Ray Charles’ Genius Ages Nicely

Ray Charles’ voice and his alto saxophone aren’t quite what they used to be--a bit foggy in the case of the former, somewhat slippery in the case of the latter. But saxophone has always been a novelty sidebar, and his keyboard work is as masterful as ever.

Best of all, there is the continued magic of his phrasing, his interpretive wizardry and his sheer presence as a performer. One of the fountainheads, along with Aretha Franklin, of most of the pop music singing styles of the post-’60s decades, he still possesses everything he needs to sustain his title of “Genius of Soul.�

On Friday at the Hollywood Bowl, performing with a trimmed-down version of the Los Angeles Philharmonic (conducted efficiently by Victor Vanacore), his own big band and the inimitable Raelettes, Charles once again reaffirmed that fact with an hourlong romp emphasizing classics such as “Georgia,� “Hit the Road, Jack,� “I Can’t Stop Loving You� and “What’d I Say.�

Familiar though they may have been, both to Charles and the enthusiastic crowd, they emerged without wear or tarnish, full-blooded tributes to his ability to use his musical resources to the fullest.

Material less directly associated with Charles--�Being Green� (a classic for Lena Horne), “A Song for You� (the Leon Russell specialty) and “Guess Who I Saw Today� (a Nancy Wilson favorite)--received transformative renderings.

Like Frank Sinatra, Charles immediately stamped the songs with his own likeness. And, despite an occasional squiggle here and there, the resulting renderings were among the most engaging offerings of a delightful musical evening.