Gregory Porter has a big, beautiful, resonant baritone voice. From the very first “Woo ooo, Precious energy/Flow right into me,” the self-penned “The Sun,” the room mellows. He projects spirituality. When a phrase ends, often after maaany syllables, the sound continues. His own “Madina” includes some of the best up-tempo scat I’ve ever heard. “The Work Song” (Oscar Brown Jr./Nat Adderley) feels too lively for the painful sentiments expressed. As in preceding numbers, there are short, intermittent vocals. We hear only a hint of the soulful capacity of the artist and are frustrated. “You’re Nearer” is at last, midway into the performance, a full song. Languid phrasing, fingers laced, eyes closed, Porter delivers. The waltz, “Be Good,” another song he wrote, is a heady lyrical metaphor. I think we heard the CliffNotes. In the course of a fifty-minute set, Porter gives us about fifteen minutes. He seems to be walking through in warm-up mode, spending much of his time off stage, looking on.

Listening to saxophonist Yoske Sato is like being in the presence of a stunt flyer. He does loop-de-loops, spirals and dives. Motionless but for a slight bounce, Sato lets his instrument do the talking. Pianist Theo Hill is a find. Like the young Keith Jarrett, he seems electrified by music passing through him—rocking forward, rising from the bench, completely focused. Hill can play jazz, soul, funk and pop with style and personalization.

Alix Cohen
Cabaret Scenes
June 16, 2011
www.cabaretscenes.org