Though a seemingly overnight star, Gregory Porter has obviously paid years of dues singing for free in small New York clubs. Edging into household name territory, his fame has grown exponentially since his first local appearance at the inaugural Love Supreme totally stole the show.
His appeal is cross-generational: from pipe-and-slippers easy listening lovers to kids raving at last year’s Wild Life Festival, where he sang ‘Holding On’ with Disclosure. Throw in a few Grammys and sold out shows at the world’s grandest theatres and he now finds himself at the top of the tree of best-loved and well-known jazz/soul vocalists.
His return to the Brighton Dome begins with the straight ahead jazz version of ‘Holding On’ that opens his forthcoming album ‘Take Me To The Alley’. The band has expanded and it’s the additional Hammond organ and muted trumpet that feature behind Porter’s booming voice.
The tempo increases as the band breezes through ‘On My Way To Harlem’ with famous former residents namechecked between some spot-on scatting and appreciative dancing from Porter. Ondrej Pivec’s organ lent a Muscle Shoals warmth to ‘Hey Laura’ backed by soft sax and gentle rimshots.
The new line-up and arrangements often have the feel of a Curtis Mayfield 70s soundtrack with only a string section missing to make this a live blaxploitation performance. This sound breathed new life into ‘Musical Genocide’ and saw pianist Chip Crawford throwing some classic soul riffs into his solos. He remained alone for a solo slot before Porter pulled up a stool for a gorgeous Nat King Cole/George Shearing style duet on new song ‘Don’t Be A Fool’.
After a dramatic beginning, fuelled by long term drummer Emanuel Harrold’s controlled explosions, the ensemble went all out on a hybrid of ‘Work Song’ and ‘The In Crowd’ that saw Porter stretching on tip-toes to squeeze out the best possible delivery.
The well-known ‘Be Good’ is an incredibly beautiful song, delivered tonight with gentle panache, but with its instantly recognisable bass line and chant it was ‘1960 What?’ that was the set’s crowning glory, with everyone giving their all. The standing ovation was hard-earned and well deserved. The man can simply do no wrong.
Opening the show was Nashville pianist and singer Kandace Springs and her trio whose debut Blue Note album is set to be released in July. In just thirty minutes she displayed a musical maturity and natural talent that stunned the audience. Her range reached Sarah Vaughan depths on ‘Soul Eyes’, complete with long-held and skilfully twisted notes, and high Dianne Reeves peaks with a lovely vibrato finish. Her set included a standard-in-the-making smoky late night torchsong and finished with a stunning version of ‘The First Time Ever I Saw Your Face’ that sounded as good, if not better, than Roberta Flack’s supposedly definitive version. If you missed her she’ll be back for Love Supreme.
Brighton Dome Concert Hall, Tuesday 19th April 2016
Words by Steve Clements
Photos by Fran Moore
