The passing of Ray Charles marked the end of an important referent for Guyanese life for my generation - those born in the mid- 1940s. One of the first e-mails I got about the passing of Ray Charles was from Carl Morgan. He was asking members of his list whether we could remember two places - Itabo and El Globo.
Itabo and El Globo represented important places in the life of a group of young, urban Guyanese males in the early 1960s - our political awakening and deeper journey into the world of jazz.
Itabo, on Murray Street, was a stone's throw from Hamid's cake shop at the corner of Camp and Murray Streets. At this corner 'limed' Swansea, which was the apex of the Georgetown 'sweet boy gangs.' The members of this group which included Ian Harry, Winston Ramalho, Percy Boyce, Duncan Callender, Reggie Dash, and Roland Edwards, were athletic and fashionable. They wore Banlon jerseys, Wrangler and Lee jeans, Dunlop yachtings, moccasins, and 'button-down' collared shirts. Their style was clearly American.
In the early 1960s, gangs were not involved in crime or violence. They were groups of young men who socialized together. 'Liming' at Hamid's corner provided a vantage to point to observe the young ladies who attended Bishops' and St Rose's High Schools.
Itabo was the first coffee shop that I can recall in Georgetown. In that 'bottom house' cafe, my generation met with Steve De Castro, Clairmonte Moore, Brian Rodway, and others. Here the locally grown coffee was brewed strong, the conversation was flavoured with progressive political ideas and rhythms of the beat poets - Ginsberg and Ferlingetti. The ambient music was jazz. The jazz music of Ray Charles had a very special place in this Bohemian-inflected space. We were awed by Charles's versatility on the organ, piano, saxophone, and drums. His soulful voice shared with us the pain that connected the Guyanese struggle with the African-American one.
In retrospect, the popularity of Ray Charles's music during this era was emblematic of the contested social and political realities of the early years of the 1960s. What was taking place was the acceleration of the Americanization of British Guiana - some of it deliberate and some of it environmental. Ray Charles, along with Brooke Benton, Sam Cooke, Chuck Jackson, and Ben E. King, helped to diversify of the soundtrack of urban youth in British Guiana.
The other venue that Carl Morgan brought to our attention was El Globo on Regent Road. For many of us, it was at El Globo that we saw the first television set, saw advertisements for a beer called Schlitz, played our first game of skittles, and had access to a Wurlitzer juke box full of Ray Charles's music.
The selections chosen by a customer told you about his state of mind. Born to Lose, told you that the customer was blue. I've Got a Woman told you that the selector was in good spirit - he may have found a new love. I Can't Stop Loving You was an early signal that a true love was joining the exodus from Guyana to the United Kingdom, Canada, or the United States. The music of Ray Charles spoke to the emotional life of my generation.
Ray Charles's music was also featured in the political drama that was unfolding in British Guiana. Hit the Road Jack was more than an up-tempo song about a woman sending a man packing and his pleadings.
The song became associated with an anti-PPP campaign. It reminds us of the efforts to remove Trinidad-born Jack Kelshall from his position of influence in BG politics.
In a recent edition of Rolling Stone, many of the world's leading musicians such as James Brown, Billy Joel, Bonnie Raitt, Paul Shaffer, Keith Richards, James Taylor, Ahmir Thompson, David 'Fathead' Newman, and Brian Wilson attested to Ray Charles's influence.
"Ray Charles defines soul, in the battle of the soul giants, he is the undisputed king," said Paul Shaffer. "He was just the funkiest organ player. Today I hear his influence everywhere from R. Kelly to Beyonce to Usher."
Ray Charles also influenced a generation of Guyanese vocalists. Ted E Jones acknowledges the influence of Ray Charles on his style. Jones, who started to sing with the Rhythmaires in 1963, recalled that I Can't Stop Loving You, Georgia, and Hit the Road Jack were important songs in his repertoire. He credits Charles for demonstrating the power of the moaning, blues, and R&B styles.
"Pepe Romo was immersed in Ray Charles," remarked Jones. Other Guyanese singers influenced by Ray Charles include Jimmy Ray and Tony Ricardo, according to Jones. Jones still has an active musical career in New York, and the lessons he learned from Ray Charles remain important ones.
"He left us a legacy and I hope that the younger Guyanese singers will take note and study from the master," said Jones.
Ray Charles came into the consciousness of Guyanese society at a crucial time. His music helped to create the soundtrack for an entire generation. Thank you, Ray.
Sources
E-mail from Carl Morgan, June 15, 2004
E-mail from Desmond Roberts, June 15, 2004
Telephone interview Ted E Jones/Vibert Cambridge, June 22, 2004
"Remembering Ray" Rolling Stone (Issue 952/953. July 8 -22, 2004), pp. 102 - 104 & 132 - 133.