Since Jones is essentially a latter-day Bonnie Raitt, it’s also no surprise that Raitt sounds equally great on “Do I Ever Cross Your Mind?” And jazz diva Diana Krall acquits herself well enough on “You Don’t Know Me”, despite co-producer Phil Ramone’s overblown orchestral arrangement. Jones proves to be the perfect accompanist, sounding completely comfortable and wise beyond her years in that she knows to respect her elders and keep out of the way. Charles and Norah Jones open the proceedings with a first-pitch home run on “Here We Go Again”. When it works, Genius Loves Company is so good it’ll make you miss him even more than you did before. Most yield a mixed bag like Genius Loves Company, a duets album the late great Ray Charles recorded before he died in June. ![]() A precious few of these projects turn out to be artistically admirable (Los Lobos’ recent The Ride), and fewer still pay off commercially (Santana’s Supernatural). ![]() Take a venerable, well-respected act past his commercial prime pair with a bunch of famous friends and admirers cross fingers that fans of the latter will flock to hear the combination. It’s the music-business equivalent of a gold watch: the all-star supersession, heavy on big-name guests.
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