Ray Charles and James Brown: The Voiceless Prowess of R&B's Greatest Voices

Leaving the microphone behind is not an issue
for these R&B and Soul legends.

James Brown and Ray Charles: definitively the two biggest names in R&B and Soul music history. Arguably, they are the majority molders of many popular genres of music today. Together and separate, the two musicians fought through countless hurdles during their heyday, both within the music industry and outside it, in order to accomplish something greater than themselves. Ray Charles struggled to have his music heard by a segregated South, eventually having his song, “Georgia On My Mind,” adopted as the Georgia state song in honor of his ability to overcome. James Brown opened up a televised set in a riot-torn Boston the day after Martin Luther King Jr.’s death in 1968, showing a divided population that it was possible to unite through music. These were great men, musicians, and, most importantly, movers in the U.S. and beyond.

These two individuals were known for many things, some good and some bad, but one of their united transcendental qualities is easily their respective vocal chops. Ray could be silky smooth, but he often pushed the envelope of his voice, giving it the grit that he’s known for on tracks such as “Night Time is the Right Time” and “Drown in My Own Tears.” J.B., on the other hand, had that grit from the start, evident in early tracks like “Please, Please, Please” and “Try Me.” His grittiness, however, matured to a point where he became known for his guttural, percussive sounds used to accent the prowess of his songwriting and backing band. 

It might be considered ironic, then, that I recently came across two record albums that remove these two songsters’ voices from the mix, allowing the instrumental talents of the groups  to shine through. On Atlantic Jazz Anthology:The Best of Ray Charles, the sounds of David “Fathead” Newman’s tenor and alto saxophone become more integral, shining through on leads on “Hard Times,” a reworking of the seminal Charles’ track, and others. Ray’s impeccably delicate piano playing is also a highlight of the album; he is even featured blowing a bluesy alto sax solo on “How Long Blues,” which also features vibraphonist great Milt Jackson. 

On Grits & Soul: The Instrumental Sounds of The James Brown Band, James Brown sidles up to Ray’s instrumental band sound, but he adds a decidedly James Brown feel. The organ is a key instrument used, which is different from the all-piano tracks found on the Ray Charles album. Grits & Soul also features more of the band itself, but Brown definitely throws in a tasty lick or two when he is playing the keyboards. This particular album is also interesting because it provided Brown a way to record outside of the label he resided on at the time. According to this source, his contract had a vocal stipulation on him, and he was able to circumvent legalities by removing his voice from the music entirely.

No matter why these albums were made, they are treasures that take both of these great, game-changing musicians out of their popular element. Crossing genres is a tricky thing, especially in the twentieth and twenty-first century, and this proves that both James Brown and Ray Charles will not only stand the test of time as innovators, but that they have shown that they are all-around experts in their craft of music-making. They not only created music for themselves and others, but were both able to lead their bands and the world closer to greatness. 

Chicago's Record Store Gems: Funk, Jazz, and Soul Searching in the Windy City

Chicago may be known for its breezy demeanor, deep dish ‘za, and its distinctive version of the blues, but what many people don’t know is that it’s a great place to find vinyl records. As far as my research goes, though it’s hardly definitive, there are quality record stores numbering into the double digits. In 2010, in fact, three of Chicago’s stores made Rolling Stone’s list of top record stores in the country. I checked out one of the stores that made the list, as well as a jazz specialty store, during a recent visit. 

The first stop was Jazz Record Mart, located in downtown Chicago, just off of Michigan Avenue. Downtown has some great architectural accoutrement, but it can be hard to have a small business downtown that stands out. Jazz Record Mart has overcome this hurdle by displaying oversized covers of classic jazz albums as well as some newer up-and-comers in the genre. Entering the store, I got the distinct feeling of the grittiness of an old record store—the overstock shelves loaded with records was reminiscent of older, over-the-counter type stores—and the huge selection of records pressed prior to World War Two was unique and impressive. 

Jazz Records draws you in with ample poster bling.

"As an English teacher, I was impressed that both Jazz Record Mart and Dusty Groove prominently displayed literature about the music they sold. This is a hearty plus for anyone wanting to learn more about the respective genres."


There was a great selection of reissued jazz, and the used albums they had were not your normal fare and very reasonably priced. I found an early album of Chicago native Gil Scott Heron, and was happily delighted in my interaction with the staff member at the desk. When I asked about a certain Jimmy Smith album on LP, he told me he hadn’t seen it but engaged me in a conversation about The Beastie Boys sampling of the album and Gil Scott Heron’s poetry. I wandered out into a downpour, thankful to have visited and that the only records I purchased were still in the shrink.

The next day, I sought out Dusty Groove America, a store known for its rare funk cuts and soul collection. I wasn’t planning on making another trip into the city, but this writer has a soft spot for anything that has a great 60’s and 70’s era, as the kids these days put it, “drop.” This store didn’t disappoint in delivering a great selection of records, though it was definitely a more new-school record shop. Dusty Groove does a lot of business online, but they didn’t sacrifice anything in-store. There was a clean, mainstreamed ambience that would appeal to many different types of people, but this isn’t a crate-digging place. Prices are at a premium, but they had some interesting compilations of world music (Bossa Nova, Indian-Psych-Funk, Afrobeat, to name a few), and a number of James Brown deep cuts. I didn’t have much of a chance to talk to the staff, but they seemed friendly enough. 

Dusty Groove is spacious and well-organized: easy
for an in-and-out visit when you know what you want.

One thing to note about Dusty Groove is that I noticed an interesting collection of music-related books, and I found my favorite record publication, Wax Poetics, there. As an English teacher, I was impressed that both Jazz Record Mart and Dusty Groove prominently displayed literature about the music they sold. This is a hearty plus for anyone wanting to learn more about the respective genres. 

Though there are many more stores that I have yet to check out, I would be willing to make a bet that the Windy City could easily make a run for the Midwest record capital title alongside its numerous NBA Championships, award-winning food, and record-setting skyscrapers. Based on these two stores alone, I’d give a high recommendation to looking for your favorite music on vinyl record in this city, a mecca flush with musical goodness. 

The Man, the Myth, the Organ: "Respect" by Jimmy Smith

Historically, jazz musicians have always been regarded at the top of the list when it comes to having “cool factor.” Jimmy Smith was arguably located in the coolest category of jazz musicians: jazz organists. From Wild Bill Davis to Joey DeFrancesco, jazz organists’ fingers have always flown across the key bed with an effortlessness that seems to mystify even the most casual music listener. 

Jimmy was not only in the coolest category of jazz musicians; he was the coolest. From his laid-back demeanor to his nonchalant virtuosity, he was the go-to man for hipness when it came to finding the right balance between funk and jazz sensibilities. And, he was dedicated. Rumor has it that, when he decided to switch from piano to organ in the 1950’s, Jimmy locked himself away in a warehouse with a hammond organ in order to learn to play bass parts with his feet. 

If you haven’t seen a jazz organist play live before, it is a syncopated dance in which the player, for all purposes, is a one-man band. A traditional jazz organ trio might include only a guitar, drums, and organ, which oftentimes leaves the organ player to fill out the lead, bass, and comping parts. Though the album “Respect” also includes Ron Carter on bass, it features Jimmy Smith as the powerhouse groove-making machine that he was, powerhouse enough to many years later be sampled by the Beastie Boys. 

“Respect” is a highly-recommended album of reworked soul tunes from the Sixties including the title-track, the ubiquitous Otis Redding-turned-Aretha-Franklin mega hit of the era. Strangely enough, this track isn’t the highlight of the album. Its tight-fitting form doesn’t lend itself well to Jimmy’s band’s “jam-it-out” mentality, but an interpretation of Wilson Pickett’s “Funky Broadway” and a b-side blues called “T-Bone Steak” allow the band the time they need to find the groove and explore that true Jimmy Smith sound that has spanned nearly five decades. If you’re looking for instrumental interpretations that still carry the weight of 60’s soul stand outs, look no further than Jimmy Smith’s “Respect.” If you’re looking to hear one of the best keyboard players to ever hit that high jazz prodigy stage, look no further than Jimmy Smith. Plus, who doesn’t like a man doing karate poses in front of a B3 organ?