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Jazz - Publicado el 6 de mayo de 2016 | Universal Music Division Decca Records France

Hi-Res Libreto Premios 4F de Télérama
Liquid spirit, el debut de Gregory Porter para el sello Blue Note en 2013, no solo fue recompensado con el Grammy sino que terminó convirtiéndose en el álbum de jazz más difundido en internet de todos los tiempos. Por todo esto, su sucesor debía hacer frente a una enorme expectativa. Afortunadamente, Take me to the alley mantiene intacta la longeva y eficaz colaboración entre Porter y el productor Kamau Kenyatta, el principal secreto de su éxito. Finalmente aparecido en 2016, el álbum también incluye la versión de Porter de "Holding on", un tema que había escrito y grabado previamente junto al dúo electrónico Disclosure. © /TiVo
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Jazz vocal - Publicado el 30 de noviembre de 2018 | Blue Note Records

Hi-Res Premios 5 Sterne Fono Forum Jazz
En 2017 Gregory Porter dedicaba un álbum de homenaje, por no decir una carta de amor, a su mayor ídolo: Nat King Cole. Singular artista capaz de desenvolverse como pez en el agua entre el jazz y el easy listening, virtuoso, elegante e innovador pianista y, evidentemente, seductor vocalista/crooner dotado de una voz aterciopelada, profunda y romántica, reconocible de inmediato, nunca había brillado tanto como aquí. En este live londinense, grabado en el ilustre Royal Albert Hall, Gregory Porter está respaldado por su fiel cuarteto (el pianista Chip Crawford, el bajista Jahmal Nichols, el baterista Emanuel Harrold y el saxofonista Tivon Pennicott), pero sobre todo por los 70 músicos de la London Studio Orchestra dirigida por Vince Mendoza. Y que reúne no solo piezas indisociables de la personalidad de Nat King Cole (Mona Lisa, Nature Boy…), sino también un puñado de temas propios ( Hey Laura, When Love Was King, Don’t Lose Your Steam…). Resulta fascinante comprobar a lo largo de One Night Only cómo la voz de Gregory Porter refulge tanto acompañada por unas sofisticadas cuerdas como en los pasajes más movidos y groovys. Una paleta vocal verdaderamente mágica. © Clotilde Maréchal/Qobuz
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Jazz vocal - Publicado el 6 de mayo de 2016 | Blue Note

Hi-Res Libreto Premios 4F de Télérama
Liquid spirit, el debut de Gregory Porter para el sello Blue Note en 2013, no solo fue recompensado con el Grammy sino que terminó convirtiéndose en el álbum de jazz más difundido en internet de todos los tiempos. Por todo esto, su sucesor debía hacer frente a una enorme expectativa. Afortunadamente, Take me to the alley mantiene intacta la longeva y eficaz colaboración entre Porter y el productor Kamau Kenyatta, el principal secreto de su éxito. Finalmente aparecido en 2016, el álbum también incluye la versión de Porter de "Holding on", un tema que había escrito y grabado previamente junto al dúo electrónico Disclosure. © /TiVo
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Jazz vocal - Publicado el 17 de abril de 2020 | Blue Note

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Con All Rise, Gregory Porter vuelve a realizar una mezcla perfecta de jazz, soul, rhythm’n’blues, pop y gospel. Además de estar dotado de esa voz de terciopelo (tan verdadera a pesar de los clichés), el californiano conoce cada rincón de la Great Black Music y es también un compositor de grandes canciones. Y en estos tiempos (tan problemáticos en lo social), su pluma, a menudo sinónimo de esperanza y luz, genera baños de sonidos juveniles que nos vienen muy bien. Como en la Revival Song, una especie de himno neo-gospel que enciende el alma y desata los sentidos. Esta sensación de bienestar resulta ser la misma cuando Porter se pone el traje de crooner en temas como If Love Is Overrated o cuando camina sobre las huellas de Marvin Gaye y George Benson en Faith in Love. Disco producido con enorme clase por Troy Miller (Laura Mvula, Jamie Cullum, Emeli Sande), All Rise impulsa al cantante norteamericano hacia una mayor universalidad. Y con un álbum así, llegará sin duda a un público que va más allá de la esfera puramente jazzística. © Max Dembo/Qobuz
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Jazz vocal - Publicado el 2 de septiembre de 2013 | Blue Note

Hi-Res Libreto
After two solid albums on Motema, both of which earned Grammy nominations, singer and songwriter Gregory Porter makes his Blue Note debut with Liquid Spirit. A singer whose quicksilver vocal style refuses to be caged by either jazz, gospel, or R&B, his warm, inviting baritone utilizes them all when he wishes to. Using the musicians who appeared with him on 2012's Be Good -- Yosuke Sato and Tivon Pennicott, saxophones; Chip Crawford, piano; Aaron James, bass, Emanuel Harrold, drums -- Porter wrote or co-wrote 11 of these 14 songs. There is a dynamite reading of Billy Page's hard-grooving "The In Crowd" that highlights Porter's rhythmic phrasing. Though it's a soul tune at heart, he swings hard. The cover of Max Roach's and Abbey Lincoln's "Lonesome Lover" evokes the soulful post-bop spirit of the original and offers a bracing portrait of the singer's command of his own upper range. Covers aside, the real strength of Liquid Spirit lies in Porter's songs: his lyrics and melodies are as rich as his voice. Opener "No Love Dying Here" walks a line between jazz and soul; its life-affirming words are underscored by the effortless conviction and authority in his vocal, while Sato's alto saxophone solo affirms the lyric. The fingerpopping, handclapping gospel groove in the title track is punched up by saxophones and Curtis Taylor's trumpet. The call-and-response between Porter and James' bass is tasty, and one can hear a trace of Donny Hathaway in the singer's commanding, heartfelt delivery. "Hey Laura" is characterized by Porter's relaxed but utterly sincere delivery, and packs a knock-out emotional punch in his protagonist's plea to the object of his affection. "Brown Grass" is a close second in the emotional punch department; it's a love song to be sure, but a sadder one. Porter articulates his protagonist's regrets simply and honestly, and therefore resonantly. For all of his innovative ability to effortlessly combine, shift, and shape various musical genres in his own image, Porter is militantly old school -- check "Musical Genocide," as he celebrates the music of the past with a popping piano, hard-grooving horns, funky Rhodes, and swelling B-3. On the tender ballad "Wolfcry," he is accompanied only by Crawford; it's so hip and melodically rich, it could easily have been sung by a young Nat Cole. The way he and his band move through blues, jazz, gospel, and R&B -- simultaneously -- on the declamatory testimonial "Free" is breathtaking. The intro to "Movin'," near set's end, suggests Bill Withers, but Porter quickly shifts it into higher gear with the horns punctuating the ends of his sung lines. While his first two recordings revealed a major new talent with their promise, Liquid Spirit is a giant step forward artistically, and for the listener, an exercise in musical inspiration. © Thom Jurek /TiVo
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Jazz vocal - Publicado el 27 de octubre de 2017 | Blue Note

Hi-Res Libreto
En su quinto álbum de estudio Gregory Porter rinde un cálido homenaje a una de sus más grandes influencias, el legendario Nat King Cole. Junto al arreglador Vince Mendoza y la London Studio Orchestra, además de un grupo de avezados sesionistas de Los Ángeles, Porter recrea cuidadosamente el sonido de las grabaciones de los años cincuenta a través de un repertorio de clásicos como "Nature Boy", "Mona Lisa" o "The Christmas Song", a los que pone el sello de su considerable talento como intérprete. Romántico, sofisticado y excepcionalmente cantado, Nat "King" Cole & Me se muestra a la altura de las ilustres reputaciones de Cole y Porter. © TiVo
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Jazz vocal - Publicado el 14 de febrero de 2012 | Motema

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Jazz - Publicado el 2 de septiembre de 2013 | Universal Music Division Decca Records France

Hi-Res
After two solid albums on Motema, both of which earned Grammy nominations, singer and songwriter Gregory Porter makes his Blue Note debut with Liquid Spirit. A singer whose quicksilver vocal style refuses to be caged by either jazz, gospel, or R&B, his warm, inviting baritone utilizes them all when he wishes to. Using the musicians who appeared with him on 2012's Be Good -- Yosuke Sato and Tivon Pennicott, saxophones; Chip Crawford, piano; Aaron James, bass, Emanuel Harrold, drums -- Porter wrote or co-wrote 11 of these 14 songs. There is a dynamite reading of Billy Page's hard-grooving "The In Crowd" that highlights Porter's rhythmic phrasing. Though it's a soul tune at heart, he swings hard. The cover of Max Roach's and Abbey Lincoln's "Lonesome Lover" evokes the soulful post-bop spirit of the original and offers a bracing portrait of the singer's command of his own upper range. Covers aside, the real strength of Liquid Spirit lies in Porter's songs: his lyrics and melodies are as rich as his voice. Opener "No Love Dying Here" walks a line between jazz and soul; its life-affirming words are underscored by the effortless conviction and authority in his vocal, while Sato's alto saxophone solo affirms the lyric. The fingerpopping, handclapping gospel groove in the title track is punched up by saxophones and Curtis Taylor's trumpet. The call-and-response between Porter and James' bass is tasty, and one can hear a trace of Donny Hathaway in the singer's commanding, heartfelt delivery. "Hey Laura" is characterized by Porter's relaxed but utterly sincere delivery, and packs a knock-out emotional punch in his protagonist's plea to the object of his affection. "Brown Grass" is a close second in the emotional punch department; it's a love song to be sure, but a sadder one. Porter articulates his protagonist's regrets simply and honestly, and therefore resonantly. For all of his innovative ability to effortlessly combine, shift, and shape various musical genres in his own image, Porter is militantly old school -- check "Musical Genocide," as he celebrates the music of the past with a popping piano, hard-grooving horns, funky Rhodes, and swelling B-3. On the tender ballad "Wolfcry," he is accompanied only by Crawford; it's so hip and melodically rich, it could easily have been sung by a young Nat Cole. The way he and his band move through blues, jazz, gospel, and R&B -- simultaneously -- on the declamatory testimonial "Free" is breathtaking. The intro to "Movin'," near set's end, suggests Bill Withers, but Porter quickly shifts it into higher gear with the horns punctuating the ends of his sung lines. While his first two recordings revealed a major new talent with their promise, Liquid Spirit is a giant step forward artistically, and for the listener, an exercise in musical inspiration. © Thom Jurek /TiVo
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Jazz - Publicado el 13 de diciembre de 2019 | Universal Music Division Decca Records France

Jazz - Publicado el 18 de noviembre de 2020 | UMG Recordings, Inc.

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Jazz - Publicado el 5 de noviembre de 2010 | Motema

Jazz - Publicado el 14 de febrero de 2020 | Universal Music Division Decca Records France

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Jazz vocal - Publicado el 17 de abril de 2020 | Blue Note

Con All Rise, Gregory Porter vuelve a realizar una mezcla perfecta de jazz, soul, rhythm’n’blues, pop y gospel. Además de estar dotado de esa voz de terciopelo (tan verdadera a pesar de los clichés), el californiano conoce cada rincón de la Great Black Music y es también un compositor de grandes canciones. Y en estos tiempos (tan problemáticos en lo social), su pluma, a menudo sinónimo de esperanza y luz, genera baños de sonidos juveniles que nos vienen muy bien. Como en la Revival Song, una especie de himno neo-gospel que enciende el alma y desata los sentidos. Esta sensación de bienestar resulta ser la misma cuando Porter se pone el traje de crooner en temas como If Love Is Overrated o cuando camina sobre las huellas de Marvin Gaye y George Benson en Faith in Love. Disco producido con enorme clase por Troy Miller (Laura Mvula, Jamie Cullum, Emeli Sande), All Rise impulsa al cantante norteamericano hacia una mayor universalidad. Y con un álbum así, llegará sin duda a un público que va más allá de la esfera puramente jazzística. © Max Dembo/Qobuz

Jazz - Publicado el 17 de enero de 2020 | Universal Music Division Decca Records France

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Jazz - Publicado el 10 de julio de 2015 | Universal Music Division Decca Records France

Jazz - Publicado el 2 de septiembre de 2013 | Universal Music Division Decca Records France

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After two solid albums on Motema, both of which earned Grammy nominations, singer and songwriter Gregory Porter makes his Blue Note debut with Liquid Spirit. A singer whose quicksilver vocal style refuses to be caged by either jazz, gospel, or R&B, his warm, inviting baritone utilizes them all when he wishes to. Using the musicians who appeared with him on 2012's Be Good -- Yosuke Sato and Tivon Pennicott, saxophones; Chip Crawford, piano; Aaron James, bass, Emanuel Harrold, drums -- Porter wrote or co-wrote 11 of these 14 songs. There is a dynamite reading of Billy Page's hard-grooving "The In Crowd" that highlights Porter's rhythmic phrasing. Though it's a soul tune at heart, he swings hard. The cover of Max Roach's and Abbey Lincoln's "Lonesome Lover" evokes the soulful post-bop spirit of the original and offers a bracing portrait of the singer's command of his own upper range. Covers aside, the real strength of Liquid Spirit lies in Porter's songs: his lyrics and melodies are as rich as his voice. Opener "No Love Dying Here" walks a line between jazz and soul; its life-affirming words are underscored by the effortless conviction and authority in his vocal, while Sato's alto saxophone solo affirms the lyric. The fingerpopping, handclapping gospel groove in the title track is punched up by saxophones and Curtis Taylor's trumpet. The call-and-response between Porter and James' bass is tasty, and one can hear a trace of Donny Hathaway in the singer's commanding, heartfelt delivery. "Hey Laura" is characterized by Porter's relaxed but utterly sincere delivery, and packs a knock-out emotional punch in his protagonist's plea to the object of his affection. "Brown Grass" is a close second in the emotional punch department; it's a love song to be sure, but a sadder one. Porter articulates his protagonist's regrets simply and honestly, and therefore resonantly. For all of his innovative ability to effortlessly combine, shift, and shape various musical genres in his own image, Porter is militantly old school -- check "Musical Genocide," as he celebrates the music of the past with a popping piano, hard-grooving horns, funky Rhodes, and swelling B-3. On the tender ballad "Wolfcry," he is accompanied only by Crawford; it's so hip and melodically rich, it could easily have been sung by a young Nat Cole. The way he and his band move through blues, jazz, gospel, and R&B -- simultaneously -- on the declamatory testimonial "Free" is breathtaking. The intro to "Movin'," near set's end, suggests Bill Withers, but Porter quickly shifts it into higher gear with the horns punctuating the ends of his sung lines. While his first two recordings revealed a major new talent with their promise, Liquid Spirit is a giant step forward artistically, and for the listener, an exercise in musical inspiration. © Thom Jurek /TiVo

Jazz - Publicado el 30 de diciembre de 2020 | UMG Recordings, Inc.

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Jazz - Publicado el 25 de noviembre de 2020 | UMG Recordings, Inc.

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Jazz - Publicado el 2 de septiembre de 2013 | Universal Music Division Decca Records France

Libreto
After two solid albums on Motema, both of which earned Grammy nominations, singer and songwriter Gregory Porter makes his Blue Note debut with Liquid Spirit. A singer whose quicksilver vocal style refuses to be caged by either jazz, gospel, or R&B, his warm, inviting baritone utilizes them all when he wishes to. Using the musicians who appeared with him on 2012's Be Good -- Yosuke Sato and Tivon Pennicott, saxophones; Chip Crawford, piano; Aaron James, bass, Emanuel Harrold, drums -- Porter wrote or co-wrote 11 of these 14 songs. There is a dynamite reading of Billy Page's hard-grooving "The In Crowd" that highlights Porter's rhythmic phrasing. Though it's a soul tune at heart, he swings hard. The cover of Max Roach's and Abbey Lincoln's "Lonesome Lover" evokes the soulful post-bop spirit of the original and offers a bracing portrait of the singer's command of his own upper range. Covers aside, the real strength of Liquid Spirit lies in Porter's songs: his lyrics and melodies are as rich as his voice. Opener "No Love Dying Here" walks a line between jazz and soul; its life-affirming words are underscored by the effortless conviction and authority in his vocal, while Sato's alto saxophone solo affirms the lyric. The fingerpopping, handclapping gospel groove in the title track is punched up by saxophones and Curtis Taylor's trumpet. The call-and-response between Porter and James' bass is tasty, and one can hear a trace of Donny Hathaway in the singer's commanding, heartfelt delivery. "Hey Laura" is characterized by Porter's relaxed but utterly sincere delivery, and packs a knock-out emotional punch in his protagonist's plea to the object of his affection. "Brown Grass" is a close second in the emotional punch department; it's a love song to be sure, but a sadder one. Porter articulates his protagonist's regrets simply and honestly, and therefore resonantly. For all of his innovative ability to effortlessly combine, shift, and shape various musical genres in his own image, Porter is militantly old school -- check "Musical Genocide," as he celebrates the music of the past with a popping piano, hard-grooving horns, funky Rhodes, and swelling B-3. On the tender ballad "Wolfcry," he is accompanied only by Crawford; it's so hip and melodically rich, it could easily have been sung by a young Nat Cole. The way he and his band move through blues, jazz, gospel, and R&B -- simultaneously -- on the declamatory testimonial "Free" is breathtaking. The intro to "Movin'," near set's end, suggests Bill Withers, but Porter quickly shifts it into higher gear with the horns punctuating the ends of his sung lines. While his first two recordings revealed a major new talent with their promise, Liquid Spirit is a giant step forward artistically, and for the listener, an exercise in musical inspiration. © Thom Jurek /TiVo
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Jazz vocal - Publicado el 12 de septiembre de 2014 | Membran

Libreto

El intérprete

Gregory Porter en el Magazine