“Porgy and Bess” by Ray Charles and Cleo Laine (1976)

Same producer - Norman Granz - already masterminded similar, two-singers, Jazz version with Louis Armstrong and Ella Fitzgerald some two decades earlier so this project seems kind of pointless because comparisons are inevitable and how to compete with these beloved titans anyway? Amongst other vocal versions I have also heard teaming of Harry Belafonte & Lena Horne, Sammy Davis Jr. & Carmen McRae and obscure but delightful “Betlehem” release with Mel Tormé and Frances Faye as Caucasian protagonists, all of them interesting in their own way but of course nobody can touch Armstrong and Fitz and I wonder what was Granz thinking, that it could be improved?

On positive side, where older recording was lush, string-laden album of its time, this modernised version is far more jazzy, brassy and robust - it even includes massive gospel choir and some interesting down-home southern, bluesy guitars so its not without its merit. Its swings very hard and the whole idea of two voices singing all the parts gives it kind of impressionistic feeling - this is clearly neither the opera, nor the nightclub after-hour performance but rather arty re-imagination of music. I always felt that main singers - excellent and celebrated in their fields - were curiously mismatched, because for the almost whole length of the album there was no chemistry between them (they really seems to click finally at the very end in “It Ain’t Necessarily So” which is excellent). It makes me even wonder was it in fact some kind of respectful showcase project for famous R&B star Ray Charles who had solid roots in Jazz and female voice was just necessary afterthought - British Jazz singer Cleo Laine (who, truth to be told, had much closer connections to Jazz) had to take step back to accommodate what was basically Charles spotlight. According to some accounts, the main focus was on Charles and Laine gamely went on with it, although her takes could have been perfected if they gave her a chance - pictures show them singing next to each other but stylistically and spiritually they seems to come from different places.

The album was successful on the market and even earned “Grammy” nomination as kudos to names involved. It won’t make you forget Armstrong and Fitzgerald and it takes a long time to finally catch the fire towards the end, which is glorious gospel version of “Oh Lord, I’m On My Way” that just proves my suspicion that it was basically solo project for Charles who gave it his particular bluesy touch.