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Vocal Jazz - Released November 30, 2018 | Blue Note Records

Hi-Res Distinctions 5 Sterne Fono Forum Jazz
In 2017, Gregory Porter released a tribute album - or rather a love letter, to the man he considers his ultimate hero: Nat King Cole. A remarkable musician who weaved his way between pure jazz and easy listening, an innovative and highly skilled pianist-virtuoso, and of course, a captivating singer/crooner with his deep, romantic and velvety voice that set him apart from everyone - this genius had never before been commemorated in so much style. In this live performance recorded on the prestigious stage of the Royal Albert Hall in London, Gregory Porter is supported by his trusty quartet (pianist Chip Crawford, bassist Jahmal Nichols, drummer Emanuel Harrold and saxophonist Tivon Pennicott) as well as by the 70 musicians of the London Studio Orchestra, conducted by Vince Mendoza. He features pieces that are closely associated with Nat King Cole (Mona Lisa, Nature Boy…) but also some of his own compositions ( Hey Laura, When Love Was King, Don’t Lose Your Steam…). Throughout One Night Only it is fascinating to see how Gregory Porter is just as comfortable when singing alongside the sophistication of the string section as he is in the rougher and groovier sequences. A vocal range that makes this show truly magical. © Clotilde Maréchal/Qobuz
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Jazz - Released October 1, 2015 | Universal Music Division Decca Records France

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Vocal Jazz - Released November 30, 2018 | Blue Note Records

In 2017, Gregory Porter released a tribute album - or rather a love letter, to the man he considers his ultimate hero: Nat King Cole. A remarkable musician who weaved his way between pure jazz and easy listening, an innovative and highly skilled pianist-virtuoso, and of course, a captivating singer/crooner with his deep, romantic and velvety voice that set him apart from everyone - this genius had never before been commemorated in so much style. In this live performance recorded on the prestigious stage of the Royal Albert Hall in London, Gregory Porter is supported by his trusty quartet (pianist Chip Crawford, bassist Jahmal Nichols, drummer Emanuel Harrold and saxophonist Tivon Pennicott) as well as by the 70 musicians of the London Studio Orchestra, conducted by Vince Mendoza. He features pieces that are closely associated with Nat King Cole (Mona Lisa, Nature Boy…) but also some of his own compositions ( Hey Laura, When Love Was King, Don’t Lose Your Steam…). Throughout One Night Only it is fascinating to see how Gregory Porter is just as comfortable when singing alongside the sophistication of the string section as he is in the rougher and groovier sequences. A vocal range that makes this show truly magical. © Clotilde Maréchal/Qobuz
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Jazz - Released May 6, 2016 | Universal Music Division Decca Records France

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Jazz - Released October 1, 2015 | Universal Music Division Decca Records France

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
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Jazz - Released January 1, 2013 | Universal Music Division Decca Records France

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Vocal Jazz - Released October 7, 2014 | PAO Records

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Jazz - Released May 6, 2016 | Universal Music Division Decca Records France

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Vocal Jazz - Released October 27, 2017 | Universal Music Division Decca Records France

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It’s always good when the genius of an artist is rekindled. With this luxurious album, Gregory Porter puts his body and soul into the repertoire of one of his idols: Nat King Cole. A unique musician who slalomed between pure jazz and easy listening, a virtuosic pianist, an innovator with a great finesse, and, clearly, a fascinating singer/crooner equipped with a velvet voice, profound and romantic, recognizable by all, Nat King Cole is in good hands here! He has one of the most impressive soul’n’jazz voices of the past few years. Above all, Gregory Porter has a much richer and more complex soul to that of his peers, with all due respect! For Nat King Cole is a common theme in the life of the Californian forty-year-old who knows every nook and cranny of the Great Black Music. "He was one of a kind. He left such great music - such beautiful things to listen to that you can’t help but be influenced by that extraordinary timbre, style, and ultimate cool… I wrote this little song when I was five and put it on a tape and played it for my mother when she came home from work. She said ‘Boy you sound just like Nat King Cole’! I remember thinking how strange that name was, going through her records, and first seeing his image: this elegant, handsome, strong man sitting by the fire, looking like somebody’s daddy. Then I put the vinyl on the player and out of those speakers came that voice, that nurturing sound. It filled a void in me. My father wasn’t in my life; he wasn’t raising me; he wasn’t showing any interest in me. So Nat’s words, ‘pick yourself up, dust yourself off, start all over again’ - all of these life lessons and words of wisdom were like fatherly advice. They were coming out of the speakers like Nat was singing those words just to me. I would listen to his albums and imagine that Nat was my father." This love for Nat King Cole’s music pushed him to adopt the jazzman as a substitute father! Furthermore, after having played in the musical It Ain’t Nothin’ But the Blues, Porter decided to take his relationship to Cole to the stage by writing Nat King Cole & Me, a largely autobiographical musical that showed for the first time in 2004. "In a certain way I tried to find my father. I wrote it after my father died. This spectacle, for which I composed most of the music, speaks about Nat King Cole. But mostly in the way in which I got closer to his music because of the absence of my father. It was like a kind of therapy that I prescribed to myself. Almost 800 people came to watch each night." With help from the arranger Vince Mendoza and with a group composed of the pianist Christian Sands, the bassist Reuben Rogers and the drummer Ulysses Owens, Gregory Porter will satisfy the needs of fans of the singer/pianist who died in 1965. © CM/Qobuz

Vocal Jazz - Released October 7, 2014 | PAO Records

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Vocal Jazz - Released October 27, 2017 | Universal Music Division Decca Records France

Hi-Res
It’s always good when the genius of an artist is rekindled. With this luxurious album, Gregory Porter puts his body and soul into the repertoire of one of his idols: Nat King Cole. A unique musician who slalomed between pure jazz and easy listening, a virtuosic pianist, an innovator with a great finesse, and, clearly, a fascinating singer/crooner equipped with a velvet voice, profound and romantic, recognizable by all, Nat King Cole is in good hands here! He has one of the most impressive soul’n’jazz voices of the past few years. Above all, Gregory Porter has a much richer and more complex soul to that of his peers, with all due respect! For Nat King Cole is a common theme in the life of the Californian forty-year-old who knows every nook and cranny of the Great Black Music. "He was one of a kind. He left such great music - such beautiful things to listen to that you can’t help but be influenced by that extraordinary timbre, style, and ultimate cool… I wrote this little song when I was five and put it on a tape and played it for my mother when she came home from work. She said ‘Boy you sound just like Nat King Cole’! I remember thinking how strange that name was, going through her records, and first seeing his image: this elegant, handsome, strong man sitting by the fire, looking like somebody’s daddy. Then I put the vinyl on the player and out of those speakers came that voice, that nurturing sound. It filled a void in me. My father wasn’t in my life; he wasn’t raising me; he wasn’t showing any interest in me. So Nat’s words, ‘pick yourself up, dust yourself off, start all over again’ - all of these life lessons and words of wisdom were like fatherly advice. They were coming out of the speakers like Nat was singing those words just to me. I would listen to his albums and imagine that Nat was my father." This love for Nat King Cole’s music pushed him to adopt the jazzman as a substitute father! Furthermore, after having played in the musical It Ain’t Nothin’ But the Blues, Porter decided to take his relationship to Cole to the stage by writing Nat King Cole & Me, a largely autobiographical musical that showed for the first time in 2004. "In a certain way I tried to find my father. I wrote it after my father died. This spectacle, for which I composed most of the music, speaks about Nat King Cole. But mostly in the way in which I got closer to his music because of the absence of my father. It was like a kind of therapy that I prescribed to myself. Almost 800 people came to watch each night." With help from the arranger Vince Mendoza and with a group composed of the pianist Christian Sands, the bassist Reuben Rogers and the drummer Ulysses Owens, Gregory Porter will satisfy the needs of fans of the singer/pianist who died in 1965. © CM/Qobuz
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Jazz - Released November 1, 2014 | Universal Music Division Decca Records France

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Vocal Jazz - Released October 27, 2017 | Universal Music Division Decca Records France

It’s always good when the genius of an artist is rekindled. With this luxurious album, Gregory Porter puts his body and soul into the repertoire of one of his idols: Nat King Cole. A unique musician who slalomed between pure jazz and easy listening, a virtuosic pianist, an innovator with a great finesse, and, clearly, a fascinating singer/crooner equipped with a velvet voice, profound and romantic, recognizable by all, Nat King Cole is in good hands here! He has one of the most impressive soul’n’jazz voices of the past few years. Above all, Gregory Porter has a much richer and more complex soul to that of his peers, with all due respect! For Nat King Cole is a common theme in the life of the Californian forty-year-old who knows every nook and cranny of the Great Black Music. "He was one of a kind. He left such great music - such beautiful things to listen to that you can’t help but be influenced by that extraordinary timbre, style, and ultimate cool… I wrote this little song when I was five and put it on a tape and played it for my mother when she came home from work. She said ‘Boy you sound just like Nat King Cole’! I remember thinking how strange that name was, going through her records, and first seeing his image: this elegant, handsome, strong man sitting by the fire, looking like somebody’s daddy. Then I put the vinyl on the player and out of those speakers came that voice, that nurturing sound. It filled a void in me. My father wasn’t in my life; he wasn’t raising me; he wasn’t showing any interest in me. So Nat’s words, ‘pick yourself up, dust yourself off, start all over again’ - all of these life lessons and words of wisdom were like fatherly advice. They were coming out of the speakers like Nat was singing those words just to me. I would listen to his albums and imagine that Nat was my father." This love for Nat King Cole’s music pushed him to adopt the jazzman as a substitute father! Furthermore, after having played in the musical It Ain’t Nothin’ But the Blues, Porter decided to take his relationship to Cole to the stage by writing Nat King Cole & Me, a largely autobiographical musical that showed for the first time in 2004. "In a certain way I tried to find my father. I wrote it after my father died. This spectacle, for which I composed most of the music, speaks about Nat King Cole. But mostly in the way in which I got closer to his music because of the absence of my father. It was like a kind of therapy that I prescribed to myself. Almost 800 people came to watch each night." With help from the arranger Vince Mendoza and with a group composed of the pianist Christian Sands, the bassist Reuben Rogers and the drummer Ulysses Owens, Gregory Porter will satisfy the needs of fans of the singer/pianist who died in 1965. © CM/Qobuz
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Vocal Jazz - Released October 27, 2017 | Universal Music Division Decca Records France

It’s always good when the genius of an artist is rekindled. With this luxurious album, Gregory Porter puts his body and soul into the repertoire of one of his idols: Nat King Cole. A unique musician who slalomed between pure jazz and easy listening, a virtuosic pianist, an innovator with a great finesse, and, clearly, a fascinating singer/crooner equipped with a velvet voice, profound and romantic, recognizable by all, Nat King Cole is in good hands here! He has one of the most impressive soul’n’jazz voices of the past few years. Above all, Gregory Porter has a much richer and more complex soul to that of his peers, with all due respect! For Nat King Cole is a common theme in the life of the Californian forty-year-old who knows every nook and cranny of the Great Black Music. "He was one of a kind. He left such great music - such beautiful things to listen to that you can’t help but be influenced by that extraordinary timbre, style, and ultimate cool… I wrote this little song when I was five and put it on a tape and played it for my mother when she came home from work. She said ‘Boy you sound just like Nat King Cole’! I remember thinking how strange that name was, going through her records, and first seeing his image: this elegant, handsome, strong man sitting by the fire, looking like somebody’s daddy. Then I put the vinyl on the player and out of those speakers came that voice, that nurturing sound. It filled a void in me. My father wasn’t in my life; he wasn’t raising me; he wasn’t showing any interest in me. So Nat’s words, ‘pick yourself up, dust yourself off, start all over again’ - all of these life lessons and words of wisdom were like fatherly advice. They were coming out of the speakers like Nat was singing those words just to me. I would listen to his albums and imagine that Nat was my father." This love for Nat King Cole’s music pushed him to adopt the jazzman as a substitute father! Furthermore, after having played in the musical It Ain’t Nothin’ But the Blues, Porter decided to take his relationship to Cole to the stage by writing Nat King Cole & Me, a largely autobiographical musical that showed for the first time in 2004. "In a certain way I tried to find my father. I wrote it after my father died. This spectacle, for which I composed most of the music, speaks about Nat King Cole. But mostly in the way in which I got closer to his music because of the absence of my father. It was like a kind of therapy that I prescribed to myself. Almost 800 people came to watch each night." With help from the arranger Vince Mendoza and with a group composed of the pianist Christian Sands, the bassist Reuben Rogers and the drummer Ulysses Owens, Gregory Porter will satisfy the needs of fans of the singer/pianist who died in 1965. © CM/Qobuz
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Jazz - Released April 8, 2016 | Universal Music Division Decca Records France

Artist

Gregory Porter in the magazine
  • A Night of Nat
    A Night of Nat In 2017, Gregory Porter released a tribute album - or rather a love letter, to the man he considers his ultimate hero: Nat King Cole.
  • My dear Nat King Cole...
    My dear Nat King Cole... When Gregory Porter pays tribute to his master Nat King Cole...
  • The Qobuz Studio: Episode #13
    The Qobuz Studio: Episode #13 Every 2 weeks, Qobuz endeavours to bring you the best in musical releases across all genres with The Qobuz Studio!