Cashbox : 02/11/1961

As one of the kickers in its new Impulse series, Am-Par has recorded Ray Charles in a jazz, an idiom in which he’s previously displayed proficiency but has been somewhat neglected by his pop success. In this field too, Charles draws largely on gospel elements for communication. He plays the organ, sings a couple of striking blues, and generally has a romping time with the vivid Quincy Jones arrangements. Hot item for both pop and jazz markets.

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Minneapolis Star Tribune
Charles Hanna : 11/19/1961

Ray Charles is backed on this LP by the great Count Basie band and an all-star group. My favorites are I’m Gonna Move to the Outskirts of Town and I’ve Got News for You. Charles plays organ and sings. The tracks of side on (with the Basie crew) are perhaps the most exciting. Of special interest is the fine playing of Charles’ trumpetman, Philip Guilbeau, on side two. This is another of the excellent jazz series on the Impulse label produced by Creed Taylor of Am-Par Record Group.

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San Francisco Chronicle
Ralph J. Gleason : 05/07/1961

This is one of the best LPs of the year so far. Charles plays and sings with a big band that includes some of his own men plus a top collection of New York musicians. The arrangements are by Ralph Burns and Quiny Jones. Tunes include I’ve Got News for You, a great vocal by Charles; Moanin’, which is a solid instrumental and another Charles vocal, I’m Gonna Move to the Outskirts of Town. Among the fine solos are several trumpet bits by Phil Guilbeau, of the Ray Charles band, and several tenor solos by Billy Mitchell of the Count Basie band. Don’t miss this LP!

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Down Beat : 04/13/1961
John S. Wilson : 3 stars

The combination of Ray Charles with either an augmented Basie band or a big band made up of top free-lancers playing arrangements by Quincy Jones and Ralph Burns promises considerably more than it delivers. The situation is not helped by the fact that Charles plays Hammond organ throughout the set. He uses the instrument in a shrill and not particularly winning fashion, although he is certainly more inventive than some of the current organists. The arrangements tend to be heavy, and the awesome collection of names is largely buried in blaring backgrounds. The big, echoing recording muffles the mass of sound instead of letting it come through clearly and crisply.

Despite this, however, the disc makes several good points. It provides an opportunity to hear Phil Guilbeau, Charles’ regular trumpeter, who has a highly promising outgoing, brassy attack and a darting, winging conception. Charles has a pair of good vocals – it’s especially interesting to compare his wistful version of I’m Gonna Move to the Outskirts of Town with Jimmy Rushing‘s jaunty shouting of the same tune. And there are a few brief glimpses of Clark Terry in brilliant form; a very short reminder that Urbie Green can still play gloriously gutty trombone when he wants to; a lean, leaping tenor solo by Budd Johnson; and a piece by Burns, Let’s Go, that charges off with a walloping saxophone section that suggests this one is really going somewhere. and it does until it gets tangled in the organ.

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Liner Notes by Dick Katz
January, 1961

It is generally agreed that authentic jazz music is still not exactly a mass commodity. Despite the giant strides this artistic stepchild has made in acceptance and world-wide acclaim, it is still a word to cause many a recording executive to suffer an anxiety attack, normal economic conditions prevailing.

It is interesting to note, however, that almost all American popular music is now at the very least jazz-influenced. True, the mass product is still often diluted or distorted almost beyond recognition. But jazz music has expanded, broadened and grown so much that the word has all but lost its meaning. This is all to the good, because it means that as a unique musical language it has increased its vocabulary to near-universal proportions. Also of interest is the fat that jazz has usually been roughly five years or so ahead of popular trends. For instance, some of the fantastic contributions of Charlie Parker have now been absorbed into the fabric of many studio-type arrangements of some of our most popular artists – Frank Sinatra and Perry Como, for example.

Now, a favorite discussion, or more accurately, gripe to be heard and overheard these days is the so-called deplorable state of pop music. Actually, this line of thinking has been run into the ground. Without laboring the point, let it suffice to say that, in spite of the ten-year-or-so assault musical sensibilities of the real music lover that pop music has made, the decade has produced a few completely unique jazz artists who have immeasurably enriched our musical culture. They meet the highest artistic standards and magically transcend all labels, categories and such. Ray Charles is one of these – perhaps the greatest of all to reach the millions that comprise the so-called “market.”

Charles, like Louis Armstrong, Nat Cole, Ella Fitzgerald and precious few others, has that ability to communicate which defies analysis. He “reaches” the complete neophyte just as surely as the most literate, avant-garde jazz musician or critic. Therefore, it is especially rewarding to see an authentic artist of Charles’ stature attain real commercial success.

Not generally known is the fact that Ray Charles has been a living legend to many jazz musicians for several years. Even though he has performed as a rhythm-and-blues or rock-and-roll artist, his great jazz gifts have illuminated his every performance. I distinctly remember jumping out of my seat upon first hearing Charles’ record of Hallelujah, I Love Her So. I understood exactly why my musical colleagues were so enthusiastic. His piano playing and singing was, and is, a deeply moving force with reference to much of the best in jazz history. I am at once reminded of Joe Turner, Bessie Smith, Meade-Lux Lewis, Nat Cole, Horace Silver, Milt Jackson – all these and many more diverse influences – all wrapped up in one man. And yet Charles has a complete identity.

No, I’m not writing about an elder jazz-statesman or resurrected museum piece. Ray Charles is only 29 years old. Born in Albany, Georgia, in 1932, he was moved to Greensfield, Florida, while still an infant. A tragic illness when he was only six left him blind. He attended a school for the blind in St. Augustine, Florida, where he studied music. Tragedy struck again when he was left orphaned at the age of fifteen. It was during this period that he got his first professional playing experience around Florida. He also started to sing and arrange. When he was seventeen, he moved to Seattle Washington, and settled there. He organized the Maxim Trio, which created quite a stir locally. Quincy Jones, who arranged many of the songs in this album, remember Ray as sounding something like Nat Cole, both as a singer and pianist. He wasn’t singing as much out-and-out blues then, but brought everything to life with his blues-like phrasing, according to Jones. It should be pointed out here that Charles is also to be reckoned with as a composer, alto saxophonist, and occasionally a clarinetist (which instrument he played more often in his Seattle days).

Although Ray Charles has already successfully displayed many facets of his talent on records, this album represents yet another self-challenge successfully met. Always fascinated with the possibilities of the Hammond Organ, he shows once again what happens when a real jazz artist applies himself to a new situation. After the fine efforts of such stalwart organists as Jimmy Smith, Wild Bill Davis and others, it would be hard to imagine what else could be done on this seemingly cumbersome instrument. Charles, however produces a completely different sound, and somehow manages to achieve a percussive effect which is rhythmically quite free. Also, there is a minimum of the blurred electronic “spilling” sounds that mar many jazz organ performances.

Even though Ray Charles is a multitalented jazz artist, certain realistic considerations have made it necessary to keep his amazing versatility under wraps at times. This album, however, provides him with complete freedom. The music here is out-and-out jazz, but at the same time, because of Charles’ uncanny emotional projection, it crosses all arbitrary musical barriers. It is good music – regardless of what anyone chooses to label it.

Ray is teamed here alternatively with two of the finest big jazz bands that could be assembled anywhere. One is the celebrated Count Basie aggregation minus its royal leader. The other is a hand-picked group which includes some of the best free-lance jazz players in the world – such as tenor saxophonist Budd Johnson, trombonists Urbie Green and Jimmy Cleveland, trumpeter Clark Terry and drummer Roy Haynes. The arrangements were created by Quincy Jones and Ralph Burns. Jones has established himself as one of the most important composer-arrangers to rise to prominence in the last decade. In addition, he is currently the esteemed leader of one of the best big bands to emerge recently. Ralph Burns is the man who, as pianist and arranger for the original Woody Herman Herd, was a prime reason for that band’s now legendary status. Since then, he has confined himself mainly to being of the most sought-after arrangers in the country.

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.

The Music
Side One
1. From The Heart
This is basically the Basie band in all of its glory. The arrangement is by Quincy Jones, and it features a fine trumpet solo by Ray Charles’ discovery, Philip Guilbeau, who has worked steadily with Charles’ own band.

2. I’ve Got News For You
A typical Charles one-of-a-kind vocal rendition that displays the inimitable humorous side of his personality. Don’t miss the lyrics. Arrangement by Ralph Burns.

3. Moanin’
This recent jazz hit composed by Bobby Timmons is given loving treatment here by the Basie men playing Quincy Jones’ arrangement. It features Ray’s organ solo and Philip Guilbreau’s trumpet, although the ensemble dominates the piece.

4. Let’s Go
This piece qualifies as what is sometimes referred to as a “flagwaver.” Here, the band deftly roars its way through the fine arrangement by Ralph Burns. The tenor solo is by Basie-ite Frank Foster, another product of Detroit, home to a most impressive list of jazz personalities. This is followed by a trumpet solo by Guilbreau. Then comes the last ensemble chorus with tasteful fills by Ray on the organ. The three-note “chimes” at the end refer to a not-unknown radio network station break signal.

5. One Mint Julep
A rocking Quincy Jones arrangement which features some unexpected vocal assistance from the band.

Side Two
1. I’m Gonna Move To The Outskirts Of Town
This is my favorite in the album. Not since the classic Jimmy Rushing-Count Basie version have I enjoyed this timeless blues so much. Take note of the beautiful Clark Terry trumpet introduction. Charles’ moving vocal is complemented by a fine trumpet obligato by Philip Guilbreau. Arrangement is by Quincy Jones.

2. Stompin’ Room Only
Another Burns arrangement that features Ray’s organ playing. Trumpet solo by Guilbreau. This arrangement has a wonderful “swing era” flavor and has the verve and spice of the giant bands of those days.

3. Mister C
Features Charles’ unusual way with the Hammond Organ and highlights outstanding solos by Ray, Billy Mitchell on tenor saxophone, Philip Guilbreau on trumpet, Urbie Green, trombone and Ray, organ… in that order. Arrangement by Ralph Burns.

4. Strike Up The Band
Gershwin was never like this, as the Basie sidemen/Quincy Jones alliance cook in a fashion unknown in culinary circles. Again, Ray’s organ playing and Guilbreu’s trumpet are highlighted.

5. Birth of the Blues
The Ralph Burns arrangement generates a good blues feeling and is a fine vehicle for Ray Charles’ organ artistry.