Customer Reviews

Water

5 star:		(15)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

I have seen Mr. Porter perform three different times. The last time at Smoke, last Wednesday. This most recent time, he had a smokin' band and he was up to the challenge. When the band and the singer challenge each other, and both step-up, it's a magical journey into the musical kingdom.

I bought the CD and I recommend it with unbridled enthusiasm. His voice reminds me a lot of Joe Williams, one of my favorite jazz/blues singers. He can interpret other people's songs- "Skylark", for instance- and does a beautiful job. But his own songs are the centerpiece of this CD. "Water," "Illusion," "Black Nile" and "1960 What?" are fine examples of the beauty, feeling, soul and social awareness that Mr. Porter puts into everyone of the songs he writes and/or sings.

As I was leaving Smoke, I told the owner that this man, in a fair world, should be filling up Giant Stadium. He should also be selling 100,000's of CD's. Buy one!

If you haven't noticed, female jazz vocalists have fallen upon tough times since the days of Ella, Sarah, Carmen and Shirley Horn. But unlike male vocalists, they aren't all but extinct. The scarcity of male jazz singers has less to do with the talent out there than with finding listeners who have any interest in it. Since Sinatra, Torme, and the occasional release by the iconic Tony Bennett, the only male vocalist to receive much attention is the gifted Kurt Elling.

Porter has a voice that is frequently reminiscent of Elling's, even if his scatting and vocalese are not quite up to that level as yet. Its full, slightly rough baritone quality has an "edge" that could easily overwhelm the spare accompaniment on a recording like this were the instruments--especially the piano--not miked exceptionally close and placed far forward in the mix.

It's a long program--over an hour--that would challenge any vocalist to sustain interest without the help of a full orchestra arranged by Riddle or Mandel. Porter fares better, perhaps, than Tom Vopat, whose recent Harold Arlen tribute album, despite the undeniable talents and appealing voice of the featured artist, becomes strangely wearing about half way through.

This is one of those albums that hearkens back to the '70s in its refusal to provide any relevant information (such as identifying the musicians). Nevertheless, the evidence suggests that Porter has worked closely with this rhythm section, which is unusually free and empathetic without seeming overly organized or merely "tight." (There were times I had to concentrate especially hard to find "one," even though the beat itself was clear and pronounced.)

The songs are appealing enough, but as with most original material these days, there's excessive emphasis on the Dorian, or minor, modality. Also, the vocal power has a tendency to overwhelm some of the sensitivities implied by lyrics expressing the tenderness of love, or the wonder and feelings provoked by nature. Only in "1960s What?" did some of that angry rhetoric seem entirely appropriate to the power of the words (suggestive of the 1960s notorious "Algiers Motel" incident in Detroit.)

Alto, flugel, and trombone are all used sparingly and tastefully. The altoist employs the virtually generic, tightly wound, "squeezed" sound that has been in vogue ever since fusion and New Age music became ubiquitous (where have the individual instrumental voices gone? the inimitable, "full-throated," embodied sound of Cannonball, Stitt, Desmond, Pepper, Woods, Bird--or Hodges?).

A highlight is the minimalist but highly effective accompaniment supplied by the pianist. He pulls off an especially beautiful and surprising key modulation in the introduction to Hoagy's/Mercer's "Skylark" and contributes a very simple yet daring solo on Van Heusen's "But Beautiful," in which his playing of the melody in the lower register with his left hand is reminiscent of the arranging of Gordon Jenkins, Sinatra's most frequent arranger after Nelson Riddle. On these two songs, as well as the last three vocal-piano duets, Porter is at his very best, elevating the lyrics to poetry, playing freely with the time, phrasing without regard to meter or occasionally singing way behind the beat without "losing" it.

In short, a frequently rewarding album by a highly promising new male voice.

Gregory Porter produces a sound that refelcts a new generation of jazz listeners.

I hope that he can make his way up to Toronto some time soon.

I've seen Gregory Porter twice at Jazz at Lincoln Center -- Powerful. The second time I purchased his CD -- Outstanding. He's written most of the music -- Amazing. Includes a great combination of jazz ballads, R&B, even a protest song. A significant depute CD. An artist to watch.

Gregory Porter is an AMAZING singer with a voice that covers you completely, dripping with every emotion you could imagine...pure heaven!Buy this cd , you will love it!

I categorize jazz singers into four categories: Those who have made it; those who never are going to make it; those who are underrated; and those who are criminally underrated. I have previously thought the fourth category to be the largest one (and I still do). But I had also previously thought the fourth category to be exclusively women singers. That opinion I change. Gregory Porter is now in that category. But he's too good to be there for long.

In listening to his original "1960 What?", I was struck by how much he sounds like one of the great soul singers of the 1960's - David Ruffin, Levi Stubbs, Harold Melvin.

Yet, listening to his original "Pretty," and the lazy way he swings the melody, leaves no doubt that he is a jazz singer. And to put an exclamation point on the matter, he does a manic whip and scat through Wayne Shorter's "Black Nile," the most exciting cut on the c.d.

And although he has Four Tops- or Temptations-type power on "Skylark," he changes his approach to sweetness throughout, as he also does on "Magic Cup."

Mr. Porter also is one of the most spiritual of all jazz singers. You can't miss his spirituality in "Wisdom," the title track, and the set-ender, a glorious a capella gospel treatment of the Anthony Newley song, "Feeling Good." For such a young singer from Bakersfield (home of Buck Owens), Gregory Porter is about as compleat an artist as there is.

This c.d. garnered a well-deserved Grammy nomination. And recently, Kurt Elling listed Gregory Porter as one of the singers he listens to. Gregory Porter is destined to get out of the "criminally underrated" category, and quickly. Very highly recommended. RC

This CD turned me into a jazz lover. I heard the song "pretty" on NPR. All songs are good! You won't regret buying this.

CHeck him out on YouTube and you will realize this guy is the complete package of a jazz singer. And if you're in New York, he is appearing at Smoke (105 & Broadway) every Thursday -- no cover!!

I bought this CD after hearing 1960 What? on the (internet) radio. I was not disappointed. This is is a superb Jazz CD, great vocals, great tunes, great solos, great band - highly recommended. I can't wait to have the pleasure to hear him live and can't wait for his next CD. The real thing.

Mr. Porter's voice is truly amazing. I love this cd and wish I would have found it sooner. I first heard his voice on WBGO radio. He is soulful, fluid and a joy to listen too. The arrangements are stellar and the muscians are amazing. Yes, it is mostly jazz but more importantly it's just GREAT music. If you buy this cd, you will not be sorry. He is a very gifted singer and songwriter.