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Gregory Porter's show started with a blast of musical energy and moved along on a tempestuous mingling of perfectly attuned modes. His voice, with deeply harmonic lining, and fuelled by vibrant inner propulsion, glided on the intervals with the kind of newness that made each theme sound like an improvisation.
The quartetChip Crawford, piano; Aaron James, bass; Yoshuke Saton, sax; and Emanuel Harrold, drumsgave a solid backing, moving along at the same time with a clear, distinct voice. Saton's nervous sax solos, with pertinent and sharply modulated pitch plunges, commented on the theme while the drum work was expanding its impact. The bass augmented the expression, and the piano highlighted the lyrical undercurrent.
The sinuous narrative of Porter's voice, meandering around the melodic pattern with an exquisite command of pitch and tone, and in perfect balance with the group's well tensioned act, gave a show of superlatives with a hint of soul, a touch of funk, a pinch of blues.
I was first exposed to jazz as a child. My father had a very special record collection of Frank Sinatra, Ella Fitzgerald, Louis Armstrong, Tony Bennett, Antonio Carlos Jobim, and many more of the greats
I was first exposed to jazz as a child. My father had a very special record collection of Frank Sinatra, Ella Fitzgerald, Louis Armstrong, Tony Bennett, Antonio Carlos Jobim, and many more of the greats.
I was mesmerized by the music and still am!