Wonderful Rise and Fall
I have struggled with this album. Struggled at first to hear
it as memorable as his previous Liquid
Spirit – expecting and knowing it would be good, even very good, but having
the highest expectations – and then listening more and more [this in itself an
indication of considerable appeal as I rarely revisit these days] I have
struggled to think of superlatives in describing without resorting to simple cliché
or simple enthusiasm.
This initial reservation is probably because of the whole
album’s easy accessibility, the collection of mainstream and pop and soul jazz,
all consummately calm and pleasant and brilliantly orchestrated and sung.
Again, all the least I would expect, this aroused by my consistent liking for
Porter from his first Water in 2010
[reviewed here] to seeing him so recently live in Bristol.
Opener Holding On
sets a template for later tracks that clinched the deal for me, the deal to
regard this as an outstanding album. Its staccato piano chords and walking bass
reflect a pattern of rise and fall throughout so many tracks that take Porter’s
vocal through its effortless range, but especially lower which has a hypnotic impact.
A fine song in its own right, and some reviewers have regarded this and the
next two to three as its core strength [a ‘top heavy’ observation in the
allaboutjazz excellent review], I favour later tracks. The most upbeat on the
album, second Don’t Lose Your Steam continues
to be haunted for this listener by its repeated tandem address young man because, ridiculously and
annoyingly, I keep hearing the Harry Enfield catchphrase quip from The Lovely
Wobbly Randy Old Ladies Ooh! Young man!
I don’t imagine Porter will be aware….
The title song is the third track, and as I said in my
review of his Bristol gig, I was pleased to hear it live and experience
something of its gentleness as an emotive encounter, and on the album Alicia
Olatuja accompanies beautifully, Porter’s bass notes taking some command now,
Keyon Harold on late-night trumpet serenade.
The album hits its stride with fifth Consequence of Love, dominant if simple opening piano chords and
walking bass again, the melody line rising up and down until hitting a mild
funk beat and Ondrrej Pivec on distant organ. It is so simple and effective.
Next In Fashion grips tighter, a
staccato piano striking setting the rhythm before that breaks into a little descending
sweet succession of notes, Porter’s vocal climbing from low in the opposite
direction and then plaining on a cuddly scat, it that isn’t too much of a
paradox. Seventh More Than a Woman
glides up and down to rest deep in the title line more than a woman, resonating there, and a gorgeous tribute to
Porter’s late mother, gave love life,
and religious references given a deep metaphoric meaning in this genuine eulogy
whereas lyrically Porter can occasionally come across as twee if always
earnest.
Ninth Insanity is
a lovelorn ballad moving through that range with Harold serenading again, Aaron
James superb on bass, and Porter reverberating his bass vocals to passionate
effect. Tenth Don’t Be a Fool is a
gospel tune, Pivec in background again but authentically layering a spiritual
organ, Porter and Olatuja combining so sweetly on listen to these charms, baby I’m not fooling, and fall into these open
arms of love: quite sublime. Penultimate Fan the Flames reminds that upbeat does exist on this album and the
band getting a work-out as well as Porter delivering some ‘proper’ scatting,
but it is the serene rise and fall that exudes throughout the whole, if slowly
over listens, its warmest embrace.
[Top picture is of the signed card received when having pre-ordered the cd; there is now a deluxe edition with further mixes, and it does extend the excellence]
