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1. Ray Charles Genius & Soul
2. Ray Charles Genius & Friends

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Artist description 'Charles, Ray' Ray Charles Ray Charles Losing Hand (Charles Calhoun) Atlantic 1037 Ray Charles had only recently joined the roster of Atlantic Records when he waxed the mournful blues Losing Hand on May 17, 1953 with a New York session crew consisting of saxists Dave McRae, Freddie Mitchell, and Pinky Williams, bassist Lloyd Trotman, drummer Connie Kay, and guitarist Mickey Baker, whose slippery chords cascade downward like thick, murky molasses. Brother Ray didn't use a guitarist on his subsequent Atlantic sides, making Baker's presence quite unusual (arranger Jesse Stone wrote the song under his alias of Charles Calhoun). Ray had yet to explode with his groundbreaking gospel/blues synthesis, although his impassioned vocal and two-fisted piano offered clues as to his immediate future. 'He still was being recorded in the conventional way, like you'd record almost any single singing artist,' said Ray's late co-producer, Jerry Wexler.

'We got the backing musicians, we got the arranger Jesse Stone, we rehearsed, and so on.' Born in Albany, Georgia on September 23, 1930 but raised in Greenville, Florida, Ray Charles Robinson lost his sight as a child but gained a love for music—blues, boogie-woogie, jazz, country—that was unshakable. He left the state school for the blind at 15, his piano skills already formidable, and somehow made his way cross-country from Jacksonville, Florida to Seattle. Jack Lauderdale of Swing Time/Down Beat Records brought Charles and his McSon Trio aboard in 1949. His first release was a hit and two more after that too, though his predilection for imitating Nat King Cole and Charles Brown hadn't been tamed yet.

Swing Time was experiencing financial difficulties in 1952, so Lauderdale peddled Charles' contract to Atlantic. There Ray would transform R&B with his daring gospel/blues synthesis on the smashes I've Got A Woman, Hallelujah I Love Her So, and What'd I Say (speaking of advancements in electric instrumentation, he played a Wurlitzer piano on the latter).

His sessions were like no other at Atlantic. 'They were exciting, edifying, thrilling,' said Wexler. 'We're talking about Ray Charles. There were no downers. I mean, there was never anything negative or worrying, because Ray Charles had the whole thing figured out from beginning to end.

And so, as would be the case with many other sessions, when there had to be some direction from us because we weren't going anywhere, or some changes to be made, that wasn't the case with Ray.' Of course, Ray's ceaseless musical experiments rendered him a superstar right up to his June 10, 2004 death. No wonder they called him a genius. Bill Dahl - Chicago, Illinois.

Ray Charles Genius & Soul

Atlantic/Rhino's 2005 is the end result of a project initiated a few months before his death in June 2004. According to 's liner notes, called in December of 2003, asking if he could find the masters to an unreleased duets record recorded in 1997 and 1998. Found the tapes, but was too sick to work on them, so after his passing - and after his final studio album, the duets record, became a number one hit in August of 2004 - Atlantic/Rhino decided to finish off the project, bringing in producer to oversee the completion of the album. This included bringing in singers to record their parts, since apart from two tracks - a 1994 duet with on 'Big Bad Love' and a live 1991 version of 'Busted' with (taken from the television special Ray Charles: 50 Years in Music) - these are all studio constructions, with vocalists duetting with a previously recorded. While not quite the monstrosity it could have been - posthumous duets albums like this always bear an unsettling ghoulish undertow - is also not a particularly good album either. This isn't because the pairings are ill conceived - apart from the woefully outmatched American Idol winner on 'Imagine' (which boasts perhaps 's best vocal performance on this record), there's nobody here who doesn't hold his or her own, and has skillfully edited the new recordings with the existing tapes so it sounds like they were recorded at the same time, even if it rarely sounds as if the vocalists were in the same room together.

Ray Charles Genius & Friends

Rather, the problem is that the productions are caught halfway between '90s adult contemporary and modern neo-soul, sounding too slick and polished to really be memorable. It's pleasant enough - and it's top-loaded, too, with the duets with, and being among the best cuts - but it's not as relaxed or appealing as, which had the feeling of being a real duets album. This feels like what it is - a professional studio creation. Not a terrible thing per se, but not something that makes for a good album, either.