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Gregory Porter: Sound & Vision

Gregory Porter: Sound & Vision
Chris M. Slawecki By

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Artists who mix or move between two styles, no matter how smoothly, sometimes risk being critically or commercially marooned between them. Gregory Porter sings in a style deeply steeped in the best soul and rhythm-and-blues schools; his deep and warm instrument conjures echoes of Sam Cooke, Lou Rawls and other legendary voices. Even so, his first two albums are unmistakably jazz records. Water (Motéma, 2010) and Be Good (Motéma, 2012) are brightened by sharp arrangements, shimmering production (by Brian Bacchus and Porter's musical director and occasional saxophonist Kamau Kenyatta) and the crack instrumental prowess of Porter's working band: bassist Aaron James, drummer Emanuel Harrold, saxophonist Yosuke Sato and pianist Chip Crawford.

The success of these first two albums seems to fit Gregory Porter's broader pattern: he has spent his life spanning and connecting distances. He was born in California and got his start singing in small jazz clubs in San Diego while attending San Diego State University on a football scholarship, but he ultimately relocated to the Bedford- Stuyvesant neighborhood in Brooklyn, New York.

Porter was raised by a single mom and grew up without his father. He spanned this emotional gap by throwing himself into the music of Nat "King" Cole, whose legendary mellow baritone Porter's own voice resembled. Porter listened to Cole's music for so long and so deeply that he imaginatively created a deep emotional connection with him in the absence of his own father.

In 1998, several threads of Porter's life came together. Kenyatta had heard Porter sing and was aware of his fondness for Cole, so he invited the young vocalist to visit him in the studio where Kenyatta was helping to produce Hubert Laws Remembers the Unforgettable Nat King Cole (RKO/Unique Records, 1998). When the flutist heard Porter sing along to the tracking for "Smile," Laws adjusted the setlist to include a bonus version of this Chaplin classic that featured his vocal—Porter's first studio recording. This session also kicked off a series of events that culminated in Nat King Cole & Me, Porter's more-or-less autobiographical musical that he performed for several successful months at the Denver (Colorado) Center for the Performing Arts.

Porter's star has since continued to ascend and glow. His debut, Water, was nominated for a Best Jazz Vocal Grammy Award and was named the Jazz Album of the Year for 2011 by Jazzwise magazine in the UK. He has also appeared in the UK as a featured performer at the London Jazz Festival, as a special guest on BBC4's Carole King & Friends at Christmas 2011 holiday television special, and on several live dates and television broadcasts throughout 2012 with the Jools Holland Orchestra.

Released on Valentine's Day, 2012, Be Good furthers Porter's unique connectivity between soul and jazz, while its insistent imagery reveals personal experiences that profoundly connect the singer and listener. "Mother's Song" honors the internal and external beauty of the primary influence on Porter's life, "a mother who taught all her children to love and be loved by each other." His simple declaration of love in "Real Good Hands" provides this set's most direct tune, emotionally, lyrically and musically. The singer's voice seems to organically flow in and out of "Painted on Canvas" with a sound as natural as the whisper of waves kissing the shore. The title track shares an indelible sense of loss and wonder, with Porter subtly opening up his range from the first to the second verse to reveal more of his grief and yearning.

Gregory Porter—Be GoodBut nothing that comes before is preparation for the last two tunes on Be Good. Porter's furious flight through lyrics about a prison chain gang in Nat Adderley's "Work Song" reveals the full range of his power and depth—and his band kicks this arrangement's ass. This might have explosively closed Be Good, but Porter's solitary a cappella rumination through "God Bless the Child," Billie Holiday's prayer of hunger and loss, lays it more gently to rest, swaddled in the profound and intimate sound of a man connecting his voice with his muse.

With Be Good, Gregory Porter continues to connect and span distances. "The more personal your story, the more universal it is—the more people connect," he suggests. "People know what it is because they feel like they're going through it with you or they've been there themselves."

All About Jazz: Not many male singers who have the type of instrument you have sing in the jazz context that you sing in, so that's where we'd like to start. How did the band behind you come together, and how did your relationship with them start?

Gregory Porter: St. Nick's Pub at 149th and Saint Nicholas in Harlem. We had all come to work there on Tuesday nights. All of us were brought together by a musician who had Monday and Tuesday nights there, Melvin Vines, a trumpet player. One thing led to another, and when it came to the point that I was going to record, I wanted to have the rhythm section that I was working with, that had played some of the songs that I was working on for Water at St. Nick's Pub. When it was time to record, those were the cats to do it.

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