Studio Album · No. 2
The Great Ray Charles Songwriting Credits by Ray Charles
Produced by Ahmet Ertegun, Jerry Wexler · Engineered by Earle Brown (recording), Tom Dowd (recording)
Holds writing credit on 1 of 8 tracks
Authorship Breakdown 1 / 8 documented
Scored across the 8 tracks with documented writers, by whether Ray Charles carries a lyricist or composer credit.
Share of the 8 tracks where a band member is credited, by role.
By the Numbers
The Great Ray Charles is the odd one out in Charles's early Atlantic catalog: a showcase for his pianistic gifts over a backing orchestra, with no vocals and none of the gospel fervor that defined his R&B output. Recorded in New York over two sessions in 1956, engineered by Tom Dowd and Earle Brown, the album draws heavily from jazz standards and blues instrumentals, positioning Charles as a legitimate jazz pianist rather than simply an R&B showman. It rarely appears in critical retrospectives of his career (it charted poorly and was overshadowed by his commercial vocal work), but it's the clearest early evidence of his instrumental range and the jazz foundation beneath everything else he did.
The Great Ray Charles is a studio album by Ray Charles, released in 1957 on Atlantic Records and produced by Nesuhi Ertegun, distinct from Charles's R&B work in its focus on jazz piano performance, presenting Charles as a jazz instrumentalist and vocalist within the Atlantic jazz catalog alongside his concurrent R&B recordings. Charles wrote and arranged much of the material; the album includes instrumental performances that draw on his jazz training and his years as a sideman and bandleader before his breakthrough on Atlantic, demonstrating the jazz vocabulary that ran beneath all his R&B work. The album featured notable jazz musicians including Milt Jackson (vibraphone) on several tracks, giving the recordings a chamber jazz intimacy different from the full-band soul productions that defined the R&B catalog. The Great Ray Charles was released simultaneously with the R&B album of the same name, reflecting Atlantic's recognition that Charles operated credibly in both commercial domains, a dual identity that would sustain his career across multiple genre categories for the following four decades. The album is significant as documentation of Charles's jazz foundation: the harmonic knowledge, improvisational ability, and rhythmic intelligence that made his soul performances so formally sophisticated were all derived from this jazz training.
Track Listing & Credits 8 tracks
| # | Title | Lyricist(s) | Composer(s) | Producer(s) | Performers |
|---|---|---|---|---|---|
| 1 |
The Ray
|
Quincy Jones | Quincy Jones | Ahmet ErtegunJerry Wexler | Ray Charles (Piano) |
| 2 |
My Melancholy Baby
|
George A. Norton | Ernie Burnett | Ahmet ErtegunJerry Wexler | Ray Charles (Piano) |
| 3 |
Black Coffee
|
Paul Francis Webster | Sonny Burke | Ahmet ErtegunJerry Wexler | Ray Charles (Piano) |
| 4 |
There's No You
|
Tom Adair | Hal Hopper | Ahmet ErtegunJerry Wexler | Ray Charles (Piano) |
| 5 |
Doodlin'
|
Horace Silver | Horace Silver | Ahmet ErtegunJerry Wexler | Ray Charles (Piano) |
| 6 |
Sweet Sixteen Bars
|
Ray Charles | Ray Charles | Ahmet ErtegunJerry Wexler | Ray Charles (Piano) |
| 7 |
I Surrender Dear
|
Gordon Clifford | Harry Barris | Ahmet ErtegunJerry Wexler | Ray Charles (Piano) |
| 8 |
Undecided
|
Sid Robin | Charlie Shavers | Ahmet ErtegunJerry Wexler | Ray Charles (Piano) |