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Ray Charles
Genius Love Company
Concord Records/Hear Music
Concord Records/Hear Music
CCD-2248-2
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“I’ve recorded with so many amazing artists in my career, but never on a duets album all my own. I thought it was time to have some of the friends that I love and the artists that I admire come into my studio and sing with me live.”
- Ray Charles
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1) Here We Go Again
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“I’ve recorded with so many amazing artists in my career, but never on a duets album all my own. I thought it was time to have some of the friends that I love and the artists that I admire come into my studio and sing with me live.”
- Ray Charles
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1) Here We Go Again
with Norah Jones
(Russell Stegall & Don Lanier)
Dirk Music (BMI)
This is a notable, cross-generational duet of sorts with Ray and Norah proving to be perfectly suited to each other. Norah plays piano and Ray lays down some keyboard work himself in this elegant song that features beautiful harmonizing. Norah lists Ray as an early influence on her work (her mother often played his records), and by turns, Ray was suitably impressed by Jones’ talents. It’s a rich synthesis where at one point Norah’s soaring voice is seamlessly met by Ray’s almost giving the impression that she has simply dropped her vocals to a lower register, but actually it’s Ray’s voice picking up where the phrase left off. Tantalizing brilliance. The song was originally found on the 1967 Charles album, Listen.
“I just love everything about Ray Charles. He could sing any song, and it sounds like Ray Charles and it sounds amazing. There’s nothing I could say to do him justice. I love him so much. He was as big an influence on me as you can get. I couldn’t believe that I got to sing with him. It was such an honor.” - Norah Jones
PRODUCED BY: John Burk
This is a notable, cross-generational duet of sorts with Ray and Norah proving to be perfectly suited to each other. Norah plays piano and Ray lays down some keyboard work himself in this elegant song that features beautiful harmonizing. Norah lists Ray as an early influence on her work (her mother often played his records), and by turns, Ray was suitably impressed by Jones’ talents. It’s a rich synthesis where at one point Norah’s soaring voice is seamlessly met by Ray’s almost giving the impression that she has simply dropped her vocals to a lower register, but actually it’s Ray’s voice picking up where the phrase left off. Tantalizing brilliance. The song was originally found on the 1967 Charles album, Listen.
“I just love everything about Ray Charles. He could sing any song, and it sounds like Ray Charles and it sounds amazing. There’s nothing I could say to do him justice. I love him so much. He was as big an influence on me as you can get. I couldn’t believe that I got to sing with him. It was such an honor.” - Norah Jones
PRODUCED BY: John Burk
RECORDED BY: Terry Howard
PROTOOLS ENGINEER: Seth Presant
ASSISTANT ENGINEERS: Ken Desantis and Bill Kaylor
ADDITIONAL ENGINEERING: Mark Fleming
RECORDED AT: RPM International Studio, Los Angeles, California
MIXED BY: Al Schmitt at Capitol Studios
ASSISTED BY: Steve Genewick
MASTERED BY: Doug Sax and Robert Hadley at The Mastering Lab
KEYBOARDS: Ray Charles
PIANO: Norah Jones
HAMMOND B3: Billy Preston
GUITAR: Irv Kramer
BASS: Tom Fowler
DRUMS: Ray Brinker
Norah Jones appears courtesy of Blue Note Records.
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2) Sweet Potato Pie
Norah Jones appears courtesy of Blue Note Records.
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2) Sweet Potato Pie
with James Taylor
(James Taylor)
Country Road Music, Inc (ASCAP)
Bassist Tom Fowler’s brother, Walt, who plays in James Taylor’s road band, actually had a hand in helping to hook up this collaboration. JT once said that out of his five all-time favorite artists, the top three are Ray. Using an enticing Randy Waldman chart, the two artists tackle the tune to jazzy blues-rich horns and tantalizing guitar play. In duet form, Taylor seems perfectly at home with the vocals of Charles, and you can also hear the influence on this Taylor original from 1988’s Never Die Young.
“Ray Charles opened my eyes. I couldn’t believe human beings could make such soulful, joyous noise. Turns out they can’t...only just Ray. I didn’t really meet him until the end, but what an honor to have been there. I guess he gave us all he had.” - James Taylor
PRODUCED BY: John Burk, Terry Howard and Herbert Waltl
Bassist Tom Fowler’s brother, Walt, who plays in James Taylor’s road band, actually had a hand in helping to hook up this collaboration. JT once said that out of his five all-time favorite artists, the top three are Ray. Using an enticing Randy Waldman chart, the two artists tackle the tune to jazzy blues-rich horns and tantalizing guitar play. In duet form, Taylor seems perfectly at home with the vocals of Charles, and you can also hear the influence on this Taylor original from 1988’s Never Die Young.
“Ray Charles opened my eyes. I couldn’t believe human beings could make such soulful, joyous noise. Turns out they can’t...only just Ray. I didn’t really meet him until the end, but what an honor to have been there. I guess he gave us all he had.” - James Taylor
PRODUCED BY: John Burk, Terry Howard and Herbert Waltl
RECORDED BY: Terry Howard
PROTOOLS ENGINEER: Seth Presant
ASSISTANT ENGINEERS: Ken Desantis and Bill Kaylor
ADDITIONAL ENGINEERING: Mark Fleming
RECORDED AT: RPM International Studio, Los Angeles, California
MIXED BY: Al Schmitt at Capitol Studios
ASSISTED BY: Steve Genewick
MASTERED BY: Doug Sax and Robert Hadley at The Mastering Lab
GUITAR: Michael Landau
GUITAR: Irv Kramer,
KEYBOARDS: Randy Waldman
BASS: Tom Fowler
DRUMS: Ray Brinker
TRUMPET: Charlie Davis
TRUMPET: Walt Fowler
SAXOPHONE: David Boruff
BARITONE SAXOPHONE: Brandon Fields
SAXOPHONE: Bob Shepard
TROMBONE: Bruce Fowler
TROMBONE: Bob McChesney
ARRANGED BY: Randy Waldman
COPYIST: Brian Benison
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3) You Don’t Know Me
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3) You Don’t Know Me
with Diana Krall
(Eddy Arnold & Cindy Walker)
Mijack Music adm. by Warner Tamerlane Music Publishing (BMI)
Phil Ramone produced this gem (along with the Bonnie Raitt and Natalie Cole tunes - three songs in three days, all solid gold), but it’s Diana’s and Ray’s voices that provide the real transportation on this definitive cover of Eddy Arnold’s country & western nugget. Diana’s rich, throaty delivery is the perfect foil for Ray in his tempestuous tune of sultry mood, a highlight in Ray’s wide-ranging catalog of songs oft dealing with heartbreak and loneliness. Originally a treat from Ray’s 1962 classic album, Modern Sounds In Country & Western Music, it’s a gentle duet that shows how much they get each other’s gig.
“It was such a pleasure to have Ray Charles ask me to sing one line in this song just the way he heard it, with feeling, with humor and just a little bit naughty.” - Diana Krall
PRODUCED BY: Phil Ramone
Phil Ramone produced this gem (along with the Bonnie Raitt and Natalie Cole tunes - three songs in three days, all solid gold), but it’s Diana’s and Ray’s voices that provide the real transportation on this definitive cover of Eddy Arnold’s country & western nugget. Diana’s rich, throaty delivery is the perfect foil for Ray in his tempestuous tune of sultry mood, a highlight in Ray’s wide-ranging catalog of songs oft dealing with heartbreak and loneliness. Originally a treat from Ray’s 1962 classic album, Modern Sounds In Country & Western Music, it’s a gentle duet that shows how much they get each other’s gig.
“It was such a pleasure to have Ray Charles ask me to sing one line in this song just the way he heard it, with feeling, with humor and just a little bit naughty.” - Diana Krall
PRODUCED BY: Phil Ramone
RECORDED BY: Ed Thacker
STRINGS RECORDED BY: Al Schmitt
PROTOOLS ENGINEER: Seth Presant
ASSISTANT ENGINEERS: Ken Desantis, Andrew Felluss, Steve Genewick and Bill Kaylor
RECORDED AT: RPM International Studios, Los Angeles, California, Capitol Studios, Hollywood, California
MIXED BY: Al Schmitt at Capitol Studios
ASSISTED BY: Steve Genewick
MASTERED BY: Doug Sax and Robert Hadley at The Mastering Lab
KEYBOARDS: Ray Charles
GUITAR: George Doering
GUITAR: Irv Kramer
PIANO & KEYBOARDS: Randy Waldman
BASS: Tom Fowler
DRUMS: Raymond Brinker
RHYTHM ARRANGED BY: Randy Waldman
STRINGS ARRANGED BY: David Blumberg
CONTRACTOR: Joe Soldo
CONCERTMASTER: Assa Droi
COPYIST: Ken Gruberman
VIOLINS: Berj Garabedian, Ron Clark, Brian Benning, Daphne Chen, Johana Krejci, Songa Lee-Kitto, Margaret Wooten, North Wood, David Stenske, Dynell Weber, Ronald Folsom, Julie Rogers, Raymond Kobler, Jennifer Munday, Irina Voloshina, Jennifer Walton and Kirstin Fife
VIOLAS: Ray Tischer, David Walther, Miguel Ferguson, Andrew Picken, Shawn Mann and Suzanna Giordano
CELLOS: Timothy Landauer, Trevor Handy, John Krovoza and Stephanie Fife
Diana Krall appears courtesy of The Verve Music Group.
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4) Sorry Seems To Be The Hardest Word
Diana Krall appears courtesy of The Verve Music Group.
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4) Sorry Seems To Be The Hardest Word
with Elton John
(Elton John & Bernie Taupin)
Happenstance Limited (ASCAP) & Rouge Booze, Inc. (ASCAP)
After some scrambling to synchronize schedules, the proposed duet with Elton John became a “go”. With a striking chart from Victor Vanacore and lush production, this song begins with a dramatic string intro before sliding into a smoldering delivery from the duo. As the last session of the project, it turned out to be a moving experience for all involved and it shows in the work of these two musical icons. Considering the fine backing band, a full string section and the pop/rock flair of John, it is indeed intense. The Elton John/Bernie Taupin hit originally comes from the 1976 album Blue Moves, with particularly personal lyrical input from John.
“When people mention Ray Charles, i just smile. That grin, that voice, his music is so joyous. For this recording, we did one of my songs, ‘Sorry Seems To Be The Hardest Word’, which he had sung at a concert last year. That blew me away that Ray Charles was on stage singing one of my songs. It was amazing to sit in the studio and sing with him. It’s so incredibly impressive to be with someone to whom music had meant so much. He had an enormous effect on my career. Anything he put out, I bought. He has one of the greatest voices of all time. So, it was a very emotional experience.” - Elton John
PRODUCED BY: Phil Ramone
After some scrambling to synchronize schedules, the proposed duet with Elton John became a “go”. With a striking chart from Victor Vanacore and lush production, this song begins with a dramatic string intro before sliding into a smoldering delivery from the duo. As the last session of the project, it turned out to be a moving experience for all involved and it shows in the work of these two musical icons. Considering the fine backing band, a full string section and the pop/rock flair of John, it is indeed intense. The Elton John/Bernie Taupin hit originally comes from the 1976 album Blue Moves, with particularly personal lyrical input from John.
“When people mention Ray Charles, i just smile. That grin, that voice, his music is so joyous. For this recording, we did one of my songs, ‘Sorry Seems To Be The Hardest Word’, which he had sung at a concert last year. That blew me away that Ray Charles was on stage singing one of my songs. It was amazing to sit in the studio and sing with him. It’s so incredibly impressive to be with someone to whom music had meant so much. He had an enormous effect on my career. Anything he put out, I bought. He has one of the greatest voices of all time. So, it was a very emotional experience.” - Elton John
PRODUCED BY: Phil Ramone
RECORDED BY: Joel Moss
PROTOOLS ENGINEER: Seth Presant
ASSISTANT ENGINEERS: Jamie Sickora, Keith Gretlein and Mike Eleopoulos
DIGITAL EDITING: Steve Deutsch
RECORDED AT: Henson Studios and The Record Plant, Hollywood, California
MIXED BY: Al Schmitt at Capitol Studios
ASSISTED BY: Steve Genewick
MASTERED BY: Doug Sax and Robert Hadley at The Mastering Lab
GUITAR: Michael Thompson
PIANO: Alan Pasqua
BASS: Tom Fowler
DRUMS: John Robinson
ARRANGED BY: Victor Vanacore
SCORE ADVISOR: David Vanacore
CONTRACTOR: Mike Vaccaro
CONCERTMASTER: Robert Peterson
COPYIST: Joe McGuire,
VIOLINS: Nick Grant, Amy Wickman-Guerra, Dennis Molchan, Todor Pelev, Kathleen Robertson, Alan Ellsworth, Igor Pandurski, Zheng Wang, Xiao Niu He, Gerry Hilera, Edmund Stein, Paul Manaster, Reginald Clews, Sai Ly Acosta and Alicia Engley
VIOLAS: Maria Newman, Ed Persi, Sam Formicola and Carolyn Riley
CELLOS: Steve Richards, Rudolph Stein, Yao Zhao and John Acosta
Elton John appears courtesy of Mercury Records Limited.
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5) Fever
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5) Fever
with Natalie Cole
(Eddie Cooley & John Davenport)
Ft. Knox Music (BMI) & Trio Music Co. (BMI)
Natalie and Ray infuse this bluesy, strutting piece, written by the incomparable R&B vocalist Little Willie John, with resolute passion. Ray evokes a smooth vibe but imbues it with his own soulful stamp, and Cole almost seems to channel Billie Holiday in this sweltering swinger. Witness two greats in a funky soul jazz synthesis, workin’ the vein that Peggy Lee once made famous.
“I have grown up with Ray Charles’ music and I have always thought of him as the quintessential Soul Man - the flip side of Nat King Cole, if you will. Ray is a musical genius on piano and in voice. The consistency and substance of his work and his career is something for any musical artist to aspire to. His arrangements are always rich, soulful, but elegant, and he knows how to have fun. I am proud to have worked with him on this endeavor.” - Natalie Cole
PRODUCED BY: Phil Ramone
Natalie and Ray infuse this bluesy, strutting piece, written by the incomparable R&B vocalist Little Willie John, with resolute passion. Ray evokes a smooth vibe but imbues it with his own soulful stamp, and Cole almost seems to channel Billie Holiday in this sweltering swinger. Witness two greats in a funky soul jazz synthesis, workin’ the vein that Peggy Lee once made famous.
“I have grown up with Ray Charles’ music and I have always thought of him as the quintessential Soul Man - the flip side of Nat King Cole, if you will. Ray is a musical genius on piano and in voice. The consistency and substance of his work and his career is something for any musical artist to aspire to. His arrangements are always rich, soulful, but elegant, and he knows how to have fun. I am proud to have worked with him on this endeavor.” - Natalie Cole
PRODUCED BY: Phil Ramone
CO-PRODUCED BY: Don Mizell
RECORDED BY: Ed Thacker, Pete Karam and Terry Howard
PROTOOLS ENGINEER: Seth Presant
ASSISTANT ENGINEERS: Ken Desantis, Andrew Felluss, Bill Kaylor and Jay Spears
RECORDED AT: RPM International Studio, Los Angeles, California, Right Track Recording, New York, New York
MIXED BY: Al Schmitt at Capitol Studios
ASSISTED BY: Steve Genewick
MASTERED BY: Doug Sax and Robert Hadley at The Mastering Lab
KEYBOARDS: Randy Waldman
GUITAR: George Doering
GUITAR: Irv Kramer
BASS: Tom Fowler
DRUMS: Ray Brinker
ARRANGED BY: Randy Waldman
COPYIST: Brian Bension
VIOLINS: Nick Grant, Amy Wickman-Guerra, Dennis Molchan, Todor Pelev, Kathleen Robertson, Alan Ellsworth, Igor Pandurski, Zheng Wang, Xiao Niu He, Gerry Hilera, Edmund Stein, Paul Manaster, Reginald Clews, Sai Ly Acosta and Alicia Engley
VIOLAS: Maria Newman, Ed Persi, Sam Formicola and Carolyn Riley
CELLOS: Steve Richards, Rudolph Stein, Yao Zhao and John Acosta
Natalie Cole appears courtesy of The Verve Music Group.
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6) Do I Ever Cross Your Mind?
Natalie Cole appears courtesy of The Verve Music Group.
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6) Do I Ever Cross Your Mind?
with Bonnie Raitt
(Billy Burnette & Michael Smotherman)
Chrysalis Music/Dorsey Music & EMI April Music (ASCAP)
Both Ray and Bonnie Raitt are big fans of each other’s music and this session was their first-ever meeting. Together on this country/blues track they prove that they are decidedly “kindred spirits.” “Do I Ever Cross Your Mind?” has a very bluesy feel, playing to their strengths, with their vocals a perfect complement, whether solo or harmonizing, with Bonnie playing some particularly wicked slide guitar as well. This is a flawless collaboration, and true to the original, which can be found on Charles’ massive Complete Country & Western Recordings 1959-1986 box set.
“I’ve been a devoted fan of Ray’s since I first heard him as a kid. A family friend gave me a box of all his albums when I was about 12 and he’s been a huge influence on my music. ‘Do I Ever Cross Your Mind’ was one of my favorites from his Country/Western albums, and I think singing it as a duet makes it even more powerful. Getting to record with Ray has been a lifelong dream and being part of this project has a been one of the proudest and most moving moments in my life.” - Bonnie Raitt
PRODUCED BY: Phil Ramone
Both Ray and Bonnie Raitt are big fans of each other’s music and this session was their first-ever meeting. Together on this country/blues track they prove that they are decidedly “kindred spirits.” “Do I Ever Cross Your Mind?” has a very bluesy feel, playing to their strengths, with their vocals a perfect complement, whether solo or harmonizing, with Bonnie playing some particularly wicked slide guitar as well. This is a flawless collaboration, and true to the original, which can be found on Charles’ massive Complete Country & Western Recordings 1959-1986 box set.
“I’ve been a devoted fan of Ray’s since I first heard him as a kid. A family friend gave me a box of all his albums when I was about 12 and he’s been a huge influence on my music. ‘Do I Ever Cross Your Mind’ was one of my favorites from his Country/Western albums, and I think singing it as a duet makes it even more powerful. Getting to record with Ray has been a lifelong dream and being part of this project has a been one of the proudest and most moving moments in my life.” - Bonnie Raitt
PRODUCED BY: Phil Ramone
RECORDED BY: Ed Thacker
PROTOOLS ENGINEER: Seth Presant
ASSISTANT ENGINEERS: Ken Desantis, Andrew Felluss and Bill Kaylor
RECORDED AT: RPM International Studio, Los Angeles, California
MIXED BY: Al Schmitt at Capitol Studios
ASSISTED BY: Steve Genewick
MASTERED BY: Doug Sax and Robert Hadley at The Mastering Lab
KEYBOARDS: Ray Charles
SLIDE GUITAR: Bonnie Raitt
GUITAR: George Marinelli
PIANO: Randy Waldman
BASS: Tom Fowler
DRUMS: Ray Brinker
ARRANGED BY: Randy Waldman
COPYIST: Brian Benison
Bonnie Raitt appears courtesy of Capitol Records.
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Bonnie Raitt appears courtesy of Capitol Records.
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7) It Was A Very Good Year
with Willie Nelson
(Ervin Drake)
Lindabet Music, Inc. (ASCAP)
Willie and Ray are the best of friends and on this riveting rendition of the standard, they demonstrate that they share a like-minded approach and complementary styles. Recorded during two days of orchestral sessions, “It Was A Very Good Year” suitably opens with a huge string intro in line with Sinatra’s Reprise years and its host of famous arrangers. Victor Vanacore offers up some stellar new charts. What a joy to hear Willie’s vintage vocals ahead of the soaring strings and the orchestra embellishment, before Ray chimes in with a palpably heartfelt delivery. It’s gut-wrenchingly apparent that these two legends realize the weight of their words and whereas it was once one of Sinatra’s finest recorded moments, it’s now one of Willie and Ray’s.
“A lot of folks want to pay tribute to Ray Charles, and I’m glad a lot of us are getting the opportunity to do that. Ray and I are very good friends and there’s no one any better, as far as I am concerned, at what we do. Recording with Ray was an extraordinary experience. Who would have thought that guys like us would still be out there recording and doing stuff? That’s what makes it special.” - Willie Nelson
PRODUCED BY: John Burk, Terry Howard and Herbert Waltl
Willie and Ray are the best of friends and on this riveting rendition of the standard, they demonstrate that they share a like-minded approach and complementary styles. Recorded during two days of orchestral sessions, “It Was A Very Good Year” suitably opens with a huge string intro in line with Sinatra’s Reprise years and its host of famous arrangers. Victor Vanacore offers up some stellar new charts. What a joy to hear Willie’s vintage vocals ahead of the soaring strings and the orchestra embellishment, before Ray chimes in with a palpably heartfelt delivery. It’s gut-wrenchingly apparent that these two legends realize the weight of their words and whereas it was once one of Sinatra’s finest recorded moments, it’s now one of Willie and Ray’s.
“A lot of folks want to pay tribute to Ray Charles, and I’m glad a lot of us are getting the opportunity to do that. Ray and I are very good friends and there’s no one any better, as far as I am concerned, at what we do. Recording with Ray was an extraordinary experience. Who would have thought that guys like us would still be out there recording and doing stuff? That’s what makes it special.” - Willie Nelson
PRODUCED BY: John Burk, Terry Howard and Herbert Waltl
RECORDED BY: Robert Fernandez
PROTOOLS ENGINEER: Seth Presant
ASSISTANT ENGINEER: Gregg Dennen
ADDITIONAL ENGINEERING: Mark Fleming
RECORDED AT: The Eastwood Scoring Stage, Warner Brothers Studios, Burbank, California
MIXED BY: Al Schmitt at Capitol Studios
ASSISTED BY: Steve Genewick
MASTERED BY: Doug Sax and Robert Hadley at The Mastering Lab
GUITAR: Willie Nelson
PIANO: Randy Waldman
GUITAR: Irv Kramer
BASS: Tom Fowler
DRUMS: Ray Brinker
ARRANGED BY: Victor Vanacore
SCORE ADVISOR: David Vanacore
CONTRACTOR: Mike Vaccaro
CONCERTMASTER: Robert Peterson
COPYIST: Joe McGuir
VIOLINS: Charles Everett, Franklyn D’Antonio, Kenneth Yerke, Mike Markman, Dennis Molchan, Michelle Richards, Antoli Rosinsky, Joel Derouin, Todor Pelev, Kathleen Robertson, Alan Ellsworth, Igor Pandurski, Zheng Wang, Xiao Niu He, Gerry Hilera, Edmund Stein, Yaroslav Kettner, Paul Manaster, Reginald Clews, Robert Matsuda, David Kilbride, Horia Moroaica, Armen Garabedian, Tricia Lee, Vladimir Polimatidi, Alwyn Wright, Berg Garabedian, Leslie Brown Katz and Nancy Roth, VIOLAS: Maria Newman, Shanti Randall, David Stenske, John Acevedo, Ed Persi, Robert Berg, Briana Brandy, Carolyn Riley, Sam Formicola and Raymond Tischer
CELLOS: Armen Ksajikian, Steve Richards, John Acosta, Yao Zhao, Rudolph Stein, Kevan Toreh, Suzie Katayama and Martha Lippi
CONTRABASSES: Trey Henry Dave Stone, Tim Christensen, Karl Vincent, Richard Shaw and Kenneth Wild
HARP: Eleanore Choate
FRENCH HORNS: Richard Todd, Patricia Skye, Joe Meyer and Kurt Snyder
PERCUSSION: Mark Converse and Wallace Snow
TIMPANI: Scott Higgins
FLUTES: Stephen Kujala and Greg Huckings
OBOE: Leanne Becknell
ENGLISH HORN: John Stone
CLARINETS: Don Markese and Charles Boito
BASSOONS: Dave Riddles and John Mitchell
Willie Nelson appears courtesy of Mercury Records, a division of UMG Recordings, Inc., dba Lost Highway Records
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8) Hey Girl
Willie Nelson appears courtesy of Mercury Records, a division of UMG Recordings, Inc., dba Lost Highway Records
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8) Hey Girl
with Michael McDonald
(Gerald Goffin & Carole King)
Screen Gems-EMI Music (BMI)
This innovative rendition of Goffin and King’s “Hey Girl” plays like a revisitation to that era of glorious ‘60s pop, with all the strings und drang of the original. Ray pleasingly reaches the upper echelon of his range which Michael’s version of “Hey Girl” and it shows in his playful approach to it. This song was also part of the two days of sessions with the full orchestra and Victor Vanacore’s arranging. A previous hit for the likes of Bobby Vee and Freddie Scott, this affectionate reworking is further pop perfection.
“To be singing with Ray Charles, two feet away from him live with an orchestra was pretty unbelievable. ‘Hey Girl’ is the ingredient that makes the moment even more special to me because I know how much Ray loves that song.” - Michael McDonald
PRODUCED BY: John Burk, Terry Howard and Herbert Waltl
This innovative rendition of Goffin and King’s “Hey Girl” plays like a revisitation to that era of glorious ‘60s pop, with all the strings und drang of the original. Ray pleasingly reaches the upper echelon of his range which Michael’s version of “Hey Girl” and it shows in his playful approach to it. This song was also part of the two days of sessions with the full orchestra and Victor Vanacore’s arranging. A previous hit for the likes of Bobby Vee and Freddie Scott, this affectionate reworking is further pop perfection.
“To be singing with Ray Charles, two feet away from him live with an orchestra was pretty unbelievable. ‘Hey Girl’ is the ingredient that makes the moment even more special to me because I know how much Ray loves that song.” - Michael McDonald
PRODUCED BY: John Burk, Terry Howard and Herbert Waltl
RECORDED BY: Robert Fernandez
PROTOOLS ENGINEER: Seth Presant
ASSISTANT ENGINEER: Gregg Dennen
RECORDED AT: The Eastwood Scoring Stage, Warner Brothers Studios, Burbank, California
MIXED BY: Al Schmitt at Capitol Studios
ASSISTED BY: Steve Genewick
MASTERED BY: Doug Sax and Robert Hadley at The Mastering Lab
KEYBOARDS: Michael McDonald
PIANO: Randy Waldman
GUITAR: Irv Kramer
BASS: Tom Fowler
BASS: Trey Henry
DRUMS: Ray Brinker
ARRANGED BY: Victor Vanacore
SCORE ADVISOR: David Vanacore
CONTRACTOR: Mike Vaccaro
CONCERTMASTER: Robert Peterson
COPYIST: Joe McGuire
VIOLINS: Charles Everett, Vladimir Polimatidi, Kenneth Yerke, Edith Markman, Dennis Molchan, Alan Ellsworth, Michelle, Richards, Anatoli Rosinsky, David Kilbride, Todor Pelev, Kathleen Robertson, Paul Manaster, Reginald Clews, Zheng Wang, Xio Niu He, Gerry Hilera, Edmund Stein, Yaroslav Kettner and Robert Matsuda
VIOLAS: Raymond Tischer, Sam Formicola, John Acevedo, Ed Persi, Robert Berg, Briana Bandy and David Stenske
CELLOS: Armen Ksajikian, Steve Richards, John Acosta, Yao Zhao, Rudolph Stein and Larry Corbett
CONTRABASSES: Trey Henry, Dave Stone, Kenneth Scharf, Wayne Bergeron, Dennis Farias, Larry Hall and Rick Baptist
TROMBONES: Andrew Martin, Alex Isles, Charlie Morillas and Robert Sanders
FRENCH HORNS: Phil Yao, Suzette Moriarty and Kurt Snyder
FLUTES: Stephen Kujala and Greg Huckins
OBOES: Leanne Becknell and Joseph Stone
CLARINETS: Don Markese and Charles Boito
BASSOONS: Dave Riddles and John Mitchell
Michael McDonald appears courtesy of Universal International Music B.V.
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9) Sinner’s Prayer
Michael McDonald appears courtesy of Universal International Music B.V.
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9) Sinner’s Prayer
with B.B. King
(Lowell Fulson & Lloyd C. Glenn)
Unichappell Music, Inc. (BMI)
Ray and his close friend B.B. King hadn’t gone head-to-head in decades before they tackled “Sinner’s Prayer,” which finds them jumping full force into the fray on this extremely bluesy cut. It’s a jam-oriented session that recalls Ray’s early piano work. This session obviously sounds like they’re having fun playing together; sinking their masterful chops into this classic track, penned by blues guitarist Lowell Fulson.
“Brother Ray is so good. It was great to have the opportunity to work with longtime friends like him and Billy Preston. We were a sight; three old-timers burning through this historic blues track. I cannot express how much it meant to me to sing alongside Ray on one of his hits from his early career.” - B.B. King
PRODUCED BY: John Burke
Ray and his close friend B.B. King hadn’t gone head-to-head in decades before they tackled “Sinner’s Prayer,” which finds them jumping full force into the fray on this extremely bluesy cut. It’s a jam-oriented session that recalls Ray’s early piano work. This session obviously sounds like they’re having fun playing together; sinking their masterful chops into this classic track, penned by blues guitarist Lowell Fulson.
“Brother Ray is so good. It was great to have the opportunity to work with longtime friends like him and Billy Preston. We were a sight; three old-timers burning through this historic blues track. I cannot express how much it meant to me to sing alongside Ray on one of his hits from his early career.” - B.B. King
PRODUCED BY: John Burke
RECORDED BY: Terry Howard
PROTOOLS ENGINEER: Seth Presant
ASSISTANT ENGINEER: Darrell Thorp
RECORDED AT: Ocean Way Studios, Hollywood, California
MIXED BY: Al Schmitt at Capitol Studios
ASSISTED BY: Steve Genewick
MASTERED BY: Doug Sax and Robert Hadley at The Mastering Lab
PIANO: Ray Charles
GUITAR: B.B. King
HAMMOND B3: Billy Preston
RHYTHM GUITAR: Irv Kramer
BASS: Tom Fowler
DRUMS: Jim Keltner
B.B. King appears courtesy of MCA Records.
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10) Heaven Help Us All
B.B. King appears courtesy of MCA Records.
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10) Heaven Help Us All
with Gladys Knight
(Ronald Miller)
Stone Diamond Music Corp. (BMI)
Upon deciding to collaborate, Ray and Gladys were determined to choose something inspirational, so they landed upon this classic gospel gem, built around the basic footprint of Ray’s original recording. It’s a tune popularized by Stevie Wonder, but in their hands it becomes even more special with a hands-on gospel approach, a full choir, and an intro of jazz-influenced horns that launch into a exuberant, groovy feel. After Ray takes the lead (notably doing his part in one take), Gladys takes over and brings her unique style to the transcendent piece.
“When recording or performing with Ray I always knew I was in the presence of greatness. A true legend in his time and mine; it is always an honor to work with him. I grew up with watching and learning so much from Ray. I am so blessed to have had a mentor such as him to teach me such great things about life and our industry.” - Gladys Knight
PRODUCED BY: John Burk
Upon deciding to collaborate, Ray and Gladys were determined to choose something inspirational, so they landed upon this classic gospel gem, built around the basic footprint of Ray’s original recording. It’s a tune popularized by Stevie Wonder, but in their hands it becomes even more special with a hands-on gospel approach, a full choir, and an intro of jazz-influenced horns that launch into a exuberant, groovy feel. After Ray takes the lead (notably doing his part in one take), Gladys takes over and brings her unique style to the transcendent piece.
“When recording or performing with Ray I always knew I was in the presence of greatness. A true legend in his time and mine; it is always an honor to work with him. I grew up with watching and learning so much from Ray. I am so blessed to have had a mentor such as him to teach me such great things about life and our industry.” - Gladys Knight
PRODUCED BY: John Burk
RECORDED BY: Terry Howard and Al Schmitt
PROTOOLS ENGINEER: Seth Presant
ASSISTANT ENGINEERS: Ken Desantis, Steve Genewick, and Bill Kaylor
DIGITAL EDITING: Steve Deutsch
RECORDED AT: RPM International Studios, Los Angeles, California Capitol Studios, Hollywood, California
MIXED BY: Al Schmitt at Capitol Studios
ASSISTED BY: Steve Genewick
MASTERED BY: Doug Sax and Robert Hadley at The Mastering Lab
GUITAR: Charles Fearing
GUITAR: Danny Jacob
HAMMOND B3: Billy Preston
PIANO: Clarence McDonald
BASS: Abraham Laboriel, Sr.
DRUMS: James Gadson
TRUMPET: Wayne Bergeron
TRUMPET: Gary Grant
SAXOPHONE: Dave Boruff
SAXOPHONE: Brandon Fields
SAXOPHONE: Tom Saviano
TROMBONE: Bob McChesney
CHOIR: Fred Martin and the Levite Camp: James Burney, De’Ante Duckett, Irene Madison, Alethea Mills, Chavonne Morris, Sheven Morris, Aminah Ofumbi, Loren Turner, Clarissa Watkins with Rosemary Butler, Clydene Jackson Edwards, Janey Clewer Gaitsch, Terry Woods, Kevin Dorsey, James Gilstrap, Darryl Phinnessee and John West
ARRANGED BY: Randy Waldman, David Blumberg and Clarence McDonald
COPYIST: Ken Gruberman
Gladys Knight appears courtesy of Geffen Records, a division of UMG Recordings, Inc. and Many Roads Records
_________________________________________________________
11) Over the Rainbow
Gladys Knight appears courtesy of Geffen Records, a division of UMG Recordings, Inc. and Many Roads Records
_________________________________________________________
11) Over the Rainbow
with Johnny Mathis
(Harold Arlen & E.Y. Harburg)
EMI Feist Catalog, Inc. (ASCAP)
The Judy Garland popularization of this standard is evoked on this poignant rendition, given the touch of Victor Vanacore’s arranging. The celebrated vocalist Johnny Mathis refurbishes it with vocal gusto and Ray weighs in with great emotion as only he can, together assuring that “Over The Rainbow” retains that special quality that Tin Pan Alley tunesmith Harold Arlen and lyricist E.Y. “Yip” Harburg intended for it.
“I was so nervous to be in the same studio as Ray Charles. He is not just an ordinary singer, musician or icon. He’s the best of the best. ‘Over The Rainbow’ is such a wonderful song, and it suited us both so perfectly. I was salivating over the arrangements. Now I am most excited to see how people react to this whole recording because it is dynamite. They are going to want to have it as a keepsake. What I will take away from it all was the privilege of recording in the same studio as Ray. It was the highlight of my life.” - Johnny Mathis
PRODUCED BY: John Burk, Terry Howard and Herbert Waltl
The Judy Garland popularization of this standard is evoked on this poignant rendition, given the touch of Victor Vanacore’s arranging. The celebrated vocalist Johnny Mathis refurbishes it with vocal gusto and Ray weighs in with great emotion as only he can, together assuring that “Over The Rainbow” retains that special quality that Tin Pan Alley tunesmith Harold Arlen and lyricist E.Y. “Yip” Harburg intended for it.
“I was so nervous to be in the same studio as Ray Charles. He is not just an ordinary singer, musician or icon. He’s the best of the best. ‘Over The Rainbow’ is such a wonderful song, and it suited us both so perfectly. I was salivating over the arrangements. Now I am most excited to see how people react to this whole recording because it is dynamite. They are going to want to have it as a keepsake. What I will take away from it all was the privilege of recording in the same studio as Ray. It was the highlight of my life.” - Johnny Mathis
PRODUCED BY: John Burk, Terry Howard and Herbert Waltl
RECORDED BY: Robert Fernandez
PROTOOLS ENGINEER: Seth Presant
ADDITIONAL ENGINEERING: Mark Fleming
ASSISTANT ENGINEERS: Gregg Dennen, Ken Desantis and Bill Kaylor
RECORDED AT: The Eastwood Scoring Stage, Warner Brothers Studios, Burbank, California, RPM International Studios, Los Angeles, California
MIXED BY: Al Schmitt at Capitol Studios
ASSISTED BY: Steve Genewick
MASTERED BY: Doug Sax and Robert Hadley at The Mastering Lab
PIANO: Randy Waldman
BASS: Trey Henry
DRUMS: Ray Brinker
ARRANGED BY: Victor Vanacore
SCORE ADVISOR: David Vanacore
CONTRACTOR: Mike Vaccaro
CONCERTMASTER: Robert Peterson
COPYIST: Joe McGuire
VIOLINS: Charles Everett, Vladimir Polimatidi, Kenneth Yerke, Edith Markman, Dennis Molchan, Alan Ellsworth, Michelle Richards, Anatoli Rosinsky, David Kilbride, Todor Pelev, Kathleen Robertson, Paul Manaster, Reginald Clews, Zheng Wang, Xiao Niu He, Gerry Hilera, Edmund Stein, Yaroslav Kettner nd Robert Matsuda
VIOLAS: Raymond Tischer, Sam Formicola, John Acevedo, Ed Persi, Robert Berg, Briana Brandy and David Stenske
CELLOS: Armen Ksajikian, Steve Richards, John Acosta, Yao Zhao, Rudolph Stein and Larry Corbett
CONTRABASSES: Trey Henry, Dave Stone, Kenneth Wild and Karl Vincent
HARP: Eleanore Choate
PERCUSSION: Mark Converse and Wallace Snow
TIMPANI: Scott Higgins
TRUMPETS: Wayne Bergeron, Dennis Farias, Larry Hall and Rick Baptist
TROMBONES: Andrew Martin, Alex Isles, Charlie Morillas and Robert Sanders
FRENCH HORNS: Phil Yao, Suzette Moriarty and Kurt Synder
FLUTES: Stephen Kujala and Greg Huckins
OBOES: Leanne Becknell and Joseph Stone
CLARINETS: Don Markese and Charles Boito
BASSOONS: Dave Riddles and John Mitchell
Johnny Mathis appears courtesy of Columbia Records
_________________________________________________________________
12) Crazy Love (live)
Johnny Mathis appears courtesy of Columbia Records
_________________________________________________________________
12) Crazy Love (live)
with Van Morrison
(Van Morrison)
Caledonia Productions, Inc./WB Music Corp. (ASCAP)
This live version of “Crazy Love,” a Van Morrison original off of his classic 1970 album, Moondance, was recorded for the Phil Ramone-produced cable television awards show, The Songwriters Hall of Fame. Charles, one of Morrison’s idols, was chosen to induct him, and after the award presentation Morrison and Ray teamed up for this inevitably crowd-pleasing performance. Unwinding like a rich travelogue of experience and well-loved voices, Ray plays the piano and Van fleetly rolls away.
“Performing the duet ‘Crazy Love’ with Ray Charles was a great pleasure. It was an inspiration to work with someone of such musical genius. Ray is someone that I have admired since I started in music. He is a soul brother in every sense of the word.” - Van Morrison
PRODUCED BY: Phil Ramone
This live version of “Crazy Love,” a Van Morrison original off of his classic 1970 album, Moondance, was recorded for the Phil Ramone-produced cable television awards show, The Songwriters Hall of Fame. Charles, one of Morrison’s idols, was chosen to induct him, and after the award presentation Morrison and Ray teamed up for this inevitably crowd-pleasing performance. Unwinding like a rich travelogue of experience and well-loved voices, Ray plays the piano and Van fleetly rolls away.
“Performing the duet ‘Crazy Love’ with Ray Charles was a great pleasure. It was an inspiration to work with someone of such musical genius. Ray is someone that I have admired since I started in music. He is a soul brother in every sense of the word.” - Van Morrison
PRODUCED BY: Phil Ramone
RECORDED BY: John Harris
ASSISTANT ENGINEERS: Joel Singer, Hardi Kamsani and Casey Phariss
REMOTE RECORDING: Effanel Music
MIXED BY: Al Schmitt at Capitol Studios
ASSISTED BY: Steve Genewick
MASTERED BY: Doug Sax and Robert Hadley at The Mastering Lab
CONDUCTOR: Rob Mathes
GUITAR: Jeff Mironov
KEYBOARDS: Michael Beardon
BASS: David Hayes
PERCUSSION: Bashiri Johnson
DRUMS: Shawn Pelton
TRUMPETS: Matthew Holland, Jeff Kievit and Tony Kadleck
TENOR SAXOPHONES: Charles Pillow and Martin Winning
SINGERS: Tawatha Agee, Vaneese Thomas and Fonzi Thornton
PRODUCTION COORDINATOR: Jill Dell’Abate
Performed live at the ‘Songwriter’s Hall Of Fame Awards” on June 12, 2003, in the Broadway Ballroom at the Marriott Marquis Hotel, New York, New York
Van Morrison appears courtesy of Exile Productions, Ltd
__________________________________________________
Ray Charles
The Heart of Collaboration. There are many reasons we love the genius known as Ray Charles. Without a doubt, he impacted and changed the face and underpinnings of music during a career that stretched nearly six decades. A legend whose adroitness with compositions and arrangements never ceased, he was initially inspired by Nat King Cole and Charles Brown, but ended up being influenced almost entirely by himself, simply listening to the music in his head that needed to pour forth. Charles broke new ground as an eclectic and supreme innovator with his Modern Sounds In Country & Western Music album from 1962. Be it soul, R&B, gospel, jazz, blues or rock and roll - no style has been left untouched. He garnered thirteen Grammy® Awards, took part in more than 250 recording sessions, and was an original inductee into the Rock and Roll Hall of Fame. Throughout his remarkable career, Ray Charles listened to the soulfully singular voice of his own heart.
This CD features amazing duet performances between Ray Charles and such luminaries as Willie Nelson, B.B. King, Elton John, Bonnie Raitt, and Van Morrison. Ray had a profound impact and influence on countless singers and some of the best of those are represented on this album. As he said himself at the time of the recordings: “The duets projects has been a tremendous experience. I am working with some of the best artists in the business, as well as some of my dearest friends.” These duets began over a year ago at the instigation of John Burk, Executive V.P. of Concord Records, who spearheaded the recordings dn produced much of the album. The project began with a live performance with Van Morrison in June of 2003, followed by the first studio session in July 2003 with stalwart friend and blues axeman from way back, B.B. King, and culminated in a moving meeting in March of this year with pop maestro Elton John.
While he worked with various artists in the past, such as Guitar Slim, Betty Carter, Jimmy Lewis, David “Fathead” Newman, Milt Jackson, Cleo Laine, Willie Nelson, George Jones, Merle Haggard, Hank Williams Jr., Chaka Khan, Stevie Wonder, among many others, this Concord Records/Hear Music release is his first full-length album of duets. Most of these recording sessions were done in a single day, largely cut at Ray’s studio, which was recently recognized as a historic landmark by the City of Los Angeles. Many of the songs featured a core backing band of Tom Fowler on bass, Ray Brinker on drums, Randy Waldman on piano and contributor on some arrangements, and Irv (Magic) Kramer on guitar. Treatments range from sextets to full orchestras. Billy Preston contributed to the proceedings with some brilliant B3 work, and the legendary Phil Ramone served up production duties on several songs. The songs selected for this project are special, each chosen between Ray and his collaborators, and are inherently formed with a passion and a unique nature that express the fact that he is obviously reflecting upon life. We hope you enjoy the extraordinary results of these collaborations as much as we do.
______________________________________________________________
Thanks to Joe Adams, Valerie Ervin and Carl Foster and everyone at Ray Charles Enterprises. Ray is blessed to have you with him. Herb Waltl and Terry Howard for making the introduction to Mr. C. All of the artist managers for making it happen; Ed Blau, Gary Borman, Dan Cleary, Sam Feldman & Stephen Macklam, Joel Hoffner, Kenya Jackson, Jeanteil Jackson, Kathy Kane, Floyd Lieberman, Derek Mackillop, and Marc Rothbaum. Phil Ramone for a lot of help and guidance throughout the project in addition to lending his genius as a producer. David Blumberg, Victor Vanacore, and Randy Waldman for the wonderful arrangements. All of the amazing musicians who brought the arrangements to life. The Braille Institute for some incredibly fast turnaround. Seth Presant, for capturing the moments and putting them all together. Al Schmitt for adding some magic of his own. Steve Genewick and Bill Smith for making AI look good. Doug Sax and Robert Hadley for making AI look even better. Hal Gaba for his vision and for putting on the pressure...in a good way. Glen Barros for taking care of business as well as being the ultimate sounding board. Gene Rumsey for limitless enthusiasm and support. Norman Lear for constant inspiration and encouragement. Gregg Field, from the first meeting with Mr. C to some great suggestions in the mix. Don MacKinnon, Howard Schultz, Tim Ziegler and the entire team at Hear Music and Starbucks for helping to make this project possible. Joe D’Ambrosio for heading up the “East Coast office.” Paula Salvatore for always going the extra mile. Jo Foster, Jerry Digney, Eric Raymond and everyone at Solters & Digney, for PR and much more. Mary Hogan and Chris Dunn; just couldn’t do it without you guys. Kent Liu and Peter Funsten; couldn’t do it without you either. Jenny Kilgen for all of the help and support. Julie Dyer and Jackie Jensen, for keeping me from drowning when the water got deep. Jeff Spector, the genius behind the title. Carla, Christina and Nicholas, for putting up with my absence - Daddy loves you!
_________________________________________________________
Special thanks
Very few artists have had so much influence on popular music as well as how vocalists approach their craft, as Ray Charles. Moreover, his unique voice and disregard for musical boundaries has given him the ability to effortlessly cross over from jazz to blues, to soul to country, to pop and to rock. Perhaps most important, Ray has always delivered “with a little bit of soul.” In this project we’ve touched on all of the amazing facets of Mr. Charles with the help of the similarly amazing group of guests. Each guest brought out in Ray a slightly different aspect of his talent. But these artists delivered even more than that. They touched Ray as he touched all of them and, in the process, we are profoundly affected. I believe that this is the definition of genius in music and it leaves no doubt that Ray has been in excellent company. Recording in the same room at the same time, Ray and his guests inspired in each other the magic that we constantly strive for in the recording process. Emotion in a bottle, the human experience, harnessed and captured and conveyed through genres as varied as the guest list. Therefore it is with the utmost gratitude and appreciation that we thank these brilliant artists for joining us in honoring Ray through this project. Most important, we give thanks to the great Ray Charles for providing the inspiration that only Brother Ray can provide. There is only one Ray Charles and I know I speak for everyone involved when I say that it’s been an honor and a privilege to be in the company of his genius. “Boom boom,” Ray.
John Burk, Producer
______________________________________________________________
EXECUTIVE PRODUCER: John Burk
ALBUM MIXED BY: Al Schmitt at Capitol Studios, Hollywood, CA
ASSISTED BY: Steve Genewick and Bill Smith
PROTOOLS ENGINEER: Seth Presant
MASTERED BY: Doug Sax and Robert Hadley at The Mastering Lab
A&R ADMINISTRATION: Mary Hogan
A&R PRODUCTION MANAGER: Chris Dunn
This album was recorded from June 2003 to March 2004
ART DESIGN CONSULTANT FOR CONCORD RECORDS: Abbey Anna
LINER NOTES: David R. Legry
CREATIVE DIRECTOR: Lisa Laarman
DESIGN BY: Kristy Cameron
__________________________________________________________________
All photographs by Norman Seeff except:
Photographs of Ray Charles with Carl Foster, Willie Nelson and Gladys Knight © Dennis Shirley
Photograph of Ray Charles with Norah Jones © John Jennings
Photograph of Ray Charles with Bonnie Raitt © George Marinelli
Photograph of Ray Charles playing piano © Vitaliano Napolitano/Redferns/Retna Ltd.
__________________________________________________________________
This CD contains unique, never before seen, video footage from renowned photographer Norman Seeff’s 1985 photo session with Ray Charles. The footage is part of Norman Seeff’s Sessions Projects © and explores Ray’s personal creative process and his intimate relationship with his music and his voice. To access this video, put your CD in your CD-ROM drive. (Due to variances in CD-ROM drives and systems, playback on all computers is not assured.) For more information on Ray Charles visit: www.concordrecords.com and www.geniuslovescompany.com.
__________________________________________________________________
© 2004 Hear Music. All rights reserved ℗ 2004 Concord Records, Inc. 100 North Crescent Drive, Suite 275, Beverly Hills, CA 90210. Marca Registrada. Unauthorized public performance, broadcasting duplication of this disc is prohibited. Printed in the U.S.A.
Concord Records/Hear Music CCD-2248-2
Van Morrison appears courtesy of Exile Productions, Ltd
__________________________________________________
Ray Charles
The Heart of Collaboration. There are many reasons we love the genius known as Ray Charles. Without a doubt, he impacted and changed the face and underpinnings of music during a career that stretched nearly six decades. A legend whose adroitness with compositions and arrangements never ceased, he was initially inspired by Nat King Cole and Charles Brown, but ended up being influenced almost entirely by himself, simply listening to the music in his head that needed to pour forth. Charles broke new ground as an eclectic and supreme innovator with his Modern Sounds In Country & Western Music album from 1962. Be it soul, R&B, gospel, jazz, blues or rock and roll - no style has been left untouched. He garnered thirteen Grammy® Awards, took part in more than 250 recording sessions, and was an original inductee into the Rock and Roll Hall of Fame. Throughout his remarkable career, Ray Charles listened to the soulfully singular voice of his own heart.
This CD features amazing duet performances between Ray Charles and such luminaries as Willie Nelson, B.B. King, Elton John, Bonnie Raitt, and Van Morrison. Ray had a profound impact and influence on countless singers and some of the best of those are represented on this album. As he said himself at the time of the recordings: “The duets projects has been a tremendous experience. I am working with some of the best artists in the business, as well as some of my dearest friends.” These duets began over a year ago at the instigation of John Burk, Executive V.P. of Concord Records, who spearheaded the recordings dn produced much of the album. The project began with a live performance with Van Morrison in June of 2003, followed by the first studio session in July 2003 with stalwart friend and blues axeman from way back, B.B. King, and culminated in a moving meeting in March of this year with pop maestro Elton John.
While he worked with various artists in the past, such as Guitar Slim, Betty Carter, Jimmy Lewis, David “Fathead” Newman, Milt Jackson, Cleo Laine, Willie Nelson, George Jones, Merle Haggard, Hank Williams Jr., Chaka Khan, Stevie Wonder, among many others, this Concord Records/Hear Music release is his first full-length album of duets. Most of these recording sessions were done in a single day, largely cut at Ray’s studio, which was recently recognized as a historic landmark by the City of Los Angeles. Many of the songs featured a core backing band of Tom Fowler on bass, Ray Brinker on drums, Randy Waldman on piano and contributor on some arrangements, and Irv (Magic) Kramer on guitar. Treatments range from sextets to full orchestras. Billy Preston contributed to the proceedings with some brilliant B3 work, and the legendary Phil Ramone served up production duties on several songs. The songs selected for this project are special, each chosen between Ray and his collaborators, and are inherently formed with a passion and a unique nature that express the fact that he is obviously reflecting upon life. We hope you enjoy the extraordinary results of these collaborations as much as we do.
______________________________________________________________
Thanks to Joe Adams, Valerie Ervin and Carl Foster and everyone at Ray Charles Enterprises. Ray is blessed to have you with him. Herb Waltl and Terry Howard for making the introduction to Mr. C. All of the artist managers for making it happen; Ed Blau, Gary Borman, Dan Cleary, Sam Feldman & Stephen Macklam, Joel Hoffner, Kenya Jackson, Jeanteil Jackson, Kathy Kane, Floyd Lieberman, Derek Mackillop, and Marc Rothbaum. Phil Ramone for a lot of help and guidance throughout the project in addition to lending his genius as a producer. David Blumberg, Victor Vanacore, and Randy Waldman for the wonderful arrangements. All of the amazing musicians who brought the arrangements to life. The Braille Institute for some incredibly fast turnaround. Seth Presant, for capturing the moments and putting them all together. Al Schmitt for adding some magic of his own. Steve Genewick and Bill Smith for making AI look good. Doug Sax and Robert Hadley for making AI look even better. Hal Gaba for his vision and for putting on the pressure...in a good way. Glen Barros for taking care of business as well as being the ultimate sounding board. Gene Rumsey for limitless enthusiasm and support. Norman Lear for constant inspiration and encouragement. Gregg Field, from the first meeting with Mr. C to some great suggestions in the mix. Don MacKinnon, Howard Schultz, Tim Ziegler and the entire team at Hear Music and Starbucks for helping to make this project possible. Joe D’Ambrosio for heading up the “East Coast office.” Paula Salvatore for always going the extra mile. Jo Foster, Jerry Digney, Eric Raymond and everyone at Solters & Digney, for PR and much more. Mary Hogan and Chris Dunn; just couldn’t do it without you guys. Kent Liu and Peter Funsten; couldn’t do it without you either. Jenny Kilgen for all of the help and support. Julie Dyer and Jackie Jensen, for keeping me from drowning when the water got deep. Jeff Spector, the genius behind the title. Carla, Christina and Nicholas, for putting up with my absence - Daddy loves you!
_________________________________________________________
Special thanks
Very few artists have had so much influence on popular music as well as how vocalists approach their craft, as Ray Charles. Moreover, his unique voice and disregard for musical boundaries has given him the ability to effortlessly cross over from jazz to blues, to soul to country, to pop and to rock. Perhaps most important, Ray has always delivered “with a little bit of soul.” In this project we’ve touched on all of the amazing facets of Mr. Charles with the help of the similarly amazing group of guests. Each guest brought out in Ray a slightly different aspect of his talent. But these artists delivered even more than that. They touched Ray as he touched all of them and, in the process, we are profoundly affected. I believe that this is the definition of genius in music and it leaves no doubt that Ray has been in excellent company. Recording in the same room at the same time, Ray and his guests inspired in each other the magic that we constantly strive for in the recording process. Emotion in a bottle, the human experience, harnessed and captured and conveyed through genres as varied as the guest list. Therefore it is with the utmost gratitude and appreciation that we thank these brilliant artists for joining us in honoring Ray through this project. Most important, we give thanks to the great Ray Charles for providing the inspiration that only Brother Ray can provide. There is only one Ray Charles and I know I speak for everyone involved when I say that it’s been an honor and a privilege to be in the company of his genius. “Boom boom,” Ray.
John Burk, Producer
______________________________________________________________
EXECUTIVE PRODUCER: John Burk
ALBUM MIXED BY: Al Schmitt at Capitol Studios, Hollywood, CA
ASSISTED BY: Steve Genewick and Bill Smith
PROTOOLS ENGINEER: Seth Presant
MASTERED BY: Doug Sax and Robert Hadley at The Mastering Lab
A&R ADMINISTRATION: Mary Hogan
A&R PRODUCTION MANAGER: Chris Dunn
This album was recorded from June 2003 to March 2004
ART DESIGN CONSULTANT FOR CONCORD RECORDS: Abbey Anna
LINER NOTES: David R. Legry
CREATIVE DIRECTOR: Lisa Laarman
DESIGN BY: Kristy Cameron
__________________________________________________________________
All photographs by Norman Seeff except:
Photographs of Ray Charles with Carl Foster, Willie Nelson and Gladys Knight © Dennis Shirley
Photograph of Ray Charles with Norah Jones © John Jennings
Photograph of Ray Charles with Bonnie Raitt © George Marinelli
Photograph of Ray Charles playing piano © Vitaliano Napolitano/Redferns/Retna Ltd.
__________________________________________________________________
This CD contains unique, never before seen, video footage from renowned photographer Norman Seeff’s 1985 photo session with Ray Charles. The footage is part of Norman Seeff’s Sessions Projects © and explores Ray’s personal creative process and his intimate relationship with his music and his voice. To access this video, put your CD in your CD-ROM drive. (Due to variances in CD-ROM drives and systems, playback on all computers is not assured.) For more information on Ray Charles visit: www.concordrecords.com and www.geniuslovescompany.com.
__________________________________________________________________
© 2004 Hear Music. All rights reserved ℗ 2004 Concord Records, Inc. 100 North Crescent Drive, Suite 275, Beverly Hills, CA 90210. Marca Registrada. Unauthorized public performance, broadcasting duplication of this disc is prohibited. Printed in the U.S.A.
Concord Records/Hear Music CCD-2248-2
