June 23, 2003

BY DAVE HOEKSTRA Staff Reporter

[B]These days popular vocalists evoke a moment in the here and now. For many, Shania Twain's "Forever and for Always" will recall that hopeful summer of 2003. [\B]

But Ray Charles sounds like he's been somewhere.

Toward the end of a tight, hourlong set Friday night at Symphony Center, Charles delivered a desperate version of Don Gibson's country ballad "I Can't Stop Loving You." His rural Georgia phrasing took on deeper meaning as he stretched the line " ...live my life in dreams of yesterday... " through immaculate spacing. Then, in a period of silence he hit the highest key on his piano as if he were suddenly awake from that dream. That is singing from experience.

At age 72, Charles remains completely absorbed by his music. He smiled consistently throughout the night, nodding his head back and forth like a buoy on a blue lake. His feet kicked back and forth and his lithe fingers skated across the keyboard as if he were a kid again playing in his hillbilly bands in Florida.

Charles' charisma overshadows some of the strange moves (The Ray Charles Animatronic Doll, "Raisin' Ray") that might hinder other artists. No singer glides between musical styles as effortlessly as Charles. He treats the lyric with respect and the music with dignity.

Wearing a sequined lavender tuxedo, Charles began the evening in a country-western setting with the late Harlan Howard's "Busted," which Charles first heard on a Johnny Cash record. Charles followed that up with a vulnerable take of Hoagy Carmichael's "Georgia on My Mind," accented by playful hoots and hollers.

Charles' extended drawl on the country material reminded me of Leon Russell's Oklahoma wisp, which is why Russell's classic "A Song for You" has become a staple of Charles' set in recent years. (On a 1994 "Town Hall Meeting" on MTV, President Bill Clinton named Charles' version of "A Song for You" his favorite song.)

Charles' 17-piece orchestra (with 13 horns) had a chance to kick in halfway through the set for old-school rhythm and blues in "Hallelujah! I Love Her So" and even gospel-tinged vocals when the Raelettes--Charles' five-piece female backing group--took the stage.

Although Charles neglected slam dunks like "Hit the Road, Jack" and "Take These Chains From My Heart," the evening continued to build with a raucous version of "Smack Dab in the Middle," before Charles seemed to call an audible for the set closer. The Raelettes scrambled for five tambourines as the High Priest of Soul suddenly kicked into his 1959 smash "What'd I Say?"

I'd say we've been rewarded with the uniquely American journey of Ray Charles.

http://www.suntimes.com/output/ente...-ftr-ray23.html

The first time I heard "What'd I Say" on the radio when I was a kid, I knew I was going to like this guy. He is truly an amazing musician, let alone that he is blind although not until he was about 6 years old. Prior to that he had gotten a feel for the piano from his mom to get him started. Ray doesn't have a great voice, but like Shania, it's very distinctive so that you can tell right away who it is. "I Can't Stop Loving You" was a big hit for Don Gibson who wrote it back in the late 50s-early 60's. I have it on a 45rpm somewhere. Ray then brought it back with his own style and made it his own. I love both versions. Gibson's is more Country. I like "Take These Chains" and "Georgia On My Mind" is probably my favorite. The American Journey of Ray Charles has been a very special one for the Music Industry in general. Ray is one of my top 10 favorite artists. Thanks for the article Jud on one of the all-time greats of our time.

Steve

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