Album Review: Be Good by Gregory Porter

Rising singing star Gregory Porter's exciting recent live shows in London balanced plenty of fizzing, fast music and jazz acrobatics with the honeyed tones of Nat King Cole he learned to imitate at his mother's knee. Much of this largely self-penned set operates at more of a smoulder, exploring that distinctive kind of mellow innocence in Porter's articulate lyrics. However, after half-a-dozen lovesongs and mother-cherishing acclamations (including the lullaby-like title track), a little more muscle becomes desirable.

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Gregory Porter's sophomore effort confirms the talent that was so apparent on his debut. He's developed greater technique and subtlety in his impressive singing. The '70s soul is still quite apparent in his voice, with shades of Donny Hathaway and Bill Withers, but he's also the vocal heir to Nat King Cole. He's becoming a major talent, not just as a singer but also as a composer, with a unique, elliptical style, both for melodies and lyrics, which is quite evident when held up against the covers here.

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The Grammy nominee proves he’s the real deal on a marvellous second LP. Daniel Spicer 2012 Californian-born New Yorker Gregory Porter shot to fame with his debut album, Water, in 2010, earning a Grammy nomination for Best Jazz Vocal in the process. This follow-up comes with high expectations, but fans of authentically soulful vocals and luxuriant horn-heavy arrangements need not worry, Porter has, in a word, nailed it.Porter’s voice is a marvel: a warm, assured tenor with precise, impeccable intonation, completely at home in classy originals that – like all good jazz – seem to bathe in timeless familiarity.

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