The fabulous Ray Gomez passed away, “one of the greatest to ever do it, a man that redefined modern electric jazz guitar in the late ’70s,” as Joe Bonamassa wrote upon hearing of his departure for the great gig in the sky. Sadly, Ray wasn’t as well-known as his talents deserved, and for most of his life Gomez remained a musician’s musician. Still, while quite many listeners might have first heard of him – or him – on the “Rattlesnake Guitar” album, where Ray paid tribute to Peter Green among other stars, and the connoisseurs remembered Gomez’s playing on Patrick Moraz “The Story Of I” or the song “Mano A Mano” by HALL & OATES, there was much more to him.
Born in Morocco in 1953 and relocated to Spain when he was twelve, Ray’s first tryst with success was with POP-TOPS whose take on the perennial “Mamy Blue” became a massive hit in 1971, but two years later Gomez found himself in the UK thanks to an invitation extended by fellow guitarist, George Harrison, and soon after a jam with Carmine Appice resulted in the youngster’s move to the US. A supergroup with the drummer didn’t happen, though, and neither did Ray’s stint with John Lennon, yet once there, it didn’t take him long to get acquainted with Stanley Clarke – and the star was born. Ray’s work on “School Days” and a few more of the bassist’s records over the following decade is exemplary, as is what Gomez did on Lenny White’s “Big City” and several Narada Michael Walden’s platters.
Later, he shone on albums by Cat Stevens and Chaka Khan, Jeremy Spencer and Roy Buchanan, Jack Bruce and Aretha Franklin, Alphonso Johnson and Joachim Kühn – but throughout his life, Ray, self-effacing yet self-aware, used to kneel at the altar of Hendrix and his mother whom Gomez lost quite recently. That possibly was what shattered this gently intense artist’s world. He will be so, so sorely missed.
