Ruth Porter Crawford

This recording from jazz vocalist Gregory Porter, produced by Kamau Kenyatta, is billed as a program of songs based on themes of love and protest. Whether pining, yearning, or speaking out against injustice, Porter's voice is clearly understood in his attempt to tell you how he feels emotionally. While stylistically similar to the late Gregory Hines, Porter phrases like Stevie Wonder and enunciates the lyrics similar to Kurt Elling, while also incorporating techniques of singers like Jimmy Witherspoon and Joe Williams. Porter wrote most of the material, but also borrows from the show tune legacy, or modernists like Wayne Shorter. Many of these tracks feature him only with pianist Chip Crawford in preludes or complete duets, and they are introspective, as you might expect. Then there's the ode to riot-stricken Detroit "1960 What?," a powerful and deep piece that reminds the world what happened to the once industrial capital of the world

Recorded when he was 63, After Dark finds Hank Crawford excelling by sticking to what he does so well: uncomplicated, blues-drenched, gospel-minded soul-jazz. Warmth and accessibility continued to define the veteran alto saxophonist, who sounds like he's still very much in his prime on everything from "Amazing Grace" to W.C. Handy's "St. Louis Blues" and the standard "T'aint Nobody's Business If I Do." Crawford reminds us how appealing and sentimental a ballad player can be on "That's All," and he demonstrates that Ruby & The Romantics' early-1960s soul-pop gem "Our Day Will Come" can work quite well in a jazz setting. The saxman's noteworthy support includes producer Bob Porter (who, true to form, is smart enough to step aside and let Crawford do his thing), guitarist Melvin Sparks and drummer Bernard "Pretty" Purdie. It's been said that Crawford is jazz's equivalent of a charismatic soul singer like Sam Cooke, Marvin Gaye or his former employer Ray Charles, and After Dark makes it very hard to disagree with that assertion.

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. Porter is also acutely aware of dynamics, able to move smoothly from the softness of "Imitation of Life" to the almost atonality of the raucous "Bling Bling," which also features some excellent scat singing. His own material isn't immediately memorable, but insinuates itself into the brain after a few hearings, sophisticated and often beautiful.