Charles puts personal spin on favorites

Joe Delaney

Friday, Oct. 1, 1999 | 9:44 a.m.

Ray Charles is an American institution, the person who broke down the barriers that had separated pop, country, rhythm and blues and rock 'n' roll into categories.

Charles, like Willie Nelson, energized song catalogues that were in danger of becoming dormant. This week in the Orleans showroom, Charles is backed by a superb big band led by Al Jackson and joined en route by the five comely, soulful Rae-lettes.

Jackson's band consists of four trumpets, four trombones, five saxophones, piano, guitar, bass guitar and drums.

The band had a hard-charging opener with well-received solos by trombone and baritone saxophone at a show earlier this week. It could have been even better received and played if the number was something recognizable. The second selection, an easier swinging tempo, made up for the first.

An offstage intro stressing "The Genius of Ray Charles" had the full-house audience on their feet at his entrance. He sat center-stage, close to the orchestra, at an electric piano that he made sound like a piano, a vibraphone, or a blues guitar at various times. The first number was up tempo, a fast blues song that started off with a vocal that had him going and ended with him "wanting to come home."

"I'm Busted" was more blues with the added element of humor. The audience exploded with the opening notes of "Georgia On My Mind," now one of his signature songs, one of many. "Mississippi Mud" provided a change of pace and some time for the band. "You Turned It Upside Down" was another blues lament, setting up an unusual "You Made Me Love You," proof that the true artist makes every song his own, no matter whose signature song it may have been.

" 'Til There Was You" was another instance of making a song one's own. It was time for an instrumental number with Charles at the piano. The band answered with hand claps, and then the audience joined in, a most effective change of pace. "I'm Singing This Song For You" was given the Charles treatment, another song he has made his own.

He started another instrumental number, left the stage for a short interval, and returned in time for the ending.

The Five Rae-lettes were introduced and took turns singing gospel-influenced lead on "Lean On Me, I'll Be There." As the introduction to "I Can't Stop Loving You" was played, the audience exploded anew. Charles and the girls were rewarded with still another standing ovation.

Two fast blues songs with the Rae-lettes ended with "It's All Right," and Charles took his leave for the second time, not to return. The audience wanted more but should have been satisfied with 75 minutes of the Best of Ray Charles.

This old critic would have enjoyed hearing "Born To Lose," "You Don't Know Me" and "You Are My Sunshine," with a tribute to the writer, former Louisiana Gov. Jimmie Davis, who just celebrated his 100th birthday.

No complaints. The show varies from night to night. Charles could be onstage all night and still have to omit a few.

He's a national treasure.