Ray sounded like no other keyboardist. And frankly, no other keyboardist ever adopted his sound or approach. It's rare that someone that unique and popular does not inspire imitation like Wakeman, Jan Hammer, Jon Lord, Keith Emerson, Chick, McCoy, Herbie and others did. He was a bit like Herbie Nichols or Dominico Scarlatti - a very different voice in his time...appreciated, but rarely imitated and not stylisticaly influential like his peers. His individuality was unquestionable, he copied nobody and had the rarest of gifts - the ability to speak authentically from within.
Manzarek was the epitome of excellence in accompaniment. He "got it" when it came to making the lead voice sound great. He kept his foundation fresh but never got in the way. Like Hendrix, he made his instrument sound different and went places that others never even thought of. Check out the energy he provides in Touch Me, behind Curtis Amy's sax solo. Also listen to how he weaves a harpsichord behind Morrison's vocals. Who else would conceive of that color in a rock tune?
Who else would go on national TV with his keyboards half disassembled so that he could tweak them if necessary to get the perfect sound? Ray's gift was making the band and soloist sound amazing. His goals were clear, and he accomplished them with rare consistency.
Listen to his high-speed vibrato Rhodes mood setting in Riders on the Storm. Without Ray, it's just another tune. With Ray, it's an all time classic. His solo on that tune demonstrates a unique authenticity in both the rock and jazz idioms. Others tried hard to crossover between the two music forms. Ray just went there naturally, without exposing a bias towards one or the other.
Check out how he sets Whiskey Bar up with a polka feel, complete with an accordion/harpsichord tonality to support Morrison's playful lyric. It's hip and very courageous. Like Stevie Wonder's Village Ghetto Land, Ray introduces a sonic pallet that should be out of place for the tune and the musical idiom, but he makes it sound completely at home and natural. Again, take Ray out and...just another tune. Add Ray and it's magic!
Ray was also unique in his ability to cover the baselines with his trusty Rhodes Piano Bass. Left hand bass was unheard of in rock keyboard circles, still is to this day. But Ray covered it perfectly for his entire career. His time and feel were perfect and the groove was always solid, alive, but never intrusive.
Ray left behind a great legacy and I would expect his influence, and the appreciation for his rare gifts, to increase over time. As a musician, I envy his natural ability to speak from a different place...as Ray and nobody else. And his courage to take the music to places that others never imagined. Most of all, I respect his sensibilities to do this while also supporting one of the great vocalists of his time, never in the way, but always enhancing that voice. Morrison would never be Morrison without Ray. I get that, and I suspect many others will in the years ahead.
