GREGORY PORTER | LIVE REVIEW
St David’s Hall, Cardiff, Sat 15 Nov
We weren’t merely at a concert on Sat 15. Uh-uh. We were up on the musical mountaintop. And two amazing singers and a group of musicians got us there. This was a spiritual experience indeed. Chicken soup for the soul. Mixed into the pot were equal helpings of jazz and soul, with a bit of blues and a side serving of gospel.
Starting off, bringing bright Georgia rays, was singer/keyboardist Avery Sunshine (with guitarist Dana Johnson). She warmed everyone with her earthy tones, belting out, among others, hits by Carole King and Al Green, and her single Call My Name is climbing the r’n’b chart. Her ‘Lu-Retha Jackson’ medley/singalong was fun and loosened up the crowd. One of the few times you didn’t want the support act to exit so soon.
When the always nattily dressed Gregory Porter walked out, the audience was ready to show some love and he sure enough gave it right back. After just the opener, the multi-hued Painted On Canvas, Porter had us in the palm of his hand but also enveloped in a hearty embrace.
Joining him On My Way To Harlem, we met ghosts of artists past but also looked towards the future. With the rousing Liquid Spirit, we were at a Sunday revival, clapping fervently. He gave a stirring a capella prelude to a cover of the chain gang tale Work Song. The band were outstanding on eve-ry-thing (as was Porter), and on this, the sax players, Yosuke Sato (alto) and guest tenor Jean Toussaint, went crazy.
The Max Roach/Abbey Lincoln tune Lonesome Lover followed, with Porter displaying some serious scatting (like on Harlem, then segued into Hit The Road Jack and back again. Audience favourite, the waltz-like hit Be Good (Lion’s Song) was done, with wonderful work from double bassist Aaron James. Porter was defiant on the old school soul, Musical Genocide (right on), and drummer Emanuel Harrold was cooking with gas for real! Think I even heard part of The ‘In’ Crowd, {the} coolest song ever.
The singer/songwriter (reminiscent of Lou Rawls and Nat King Cole), shone superbly on the ballads, with lovely soloing from pianist Chip Crawford. Especially with the tearjerker, {Wolfcry}, Porter showed what it’s about: doing music that reaches in and grabs your heart.
The pinnacle was achieved with 1960 What?, his protest song addressing MLK, Jr.’s assassination and the Detroit riots. With his powerful baritone voice ringing out and the quintet more like an orchestra, the escalation, in sound and feeling, was tremendous. Couldn’t get any higher, so Porter brought us down gently, with a sweet one that must be every parents’ favourite, Real Good Hands, as the encore.
He and some of the other performers came out after the show to sign autographs, pose for photos and shoot the breeze – charm and warmth personified. We all were truly blessed that night by greatness. Amen!
words RHONDA LEE REALI photos GARETH GRIFFITHS
