Gregory Porter – Liquid Spirit (2013) [HDTracks FLAC 24bit/96kHz]

Liquid Spirit marks Gregory Porter’s Blue Note Records debut, which arrives on the heels of two critically acclaimed indie label albums that quickly propelled Porter to the upper echelon of contemporary male jazz singers and earned him two GRAMMY nominations. Porter has an amazing gift for writing poignant songs based upon personal experiences with a relatable and emotional immediacy. Even more, his hooky melodies penetrate instantly. Recommencing with the water analogy that characterized his debut disc, Porter sees Liquid Spirit as a logical progression in his burgeoning discography as it touches on some of the same themes, particularly the highs and lows of romance, his childhood, and socio-political observations.

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.

Tracklist:
01 – No Love Dying
02 – Liquid Spirit
03 – Lonesome Lover
04 – Water Under Bridges
05 – Hey Laura
06 – Musical Genocide
07 – Wolfcry
08 – Free
09 – Brown Grass
10 – Wind Song
11 – The “In” Crowd
12 – Movin’
13 – When Love Was King
14 – I Fall In Love Too Easily

Download:

mqs.link_GregryPrterLiquidSpirit2013HDTracks2496.part1.rar
mqs.link_GregryPrterLiquidSpirit2013HDTracks2496.part2.rar

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