Vocalist and trombonist Ray Greene has been a mainstay of the Boston music scene since enrolling at Berklee College of Music in the mid-’90s. He was a member of a popular area soul band, performing music by the likes of Tower of Power, when a friend suggested he audition for the position of lead vocalist for that legendary soul-funk outfit. What’s more, the friend had Tower of Power leader Emilio Castillo’s phone number and personal email address.
Greene subbed for outgoing vocalist Larry Braggs in September 2013, and the next month got the call to be his replacement. Two years in, Greene got another call, this time from Carlos Santana’s personal manager. Turns out Santana was looking for a new lead singer, and made an offer that Castillo, his then-current employer, said Greene couldn’t refuse.
Ray has been a member of Santana’s band now for five years. While he loves being out front, he’s always has his horn at the ready as well. Today, Ray Greene joins Ross Boissoneau to discuss career-shaping albums by Michael Jackson, Aretha Franklin and Ray Charles:
MICHAEL JACKSON – OFF THE WALL (1979): This was the very first record I ever bought with my own money. It was probably an allowance my parents used to give us. The Jackson Five had been so influential on so many levels. Musically, they were dynamic, talented and exciting. However, culturally, they were supreme in the way they influenced little black girls and boys with their incredible musicality and showmanship. When Michael Jackson released Off the Wall, it represented everything I felt was important in music. It had great up-tempo songs, as well phenomenal ballads. The songwriting was stellar and the playing was out of this world! Real strings, live horns and rhythm section and MJ, who was at the precipice of becoming the “King of Pop.” I used to sing “She’s Out of My Life” everyday and mimic the sniffle and cry at the end, just like MJ did on that song.
ARETHA FRANKLIN – YOUNG, GIFTED AND BLACK (1972): I actually discovered this record much later in my life. There was so much tremendous soul music released the year this record came out. I love “Oh Girl” by the Chi-Lites, “If You Don’t Know Me By Now” by Harold Melvin and the Blue Notes, “Everybody Plays the Fool” by the Main Ingredient and of course, “Me and Mrs. Jones” by Billy Paul. But Aretha Franklin’s record was so groundbreaking in the way she unashamedly incorporated different genres and her influences on this record. The personnel list alone is a who’s who of R&B/soul dignitaries who were all at the absolute tip-top of their respective games: Cornell Dupree and Hugh McCracken, Donnie Hathaway and Billy Preston, Chuck Rainey, Bernard Purdie, the Memphis Horns. Of course, the extra special sauce was the way Ms. Franklin was able to weave so effortlessly from sassy to sweet to full-throated gospel diva. Her flexibility is on display throughout this album. She covers Otis Redding, the Beatles and Elton John, but it’s Aretha’s own songs that floored me. Her keyboard chops are also on full display here, as well.
RAY CHARLES – THE COMPLETE COUNTRY AND WESTERN RECORDINGS (1998): Wow! What can I say about this album?! This was another record I discovered much later in my life. I can’t say I had given Ray Charles as much credit as he had obviously earned. I had some of his albums and, of course, recognized his contributions to music, but I didn’t hold him to the level he so richly deserved. That is, until I heard him sing on these recordings. I was singing for a lot of weddings and corporate functions at the time. And invariably, I would be tasked with singing some country songs, in addition to the pop and dance songs popular at the time. I enjoyed learning and singing many country songs that were being played, and even purchased quite a few of my own. I enjoyed playing Willie Nelson and Merle Haggard. But when I heard Ray sing “Do I Ever Cross Your Mind,” “Woman,” and “Wichita Lineman,” it was all over for me. Ray gave me permission to always be me, regardless of what style of music I’m singing. And his range of vocal emotion is unmatched, especially in popular music. No matter the genre of music, Ray Charles sounds as authentic as any singer versed in the particular style he’s singing in.
WHAT I’M LISTENING TO NOW: Idrissa Diop, Manu Dibango and Oumou Sangare represent several African artists I’ve been listening to quite a bit lately. This is in direct response to Carlos Santana’s influences on my listening preferences. When Carlos was preparing to record his Africa Speaks record a couple of years ago, he had us listen to many, many artists from all over the continent of Africa. I was immediately head over heels with the sounds, the voices, and the way the music made me feel to my core. I accompanied my daughter to Ghana for a work trip and was transported even deeper still into what it is to be African-American. I seek out this music now because of the connection I feel to Mother Africa as I listen to it.
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