Two-time Grammy Award-winning and one of today’s most highly acclaimed vocalists, Gregory Porter, puts about as many genres and musical configurations as one could fit onto any album with a generous helping of 13 tracks (15 on the Deluxe version) for All Rise, his sixth studio album. In tow are his longtime bandmates, generally a core quartet or quintet augmented by a hand-picked horn section, a 10-member choir, and the London Symphony Orchestra strings. Following his 2017 Nat King Cole & Me, Porter returns to his distinctive songwriting- emotionally laden lyrics comprised of philosophy and real-life detail set to a mix that touches jazz, soul, blues, gospel, and pop.
The title is timely too as Porter is urging us all to be exalted and lifted by love. He elaborates, “This is my political thought and my truth. It comes from my personality, my mother’s personality, the personality of the blues, and of black people. It’s this idea of making do with the scraps, of resurrection and ascension, and of whatever the current situation is, it can get better through love.’
This theme is surely encapsulated in the album’s lead single and accompanying video for “Revival” which Porter terms as straight-up gospel – “When somebody caught the Holy Ghost this was the beat.” The tune was co-written by the album’s co-producer, Troy Miller, who also mixed. Here he also played piano, drums, and arranged the horn parts. The backing has a 4-piece horn section and 10-person choir. The song inevitably will lift your spirits, as they begin by honoring Baltimore’s Freddy Gray, who, like George Floyd, died while in police custody under, in Gray’s case, suspicious police mistreatment. So, the song is about resilience and rising above racism and self-doubt.
Porter begins with the soulful “Concorde” produce by both Miller and Porter’s longtime collaborator Kamau Kenyatta. The band is backed with 7-piece horn section. “Dad Gone Thing” is a melding of soul and gospel featuring Porter’s core backing unit of Emanuel Harold (drums), Jamal Nichols (bass), Chip Crawford (piano), and Ondre Pivec (organ) who play on almost all tracks. Following “Revival” we have the tender, dripping ballad “If Love Is Overrated” as the London Symphony Orchestra Strings add to the soothing vibe and Tivon Pennicott delivers a melodic passage on soprano sax.
“Faith in Love” stays in the ballad mode, building to a medium-tempos piece as both the London Symphony Orchestra Strings and the 10-person choir back Porter’s augmented band with Miles Bould on congas and Femi Temowo on guitar. In these ballad-like pieces especially, Porter’s emotive style recalls the late Luther Vandross. “Merchants of Paradise” is another delicate piece with the strings and an even stronger soprano break from Tivon Pennicott. Bould’s percussion and Miller’s marimba are nice touches as Porter displays his immense vocal range.
London Symphony Orchestra Strings and the 10-person choir back Porter’s augmented band with Miles Bould on congas and Femi Temowo on guitar. In these ballad-like pieces especially, Porter’s emotive style recalls the late Luther Vandross. “Merchants of Paradise” is another delicate piece with the strings and an even stronger soprano break from Tivon Pennicott. Bould’s percussion and Miller’s marimba are nice touches as Porter displays his immense vocal range.
“Long List of Troubles” introduces a funkier, bluesy “testifying” approach, imbued by Crawford’s Moog Mass, a bass solo from Anton Davidyants, and the punch horns from the 4-piece horn section as Porter groans, “I’m underwater.” “Mister Holland’ is soul tune, slathered with a 4- piece horn section and Pennicott, who solos on tenor this time. Porter as at his ebullient best exhorting “Oh, Mister Holland” as his bandmates respond in kind. The strings return for “Modern Day Apprentice,” another romantic R&B tune where Porter is accompanied only by Crawford’s piano apart from the full string backing as Porter smooth vocal nuances come through brightly.
“Everything You Touch Is Gold’ retains the strings but features a fuller band and notable solos from guest trumpeter/flugelhornist Keyon Harrold as Porter croons. “Phoenix’ picks up the tempos with an expanded band and horns. Porter’s expansive voice soars while singing the chorus “Rise, Rise” – a great example of his wondrous power. The more intimate “Merry Go Round” follows as the strings and Pennicott’s soprano return for Porter’s infectious and indelible refrain “Follow me around, get up on my merry go round,’’ yet another stirring example of Porter’s lush, comforting style.
Miller’s Moog solo. Even better on this version, is the epic and memorable “You Can Join My Band” with horns, full choir, and background vocals of the band members. Like “Merry Go Round,” the chorus “You Can Join My Band” becomes an indelible echo.
Porter goes out humbly with the gospel handclapping “Thank You,” as the choir vivaciously chimes in, summing up a gorgeous album that will certainly gain Grammy recognition in some category. Because Porter is on Blue Note, he tends to be lumped into the category of jazz when, in fact, most of this music could easily fall under the R&B, gospel or soul umbrellas. No matter – Porter is clearly one of the most distinctive, voices of our times and deserves high recognition.
