Chicapah Often when a famous person passes away and a great memorial is held to celebrate their life the sentiment is expressed that such a respectful gathering of their peers and admirers should’ve been done while they were still alive. In rare cases someone recognizes that time is running out for a beloved icon and they go about arranging for a host of their friends to pay homage to them while they’re still able to not only enjoy but to take part in the occasion. That’s what happened when John Burk, Executive V.P. of Concord Records, instigated and headed up the project that became Ray Charles’ final studio album, “Genius Loves Company.” Ray had terminal lung cancer and his days were numbered so between June ’03 and March ’04 Burk arranged for some of the biggest names in music to pair up with Charles, thereby paying tribute to him in the way that was most appropriate; by making music with him.

The album starts with a cross-generational duet featuring Ray and the relatively young Norah Jones on “Here We Go Again.” This light piece of countrified blues provides a smooth entry point for this record and their unique yet very different voices match up surprisingly well. Special mention must be made of Billy Preston’s Hammond B3 solo. It cuts like a hot knife through butter. James Taylor joins the party for his swinging, Motown-flavored R&B ditty, “Sweet Potato Pie,” in which Randy Waldman’s horn arrangement nearly steals the show. Irvin Kramer’s guitar tone is excellent and his punctuating licks are tasteful as can be while the vocal interplay between Charles and Taylor is playfully entertaining. The beautiful, heartbreaking “You Don’t Know Me” is next and, while it would be impossible for Ray to top his original vocal performance from ’62 (he doesn’t), Diana Krall’s sexy voice more than fulfills her role in the rendition and she does the tune proper justice. Session producer Phil Ramone is to be commended for including some intriguing accents in the score that keep it from being an exact copy. All of the tracks on this album are high quality but some rise to exemplary status and the first of them to do so is Charles and Elton John’s collaboration on “Sorry Seems to be the Hardest Word.” Victor Vanacore played a big part in this record by providing several orchestral arrangements that are absolutely scintillating, none more so than on this cut. His dramatic strings make this an incredibly intense and moving number from top to bottom as both singers emote magnificently on this resonating song of remorse. Neither of them have the chops they owned in their prime but their undaunted passion is ageless.

The fantastic “Fever” follows and it’s given a slinky jazz feel accentuated by Waldman’s cool keyboard work. Natalie Cole and Brother Ray, as expected, expertly avoid over-singing this Peggy Lee staple. Bonnie Raitt stops by to help out on “Do I Ever Cross Your Mind?” and her pleasant rasp and fluid slide guitar injections are nice but I kept waiting for something exceptional to happen as they strolled through the track and it never occurs. This well-intentioned but ultimately bland blend of country and blues marks the nadir of the album. No one on the planet can successfully meld with Willie Nelson’s nasally timbre. Even the astute Mr. Charles can’t do it. But despite that dilemma, “It Was a Very Good Year” works brilliantly due primarily to Vanacore’s lush orchestration. It adds a terrific classical personality to this Sinatra mainstay and emphasizes both vocalists’ ability to tell a story rather than forcing them to sing like canaries. “Hey Girl” is a simple tune I’ve always liked a lot and I’d have liked it plenty enough here just because of Michael McDonald’s inimitable crooning so the addition of Ray is a delightful bonus. The unaccredited trumpet solo is striking and the song sports the most stylish ending on the entire record. “Sinner’s Prayer” is nothing but da blooz since it brings B.B. King into the spotlight and, as such, it’s quite predictable. B.B. is no spring chicken himself, though, and Charles gets the best of him vocally. Unfortunately, while King is a true legend, his guitar ride is way too tentative to adequately supply the pizzazz the track cries out for.

“Heaven Help Us All” with Gladys Knight is a gem. This glorious mix of R&B and Gospel fires on all cylinders as the bright horns and the full choir grace this inspiring tune with a classy sheen. Gladys is still as good as gold. The aging chestnut “Over the Rainbow” receives an engaging jazz treatment and the combo of Johnny Mathis and Ray is to be savored like a fine bottle of wine. Once again it’s Vanacore’s symphonic score that sends this soaring into the stratosphere. The cream of the crop, however, was saved for last. Van Morrison is one of my favorite singers of all time and with he and Ray Charles both doing their thing on “Crazy Love” I can only ask “What’s not to love about it?” Great tune, great vocals and great performances all around the horn and the fact that it was captured live only adds the intangible magic of spontaneity. They couldn’t have closed this record any better than that.

Sadly the world lost Ray in June of 2004 so he didn’t get to witness what a huge smash this album became after its release 2 months later. It went triple platinum, won 8 Grammy awards (including Album of the Year) and became the 2nd #1 album of his marvelous career. I can’t think of a more fitting send off for this bonafide legend who touched untold millions with his music. There’ll never be another one like him and even though this is far from being a masterpiece it more than stands on its own as a damn fine record. It shows that Ray Charles was singing his heart out till the last curtain call and that he left this mortal coil doing exactly what he was born to do.