2005 studio album by David "Fathead" Newman
I Remember Brother Ray is an album by American saxophonist David "Fathead" Newman, paying tribute to his bandleader and mentor Ray Charles, which was recorded in 2004 by recording engineer Tobi Nova at Murphy's Place, a jazz club in Toledo, Ohio, and released on the HighNote label the following year.[1][2][3][4]
Reception
In his review on Allmusic, Thom Jurek states "If ever a musician had a pedigree for simultaneously lamenting and celebrating the late Ray Charles, David "Fathead" Newman does. Newman met Charles in 1952 and was a working member of his band from 1954-1964. ... Newman's signature Southern soul tone, saturated in warmth and emotion, is by turns buttery, fat, and back-porch tender. From the opening chorus of "Hit the Road, Jack," one can feel the great control Newman has over the dynamic quality of these tunes. He treats them as classics, albeit very familiar ones. He finds no need to force anything here, knowing that the tunes themselves provide all the inspirational magic necessary. Newman also stays close to the soul-drenched bone despite the sophistication of the arrangements and performances. ... This is a winner through and through".[5] In JazzTimes, Owen Cordle noted "Newman salutes his former boss and mentor with an album of personal highlights of their collaboration. Newman’s dark, dry tone, soulful phrasing and vibrato, and cool manner of falling off notes in this all-tenor date are mighty inviting. ... These are all fine performances. They demonstrate that economy and nuance can carry plenty of emotional juice. They also suggest why Charles held Newman in such high regard".[8] on All About Jazz, John Kelman observed: "While there will undoubtedly be many tributes in the near future, few discs will equal I Remember Brother Ray for its grace, honesty, and pure connection to the true essence of Charles' legacy".[6] In The Observer, Dave Gelly wrote: "With the new Ray Charles biopic in the headlines, we can expect an avalanche of 'tribute' CDs by all and sundry, but Newman really has the right credentials. He worked with the man for more than a decade and it was his laconic tenor saxophone that put extra spice into such classic albums as Ray Charles at Newport ... He plays like a singer, stating the melody with broad strokes and making it his own with turns of phrase and elegant little asides. With a just rhythm section and vibraphone for accompaniment, he has everything he needs to create an eloquent and memorable set".[9]
