Ray Charles tribute celebrates music for its own sake
They were actually singing “Hey hey, all right!” at the moment the roof was raised by pedigree vocalists, a big band and a gospel choir. But it also sounded a little like they were saying, “How’s this sound, acrobats?”
OK, that’s just me layering a little extra symbolism onto “Georgia On My Mind: Celebrating the Music of Ray Charles.”
The Venetian show doesn’t beg for it. It’s as straight-up and true to the title as you could ask for, a pristine gathering of seasoned pros paying tribute to a legend of near-universal appeal.
But locals and old-Vegas aficionados — particularly those who miss Holmes’ headliner years at Harrah’s — will see this limited run (continuing through Oct. 29) as not just his return to the Strip, but that of a Vegas show celebrating music for its own sake. No gimmicks or excessive production required.
The odds are long for this being more than a symbolic victory. As acoustically wonderful as it sounds in the former “Phantom” theater, “Georgia” seems like a long jump from The Smith Center for the Performing Arts, where it debuted in February.
Comparing the average age of those inside the Venetian Theater to those in the outlying casino, you wonder whether the latter might think of “Georgia” as something to take their moms or grandmothers to on Mother’s Day.
And “Georgia” does play like a PBS “Capitol Fourth,” with an almost studious perfection in its showmanship. Isn’t it said the world’s most beautiful women all have some unusual feature that keeps their faces from being too flawless and symmetrical?
But man, does it sound good.
Las Vegas favorite Holmes gets the most stage time as host and connective thread, paired with other veterans who enjoy solid followings if not an A-list level of fame.
Saxophonist Kirk Whalum was a longtime sideman to Whitney Houston and laid down the solo on “I Will Always Love You.” Take 6 is a veteran a cappella group that, like Charles, plays both the gospel and secular side of the fence. And singer Nnenna Freelon is a secret too well kept by jazz buffs.
Put them all together, and you have 80 minutes that, after a half-hour of dutifully scripted transitions, may have you looking seductively over your glass and purring, “But enough about Ray. Tell me about you.”
Charles does give them a wide canvas with plenty of room to paint. Holmes can venture into the audience for a hushed “Oh, What a Beautiful Mornin’,” or team with Freelon for the oft-recorded duet “Baby, It’s Cold Outside,” thanks to the Charles and Betty Carter version being one of the benchmarks.
It even allows a couple of Count Basie charts — Holmes on “Come Live With Me” and Freelon on “How Long Has This Been Going On?” — under the stretch of the posthumous “Ray Sings, Basie Swings” album, which paired Charles’ isolated vocals with new music from the Basie ghost band.
Holmes sounds like he’s channeled Charles in his phrasing on “Let the Good Times Roll.” Yet the cast is free to take risks that can backfire: Take 6 turning the usually moody “Rainy Night in Georgia” into a borderline-silly showboat with vocal beatboxing.
But most of the songs felt like the artists were at home, not under house arrest. Whalum doesn’t claim a song all for himself, but sticks around to join in nearly every tune, and goes note for note with Holmes’ vocalese scatting before the two break into “I’ve Got a Woman.”
The judicious use of the Las Vegas Mass Choir helped raise the goose bumps, but it wasn’t always the full-blown songs that did the trick.
“Whew,” Freelon said, fanning herself and momentarily suspending the banter after she and Whalum tore up “Deed I Do.” “I need a moment.”
A lot of us need those moments in the showrooms again.
Contact reporter Mike Weatherford at mweatherford@reviewjournal.com or 702-383-0288.