POP MUSIC REVIEW : Can’t Stop Loving the Genius of Ray Charles : His voice has lost little of its strength or buzz-cut character; his vocal theatrics and lyrical asides were controlled, convincing.

We see so much of Ray Charles on television these days that we tend to take him for granted. But the chance to see him perform in person with his orchestra doing numbers longer than one-minute commercial plugs reminds us why he is one of the most important entertainers of the last 35 years.

Although he stuck to past glories Sunday in the first of three nights at the Coach House, Charles demonstrated his trademark enthusiasm while inserting enough twists and variations in the familiar material to keep it from being predictable.

Splashy arrangements of “Georgia on My Mind” and “What’d I Say” washed back and forth between dynamic peaks, allowing the singer to pull out all the emotive stops. Although his enunciation has suffered a bit, his voice has lost little of its strength or buzz-cut character over the years. His vocal theatrics and lyrical asides were controlled and convincing. And there wasn’t a single “uh-huhh” during the whole performance.

Charles’ playful sense of phrasing goes a long way in keeping the standbys fresh. He never rushed a line, preferring instead to place them behind the count, often with variations that personalized the lyrics. This, and solid support from the 17-piece ensemble on arrangements peppered with rhythmic and harmonic surprises, made it easy to forget that Charles has been doing some of this material for more than a quarter century.

While covering all facets of the blues-gospel-jazz-pop-country hybrid that kept his fans guessing back in the ‘60s, Charles seemed strongest on the jazz-based material. “How Long Has This Been Going On?” opened as a slow-paced ballad that built on brass crescendos until reaching a searing peak on screaming horns, shattering cymbal play and Charles’ sustained falsetto. This slow-build, big-close approach was typical of most of the material.

Charles applied Count Basie-like spareness to a brief electric keyboard solo on “You Made Me Love You,” and the tune ended fittingly enough with the signature three-note Basie ending. “Oh, What a Beautiful Morning” started out as a light jazz waltz, then worked itself into a giddy frenzy as Charles began to stomp and sway, lifting his foot over the top of the keyboard while all the while offering his trademark smile.

With the Raelets on stage (“all five tonight,” Charles boasted), the singer delivered Don Gibson’s “I Can’t Stop Loving You” in deliberate, reserved tones while the backup vocalists soft echoes added a particularly gentle touch. On their own, the Raelets wove four-part harmonies through the gospel flavored “One Hurt Deserves Another” while Charles accompanied them on the piano.

The orchestra, directed by alto saxophonist Al Jackson, opened the show on the snappy “Ain’t Nothing Wrong,” a vigorous workout that that pegged them as a serious, competent big band. But once Charles arrived on stage, they spent the rest of the show in his shadow. The only solo spot of note was baritone saxophonist James Farnsworth’s brief burst in front of the band during “You Made Me Love You.” Even Charles’ short keyboard excursions were over too soon to develop a real narrative sense.

Still, if asked after Sunday’s show whether Charles still deserves his nickname “the Genuis,” there’s only one reply: “Uh-huhh.” * Ray Charles concludes a three-night stand at the Coach House, 33157 Camino Capistrano, San Juan Capistrano. Show times: 8 and 10 p.m. $39.50. (714) 496-8930.