feb

MITCH RYDER TO RELEASE HIS FIRST NEW ALBUM IN 30 YEARS, THE PROMISE

Produced by fellow Detroit native Don Was, Ryder returns to his Motor City rock and soul roots.

DETROIT, Mich. — Before Jack White, Ted Nugent, Bob Seger or Iggy Pop, Detroit’s number one rock export was Mitch Ryder. Fronting the Detroit Wheels, Ryder spun out a string of rock ’n’ soul hits — “Jenny Take a Ride,” “Devil With a Blue Dress On / Good Golly Miss Molly” and “Sock It to Me, Baby” — in the mid-’60s that landed in the charts alongside the Beatles and the Rolling Stones.

Ryder’s new album, The Promise (his first U.S. release in nearly 30 years), due out February 13, 2012 on his own Michigan Broadcasting Corporation label, finds him in prime form. The disc’s dozen tracks feature eleven full-bodied originals plus a live cover for the Motown classic “What Becomes of the Brokenhearted.” Ryder teamed up with acclaimed producer Don Was (a fellow Detroit native) to create a record that’s full of soul yet grounded in rock: music that acknowledges the past while looking forward. Ryder says he writes all of his songs from personal experiences. “When I am in the writing mode, I don’t listen to other music. I just shut down and draw on what my mind and my soul tell me to do.”

The Promise starts off capturing a particularly personal moment with “Thank You Mama.” This Motown-esque rocker serves as a eulogy to his parents. Ryder wasn’t able to attend either his mother or father’s funerals for various reasons (including a promoter who threatened to sue him if he went to this dad’s funeral) and he wrote this song, he reveals, “because I needed to get it out of my system. I never got to tell them thank you.”

The title track is a deeply soulful number — both through the music and the message. Combining a slow-burning rhythm with incendiary social commentary, this powerful ballad offers an unflinching portrait of a working-class American who is struggling to make ends meet yet holding on to “the promise” of a better tomorrow, when “my child will have doctors and my child will have good schools.” The song’s gritty quality, with its rock-edged funkiness, also fuels tunes like “One Hair,” “The Way We Were” and “Junky Love.”

However, it’s not a Mitch Ryder album without some party music too. The Latin-flavored “Let’s Keep Dancing” shakes up the disc’s tempo with a tango. Similarly, the piano-based ballad “Crazy Beautiful” gives Ryder an opportunity to show his vocal range extends beyond that of a belter. This song also provided him a chance to perform with one of his heroes, keyboardist Patrick Leonard. Leonard led the ’90s band Toy Matinee, whose sole album, Ryder says, stands as “one of the best pieces of American music I’ve ever heard.” When Was said that Leonard was working in the same studio where they were recording, Ryder went over to meet him. “I was brought to tears during the conversation,” Ryder admits. “That’s how powerful an impact he had on me.”

Ryder was also thrilled to have Was onboard. The two met when the famed producer worked in the studio where Ryder was making his 1980 release Naked But Not Dead. Although they’ve worked together over the years (“Brokenhearted” comes from one of Was’ annual “Concert of Colors” in Detroit), this was the first time they collaborated on an entire album. Ryder reveals that Was didn’t ask to see his lyrics before recording the songs and told Ryder that the only other artist similarly treated was Bob Dylan, which Ryder found a high compliment. Ryder also raved how Was was “able to bring the real exact sound of my voice as it exists today without using any gimmicks.”

Recording in Los Angeles’ historic Henson Studios (formerly A&M Records and originally Charles Chaplin’s studios), Was used his team of talented players (keyboardist Jamie Mahuberac, bassist Reggie McBride, guitarist Randy Jacobs and drummer James Gadsen) to give Ryder all that needed — whether it was an explosive guitar solo or a soulful groove. Ryder re-did one of his older songs, “My Heart Belongs To Me,” because he realized correctly that this band could give it the proper Stax sound that he wanted.

Born William Levise Jr., Ryder grew up in working class Detroit and started working as a singer while still a teen. He performed in a black soul club and fronted the Peps, a black vocal trio. As Billy Lee, he led a popular local band, the Rivieras. After Four Seasons producer Bob Crewe was blown away by one of their live performances, the group re-located to New York; however, they had to change their name due to the Rivieras of “California Sun” fame. Ryder, as the story goes, found his new stage name while flipping through the Manhattan phonebook — and Mitch Ryder and the Detroit Wheels were born.

With Crewe at the helm, Ryder and the Wheels quickly developed a potent music style that infused R&B with high-octane rock ’n’ roll. Their biggest success came with the “Devil with a Blue Dress On/Good Golly Miss Molly” medley, which hit #4 on the charts and was famously re-done by Bruce Springsteen. Ryder says the band’s magic came from wanting “our records to sound live,” adding that “listeners responded to the energy.”

However, the success came with a price. Although they wrote their own material before, that changed when Crewe took control of the band. Ryder states, “We were told in no uncertain terms that we would be doing songs that Mr. Crewe presented to us and all he was doing when he wasn’t writing originals was throwing us covers. It was screwed up.”

By 1967, Mitch Ryder and the Detroit Wheels had splintered. Ryder later went to Memphis to do an album with Booker T. and the MGs before returning home to front a band called Detroit. Their one release included such a powerful rendition of Lou Reed’s “Rock N’ Roll” that Reed nabbed guitarist Steve Hunter for his own band.

While The Promise is Ryder’s first American-released record since his 1983 John Mellencamp–produced Never Kick a Sleeping Dog, he has been a busy musician over the years. He has a very devoted European following, especially in Germany, where a 1978 TV performance catapulted him to stardom. He has released 14 CDs in Germany and regularly puts on 2½ hour concerts. “I don’t have to do any of my American hits. They don’t care,” Ryder states. “It really makes me happy to have that alternative career.”

The Promise is just one of Ryder’s several current projects. His just published memoir, Devils & Blue Dresses: My Wild Ride as a Rock and Roll Legend chronicles his colorful career — and how he suffered through addiction, bankruptcy and more — and survived to talk about it all. In addition to the new book and album, Ryder is working on stage musical that he describes as “intensely emotional” and like “a Russian novel.”

An energetic 66-year-old, Ryder doesn’t think “time is an issue that should be treated so seriously.” He just strives to be productive and continue to grow as an artist. “I don’t feel old,” he proclaims, “I feel great about what I am trying to accomplish.”

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For more information about Mitch Ryder, please contact Conqueroo:
Cary Baker • (323) 656-1600 • cary@conqueroo.com

Ray Charles’ “Singular Genius” Shines Through on New 5-CD Box

6 Nov
 
This, in my humble opinion, is a long-overdue release. Florida native Ray Charles’ output while with the ABC-Paramount label was pretty extraordinary. And while his earlier Atlantic recordings placed him on our collective radar for the first time, his ABC singles allowed him to stretch out and reach for the stars. Country, soul, pop, R & B … it’s all here. And laid down in a way only Brother Ray could. In fact, I can think of no one else who could have pulled this kind of mix together in such a cohesive, effortless manner. 53 singles, 11 #1 hits. You call yourself a true fan of American Popular Music and Culture? Then you simply must own this historic collection.

 

RAY CHARLES’ SINGULAR GENIUS: THE COMPLETE ABC SINGLES,
AVAILABLE NOVEMBER 15 ON CONCORD RECORDS, COMPILES
HITS AND B-SIDES — MANY NEVER PREVIOUSLY ON ALBUM

106 recordings on five compact discs totaling 53 singles
are housed in handsome linen-textured collectors’ box

LOS ANGELES, Calif. — With the release of Ray Charles’ Singular Genius: The Complete ABC Singles, on November 15, 2011, Concord Records will make available for the first time the artist’s collection of ABC-Paramount singles during this prolific period (1960-1972).

The digitally remastered deluxe 106-song collection presents the A and B sides of 53 singles, including 11 #1 hits, such Grammy Award winners “Hit the Road Jack,” “Busted,” “Georgia on My Mind,” “I Can’t Stop Loving You,” “Crying Time,” “America the Beautiful,” and many more.

 

Twenty-one of the songs are making their digital debut, and 30 have never previously been available on CD. Liner notes were written by R&B recording artist and music historian Billy Vera and rare photographs are included.

According to Valerie Ervin, president of the Ray Charles Foundation, “This compilation provides an opportunity to hear Ray’s evolution into a full-fledged artist and creative force. The song selection was based upon the interpretation he could bring to the music and not the genre. The ABC singles comprise an epoch of essential Ray Charles music and a window into how his genius evolved.”

John Burk, Concord Music Group’s Chief Creative Officer stated, “Ray Charles is one of America’s most iconic and treasured voices. We are fortunate to have the opportunity to present Ray’s historic ABC singles with the reverence and respect they deserve and continue our dynamic partnership and acclaimed reissue program with Valerie Ervin and everyone at the Ray Charles Foundation.”

By the time the singer released his first single for his new label affiliation, ABC-Paramount, in January 1960, he had crossed over into the stardom that show biz insiders had long known was his due. After several years of R&B hits on his previous label, Atlantic Records, he’d finally reached the coveted white teen market with his smash, “What’d I Say,” the simplest, most basic song of his career.

 

Charles’ contract was coming up for renewal and the Atlantic brass expected an easy negotiation. After all, most entertainers took a passive approach to their business, especially when things were going well. However, his agency, Shaw Artists, wanted to bring Charles to a broader audience, which they felt could be better delivered by a major record company.

One such company was ABC-Paramount, a newer major that had found success with teen idols Paul Anka, Frankie Avalon, and Fabian, while crossing Lloyd Price over into pop. ABC’s Larry Newton convinced label president Sam Clark that Ray Charles was the ideal artist to not only make hits but to attract other black acts to the fold. Charles was granted a magnanimous contract that included ownership of his masters after five years. Even Frank Sinatra, as Vera points out, did not have a deal like this.

 

Sid Feller became Charles’ A&R man and producer. Though as Atlantic’s Jerry Wexler once said, “You don’t produce Ray Charles; you just get out of the way and let him do his thing.”

After striking a rich deal, the Ray Charles/ABC relationship had a momentary setback when the first ABC single, “Who You Gonna Love” b/w “My Baby,” sold disappointingly. The second single, “Sticks and Stones,” a “What’d I Say” knockoff, went to #2 R&B and #540 pop. Finally, the third ABC single, “Georgia on My Mind,” culled from the album The Genius Hits the Road, reached #1 on the pop charts. With the overwhelming popularity of “Georgia on My Mind,” Charles was at last a full-fledged mainstream star, right up there with the Nat Coles and Peggy Lees. The company’s strategy was to cater to his new market while still releasing singles to serve his R&B base.

Charles in the meantime launched a publishing arm, Tangerine Music, signing one of the greats of West Coast blues, Percy Mayfield. Mayfield brought with him a song he’d pitched to Specialty Records without success, “Hit the Road, Jack.” Ray’s version rose to #1 on both the pop and R&B charts. It was followed by “Unchain My Heart.”

ABC-Paramount celebrated his grand success by giving Charles his own label, Tangerine, which he used to record some of his personal R&B heroes including Mayfield, Louis Jordan, and Little Jimmy Scott. At the same point in time, Charles became enamored of country music and recorded several country sides: “Take These Chains From My heart,” “Busted,” “That Old Lucky Sun,” and from Buck Owens, “Crying Time” and “Together Again.”

 

1966 saw the opening of Ray Charles’ own RPM Studios on Washington Blvd. in Los Angeles. The first song he recorded at the facility was “Let’s Go Get Stoned,” a Coasters cover penned by Nick Ashford, Valerie Simpson, and Jo Armistead.

The ABC-Paramount recordings continued into the late ’60s and early ’70s. In 1972 Charles cut a version of the New Seekers hit, “Look What They’ve Done to My Song, Ma,” but it was the B-side, “America the Beautiful,” that became a runaway hit, Grammy Award winner (one of five on this collection) and to a younger generation unfamiliar with his earlier major works, his signature song.

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Lauterbach’s Chitlin’ Circuit History Deserves Great Praise & a Wider Audience

28 Aug

Preston Lauterbach is a friend of mine — going back to my days in Memphis. Great guy, he is. And he knows a thing or two about music — and good eats. I was pretty impressed when he first mentioned that he was undertaking this project. It’s a big topic. But also a topic that has not been well documented in the recent past.

All that being said, I am even more impressed by the finished project. This is a well-researched and entertaining story. Preston has a way with words. His method is hip and engaging. He educates without sounding like a professor. I buzzed through this book in no time flat. I had long thought that I was well versed when it came to this shadowy corner of rock n’ roll history. Boy, was I wrong. So many wonderful nuggets of knowledge to be found — and savored.

This is a tasty pot of musical stew – and one I would suggest you dig into.

A definitive account of the birth of rock ‘n’ roll in black America, this book establishes the Chitlin’ Circuit as a major force in American musical history. Combining terrific firsthand reporting with deep historical research, Preston Lauterbach uncovers characters like Chicago Defender columnist Walter Barnes, who pioneered the circuit in the 1930s, and larger-than-life promoters such as Denver Ferguson, the Indianapolis gambling chieftain who consolidated it in the 1940s. Charging from Memphis to Houston and now-obscure points in between, The Chitlin’ Circuit brings us into the sweaty back rooms where such stars as James Brown, B. B. King, and Little Richard got their start.

With his unforgettable portraits of unsung heroes including King Kolax, Sax Kari, and Clarence “Gatemouth” Brown, Lauterbach writes of a world of clubs and con men that has managed to avoid much examination despite its wealth of brash characters, intriguing plotlines, and vulgar glory, and gives us an excavation of an underground musical America. 34 black-and-white illustrations

http://www.amazon.com/Chitlin-Circuit-Road-Rock-Roll/dp/0393076520

Ray Charles Live In Concert to be Re-issued by Concord Music Group

22 Mar

In the half-century between his earliest recordings in the 1950s and his death in 2004, Ray Charles ascended to icon status by leaving his mark on virtually every form of American popular music that emerged in the latter half of the 20th century. Nowhere was this more evident than in his live performances, where one was likely to hear shades of blues, soul, R&B, jazz, gospel, country, and more in a single evening – indeed, sometimes in a single song. To put it simply, the Right Reverend did it all.

 All of these subtle shades and styles are evident in Concord Music Group’s reissue of Ray Charles Live in Concert. Originally released as a 12-song LP on ABC-Paramount in early 1965, Live in Concert captured Ray at the Shrine Auditorium in Los Angeles in September 1964. More than four decades later, the CD reissue brings additional depth and perspective to the 1964 recording with the help of 24-bit remastering, seven previously unreleased tracks and extensive new liner notes that provide additional historical context to what is already considered a pivotal recording in Ray’s overall body of work.

“There could be no more uplifting live musical experience than digging Ray Charles and his mighty orchestra in their prime,” says roots music historian Bill Dahl. Indeed, the 15-piece orchestra backing Ray on this date – assembled just a few years earlier in 1961 – boasted no less than a dozen horns, including formidable saxophonists David “Fathead” Newman, Hank Crawford, and Leroy “Hog” Cooper, all of whom had been with Ray since his days as a leader of smaller combos. “This amazing aggregation,” says Dahl, “was every bit as conversant with the intricacies of modern jazz as with the gospel-blues synthesis that Brother Ray pioneered during the mid-1950s, when he began accruing serious cred as the father of what would soon become known as soul music.”

Chris Clough, Concord’s manager of catalog development and producer of the Live in Concert reissue, notes that the Shrine Auditorium performance took place at a transitional moment in Ray’s career, just as he was transcending the confines of R&B and entering the mainstream by demonstrating a firm grasp of various other genres. “He’d made his ascendance in the early ’60s, and he had the world at his feet by this time,” says Clough. “He’d basically invented soul, he’d done R&B, he’d conquered country and he was on his way to becoming an American icon.”

In the span of 19 songs, Live in Concert illuminates the route to that destination. Ray wastes no time taking his audience on a ride from jazzy big band groove of “Swing a Little Taste” to the Latin-flavored “One Mint Julep” to the blues-gospel hybrid of his classic “I Got a Woman.” Although his live rendition of “Georgia On My Mind” on this date didn’t make the cut on the original LP, the song is a standout track on the reissue, thanks to his complex organ runs and the flute lines moving in counterpoint with his rich vocals.

Clough considers the yearning “You Don’t Know Me” and the previously unreleased “That Lucky Old Sun” to be among the high points of the recording. “It sounds like he’s really baring his soul on those two tracks, and they just sound incredible,” says Clough, noting that Ray was unaware that tape was rolling during this performance. “This particular date was at the end of their tour, and the performance seems a little loose as a result – in a good way, and in a less slick way.”

Further in, the rousing “Hallelujah, I Love Her So” is driven by a gospel groove and embellished with a sax solo by Newman that closely mirrors the original 1957 recording. The result is a familiar hit for an audience that’s more than ready to reinforce Ray’s foot-stomping beat with handclaps.

The sly and swaggering “Makin’ Whoopee” is delivered completely off the cuff, with drummer Wilbert Hogan, bassist Edgar Willis, and guitarist Sonny Forriest improvising an accompaniment behind what Dahl calls “Ray’s luxurious piano and breathy, supremely knowing vocals.” By all accounts, Ray spontaneously inserted the song into the set in response to the negative press he’d received overseas about his private life.

In the home stretch, Ray introduces the Raeletts, the female backing vocalists who served as his foil for some of his biggest hits. Together they work their way through “Don’t Set Me Free” (with Lillian Fort stepping forward for a duet with Ray), the comical “Two Ton Tessie” and the torchy “My Baby” before climaxing with the churning “What’d I Say,” a song tailor-made to stoke any room to a fever pitch.

A huge piece of the Ray Charles legacy is his mastery of any style he touched, and his ability to make it his own in a way that no other artist could – powers that can only come from an innate sense of adventure and spontaneity that are fully evident in Ray Charles Live in Concert.

“Few performers were less predictable onstage than Ray Charles,” says Dahl. “And nobody did it better.”

www.concordmusicgroup.com

Undiscovered Ray Charles Masters are Released by Concord Records

24 Sep

Concord Records is celebrating the 80th birthday of the legendary Ray Charles with a special gift for his legions of fans: Rare Genius: The Undiscovered Masters. This treasure trove of newly discovered recordings, highlighted by a duet with fellow icon Johnny Cash, will become available on October 26th, 2010.

Culled from four decades worth of demos and other previously unreleased material, Rare Genius showcases the remarkable artistic vision, stylistic range and emotionally rich vocals that crafted Charles enduring legacy. Listening to the ten gems from the ’70s, ’80s and ’90s that comprise this CD, fans will have no trouble envisioning the late singer rocking back and forth at the piano as he effortlessly segues between R&B/soul, pop, country and gospel. “Ray would always get inside the meaning of a lyric and make the listener believe every word,” says Concord Music Group Chief Creative Officer, John Burk. “His vocals carried incredible emotion and intensity, even on demo tapes. What we have here with Rare Genius is on par with some of his greatest works.”

And that’s crystal clear right from the album’s sparkling opener, “Love’s Gonna Bite You Back.” The March 1980 session track features an upbeat horn arrangement behind what Rare Genius liner notes author Bill Dahl calls “a Charles vocal that’s a signature mixture of sandpaper grit and heavenly goodness.” Up next is the stunning ballad “It Hurts to Be in Love,” which underscores the album’s main thematic focus and one of Charles’ favorite subjects: the ups and down of romance. Another compelling standout is the gospel-stirred Charles and Cash duet on Kris Kristofferson’s “Why Me, Lord?” Discovered in the Sony vaults, the song was produced by Billy Sherrill in Nashville and recorded in 1981 for an anticipated release on a CBS album. For unknown reasons, that didn’t come to pass. What’s more important, however, is the emotional charge you get listening to these two powerful voices come together in this spirited and inspired pairing.

Except for “Lord,” the nine other Rare Genius tracks including the soul-drenched “I Don’t Want No One But You,” a blues-infused cover of songwriter Hank Cochran’s country classic “A Little Bitty Tear” and the joyous “I’m Gonna Keep on Singin’” were found in the vault at Charles’ R.P.M. International Studios in Los Angeles. Adding a little sweetening to some of the sparse, stripped-down tracks was a team of top-notch musicians and artists: guitarists Keb’ Mo’ and George Doering, organist Bobby Sparks, trumpeter Gray Grant, trombonist Alan Kaplan, bassists Trey Henry and Chuck Berghofer, drummers Gregg Field and Ray Brinker and background vocalist Eric Benet.

As with its Concord predecessor, 2004′s Grammy-winning Album of the Year Genius Loves Company, Rare Genius: The Undiscovered Masters is another fitting tribute to Charles, who would have turned 80 on September 23, 2010. It’s a fresh, vibrant reaffirmation of the music icon’s unparalleled artistry and legacy.

http://www.concordmusicgroup.com/albums/Rare-Genius-The-Undiscovered-Masters/

Ray Charles’ “Genius + Soul = Jazz” Just Got Better

30 Mar

Ray Charles LP “Genius + Soul = Jazz” has been a mainstay in my personal wax collection for quite some time now. You might say it’s the missing link between the Count Basie Orchestra and Booker T. and the MGs. The recording features a face-melting horn section and a greasy down home feel that hints towards a Memphis vibe that had not yet been created.  Brother Ray’s groovy take on The Clovers’ “One Mint Julep” is alone worth the price of admission. The original CD release upped the anty by including the “My Kind of Jazz” LP, which carried on in a similar winning vein.

Now Concord Records new 2-CD expanded edition captures an amazing total of 37 tracks — and there’s not a clunker in the bunch!  The additional tracks come from the “Jazz Number II” and “My Kind of Jazz Part 3″ collections. Those final 17 songs (including bonus track “Misty”) spotlight Charles’ work as  a producer and the Basie influence is agan very evident. The arrangements swing and the shear power of the brass will blow you away. I didn’t think this CD collection could get any better, but it obviously has.  Buy it now and swing along with Ray.       

Ray Charles was best known for his work in the idioms of R&B, rock ‘n’ roll and even successful forays into country. But he also recorded influential jazz albums, including the groundbreaking Genius + Soul = Jazz originally released in 1961, and continuing into the ’70s with My Kind of Jazz, Jazz Number II and My Kind of Jazz Part 3. Concord Records will release a deluxe edition two-CD set featuring digitally remastered versions of all four albums including encyclopedic liner notes by Will Friedwald, jazz writer for The Wall Street Journal and author of several books on music and popular culture, along with original liner notes by Dick Katz and Quincy Jones.

Genius + Soul = Jazz was recorded at the Van Gelder Studios in Englewood Cliffs, NJ, in late 1960. The producer was Creed Taylor; arrangers, Quincy Jones and Ralph Burns. Ray Charles played the organ with three vocals (“I’ve Got News for You,” “I’m Gonna Move to the Outskirts of Town” and “One Mint Julep”) and band members included members of the Count Basie Orchestra: Thad Jones, Joe Newman, Billy Mitchell, Frank Wess, Freddie Green, and Sonny Payne among others. Issued originally on ABC Records’ legendary Impulse jazz label, the record ascended to the #4 spot on Billboard’s pop album chart, and spawned the very first singles on Impulse, heretofore an album label. “I’ve Got News for You,” rose to #8 R&B and #66 on the Hot 100. In addition, Charles’ version of “One Mint Julep” charted #1 R&B and #8 pop, and his rendition of the blues standard “I’m Gonna Move to the Outskirts of Town” reached #25 R&B and #84 pop.

As annotator Friedwald states, “Genius + Soul = Jazz . . . was a bold and innovative album, but, at the same time, a direct step forward from his earlier work.” Although Basie himself does not appear on the album, the Count was a major model as Charles assembled a full-scale, working orchestra. Basie also influenced his use of organ in a jazz context, and Charles was happy to record at the Van Gelder studio, where Jimmy Smith had recorded his classic Blue Note albums. Truly, as Dick Katz wrote in his original January 1961 liner notes, “The combination here of rare talent plus uncommon craftsmanship has produced a record that showcases the timeless quality and innate taste that is uniquely that of Ray Charles.”

Some nine years later, Charles recorded another jazz album, My Kind of Jazz. With sessions in Los Angeles this time, Charles surrounded himself with such players as Bobby Bryant and Blue Mitchell, trumpet; Glen Childress, trombone; Andy Ennis, Albert McQueen and Clifford Scott, saxophone; and Ben Martin, guitar. The album contained Charles’ own “Booty-Butt” (which was issued as a single on his own Tangerine label), Lee Morgan’s “Sidewinder,” and Horace Silver’s “Señor Blues.”

In his original liner notes to My Kind of Jazz, Quincy Jones wrote, “This album is the essence of what Ray used to tell us when we were kids: Be true to the soul of the material you’re dealing with.”

Jazz Number II was recorded roughly two years later at Charles’ Tangerine/RPM Studios and issued on Tangerine Records. Charles enlisted an impressive cast of arrangers: Alf Clausen, Teddy Edwards, Jimmy Heath and Roger Neumann. The tracks included Ray Charles and Roger Neumann’s “Our Suite,” Teddy Edwards’ “Brazilian Skies” and “Going Home,” Thad Jones’ “Kids Are Pretty People” and Jimmy Heath’s “Togetherness.”

Finally, My Kind of Jazz Part 3, which concludes the Genius + Soul = Jazz deluxe package, was recorded in Los Angeles circa 1975, featured the Ray Charles Orchestra including Clifford Solomon, alto sax; Glen Childress, trombone; Johnny Coles, trumpet; Leroy Cooper, baritone sax; and James Clay, tenor sax. Included are compositions by Duke Ellington, Horace Silver, Jimmy Heath and Benny Golson. Issued on Charles’ own Crossover Records, the album reached #55 on the R&B chart in 1976.

The reissue of Genius + Soul = Jazz continues Concord Music Group’s long-term reissuing of the Ray Charles catalog in cooperation with the Ray Charles Foundation. Among the other albums repackaged in the past year are Genius Hits the Road, Modern Sounds in Country and Western Music, Message From the People, plus the career compilation titled Genius.

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