Gregory Porter | Liquid Spirit Blue Note Records By Peggy Oliver
In recent years, Motema Music emerged into a respected independent label with a solid commitment to their artists’ improvisational gifts and musical diversity. From Caribbean-born pianist Monty Alexander to former Living Colour drummer Will Calhoun, the New York-based company has drawn comparisons to jazz giant Blue Note Records in its heyday, swiftly
integrating soul, blues, gospel and avant garde flavors into its be-bop jazz mix. Much heralded and awarded vocalist Gregory Porter joined Motema in 2010, possessing the chops, attitude, power and musicality Blue Note would crave for and that critics have trumpeted large praises for since his appearances in the 1999 production of It Ain’tNothin’ But the Blues and as part of a Hubert Laws’ recorded Nat King Cole tribute project.His debut piece in 2011, Water, highlighted by the politically relevant “1960 What?” and follow-up from 2012, Be Good, featuring an ‘accidental’ a cappella rendition of “God Bless the Child,” exemplified Porter’s rich and expressive voice; transcending emotions and subject matter by painting notes every which way and injecting new life into jazz standards.
Perhaps it is circumstance, but Porter moves over to the now major label yet still artistic driven Blue Note Records for his latest, Liquid Spirit. Though slightly leaning towards the pop side compared to his Motema body of work, Porter never loses his unique flow of insightful
songwriting and phenomenal vocal dynamics.
There are spiritual morsels from the title track, piloted by a stomping and rollicking piano solo, hand clapping and lively brass hooks, capturing the essence of being in the spirit and filling those cups with water. Liquid Spirit evokes intriguing tributes on behalf of Porter’s family. “Movin’ kicks in high gear with gospel soul a la Sam Cooke with the drummer providing a sophisticated shuffle and Porter honoring his mom in a mostly indirect yet classy manner: “What does it mean when you say you want to be free/Free to sing/ Free to dance/ Free to let someone take a glance/In a world that’s free of me.” In another testimony of his parents’ legacy, “Free” loudly echoes soulful storytelling from Gil Scott Heron and Bill Withers, documenting the journey in providing for family financially and spiritually.
The love songs are in abundance, but they are anything but the ‘surface’ kind. “Wolfcry” illustrates a partner bearing the burdens of a relationship: “After I have saved you and gathered the pieces of your heart/ That’s when it starts/And then you gain your confidence/ And then leave your innocence and vulnerability with me.” “Water Under Bridges” spins an interesting perspective via a familiar pearl of wisdom: “If I could go back/I’d take our worst days/And our worst days/Are better than loneliness.” The great standard from Jule Styne, “I Fall in Love Too Easily” and the bluesy waltz “Lonesome Lover,” composed by the incomparable Abby Lincoln, strongly reflect love’s vulnerable side. Yet by far, Liquid Spirit’s most affecting moment is ”When Love Was King,” where Porter exercises his expertise in phrasing, colors, scale and tone with a engaging folk tale of a king who truly cared about his people.
In reality, it is quite tough in selecting the best of the best on Liquid Spirit. Even with the change of label homes, Porter still utilizes his captivating voice that birthed a solo career at Motema into an equally nurturing relationship with Blue Note. More simply said, just let Liquid Spirit and Porter’s special soulful ambience soothe the senses and stimulate the mind.
Five out of five stars.
Other Tracks:
“Brown Grass”
“No Love Dying”
“Hey Laura”
“Musical Genocide”
“Wind Song”
“The In Crowd”
