“This Here”
Song by Ray Charles
Ray Charles and his adept jazz players blaze through a daredevil version of Bobby Timmons’ classic “This Here” on the 1970 LP My Kind Of Jazz.
Timmons’ original, the de facto title song of his first solo LP This Here Is Bobby Timmons (1960), was a showcase for his own piano playing; only a drummer and bassist join him. Ray Charles’ version is a much more ensemble affair: the main melodic theme is given to the brass section, while Ray’s own piano is often inaudible under the din.
(Ray covered another song from This Here Is Bobby Timmons: “Moanin'”, on his classic 1961 Genius + Soul = Jazz LP.)
Whereas the tension and angularity of Timmons’ version of “This Here” was due to his tightly-timed piano chords and sharp, well-placed licks, Ray’s version accomplished the same thing via its busy arrangement: a sax slides down a low melody while most of the rest of the guys bleat out the main theme, but another horn or three are off doing something else again. All at the same time. (The LP’s liner notes do not mention arrangers or players.)
Despite all this, the musicians don’t get in each others’ way; their professionalism keeps the whole thing together. It’s an exhilarating ride that threatens to leave the tracks at every curve, but never quite does.
The first solo is a saxophone, and is distinguished by sudden flurries of unexpected notes and a generally buoyant air of freedom and wandering – there are no rules! It’s basically a way to show off, but that’s fair enough – man is it hot.
Mr. Charles himself then comes in for his own solo, in a nod to the piano of Timmons’ original. The rest of the band retreats for this section, only the sputtering drums, bass, and guitar moving through the complicated chords over which Ray’s nimble hands pick out breathtaking sequences.
Following this section, a somewhat atonal saxophone then comes in for its own solo spotlight, proving to be the most adventurous yet. This is not pretty, melodic playing for the sake of a nice tune; this is a dedicated exploration of the dark, mildewy edges of the picture. The road is smooth, but what’s that over in the ditch?
For the rest of the performance, the complex arrangement has the saxes and trumpets veering wildly and trading enthusiastic, good-natured punches. Having nailed the piece in every respect, the guys and their clamorous take on “This Here” finally grinds to a halt, leaving the listener if not exhausted, then deeply impressed.
And, quite likely, lifting the needle on the turntable to hear it again.