Do you remember the extraordinary saxman Art Porter, Jr.?  If you are not familiar with Porter’s work and life, it’s worth finding out.  If you know the music and the man, it may be time to refresh the memory.

I first fell in love with Art Porter upon hearing his 1992 solo debut album, Pocket City.  He had me hook, line and sinker with the gorgeous tone and skillful playing of his alto and soprano saxes, reminiscent of my hero, Grover Washington, Jr.  While Porter’s repertoire leaned to the pop side of jazz, he was also a superb, inventive contemporary jazz artist. With a kaleidoscope of sax harmony textures and thoughtful improvisations, Porter brought a hard bop awareness to his mix of fusion, R&B, and smooth jazz.  With grooves that were always teeming with life, Porter had the ability to be both funky and laid back. A classy player, he could make me swoon with his silky, romantic side. This album simply oozes with emotion, pulling on one’s heart and soul throughout.  He was such a huge, amazing talent; he could actually play two horns at once.

How popular and successful was Porter’s Pocket City? On the Billboard Top Contemporary Jazz Album Charts in 1992, featured artists included Miles Davis, Pat Metheny, Al Jarreau, Grover Washington, Jr., David Sanborn, Bob James & Earl Klugh, Najee, Boney James…and Art Porter whose Pocket City was there too, peaking at the #10 spot.

With his larger-than-life, high energy personality, I get the feeling that Art Porter brought out the best in people. On Pocket City, you can just feel the love and pride from Guy Eckstine, the album’s Executive Producer and one of the performers.  A note about Eckstine:  From the early 1990s, as VP of A&R at Verve Records, Eckstine's creative vision helped guide Verve to six consecutive years (1991-1997) as Billboard’’s premiere jazz label. Groundbreaking artists, Chris Botti, Art Porter, and Pete Belasco, along with jazz legends, Herbie Hancock, Jeff Lorber, and UK group Incognito, had their respective careers launched, reinvigorated, and/or introduced to the US under Eckstine's guidance.
Before his solo debut, Porter played as sideman on recordings by Jeff Lorber Fusion, Tom Grant, and Ramsey Lewis. I followed every move of the Jeff Lorber Fusion and, as such, I was aware of the tremendous admiration and affection Lorber had for Porter.  It was easy to take Lorber’s advice to give Porter’s first album a listen. Naturally it followed that Jeff Lorber engineered and produced the disc and is featured throughout Pocket City. Lorber’s huge admiration for Porter is reflected in the highest quality and cutting edge production values.

Collaborating with Porter (Alto and Soprano Sax) on this recording are Paulinho Da Costa (Percussion,) Guy Eckstine (Percussion, Cymbals, Drum Programming, Executive Producer) Howard "Buzz" Feiten (Guitar,) Paul Jackson, Jr. (Guitar,) Oliver Leiber (Guitar,) Jeff Lorber (Guitar, Keyboards, Drum Programming, Engineer, Producer,) Brigette McWilliams (Backing Vocals,) Alec Milstein (Bass Guitar,) and Paul Pesco (Guitar.)

Lorber’s trademark tight studio-controlled funk opens up the record with the title track. The guitar work in the intro is brilliant. "Pocket City" shows off Porter’s boppish style, with some incredible sax runs. Mellow and smooth, "Inside Myself" shows the silky side. The way he slides into a note, caressing it into a full blown sound is mind bending. This track sounds so familiar; I believe I’ve heard “Inside Myself” used as a theme song by late night jazz radio shows.

Bringing up the tempo, “Unending” is layered with the backing vocals of Brigette McWilliams, which gives the track the flavor of a Perri Sisters’ song.  With its strong bass and drum groove, over an intricately wonderful melody, Porter pours out many of his signature long runs, as he twists the melody between mysterious and happier moods. On "Passion Sunrise" his sax produces some incredibly high notes in a melody of aching longing.  His endurance is steadfast and strong as he holds some notes for an eternity.

In this mid tempo track, “Texas Hump,” the syncopated percussion is a lot of fun and Porter shows his prowess with runs and improv.  There’s a video of this song on YouTube, which you may enjoy.  Porter’s upbeat version of the Maxi Priest song, "Close to You," is all funked up.  The way he approaches some of the notes by caressing them into being, is jaw dropping.  There are some amazing runs and melody improvisations.  “Little People” has such a beautiful melody and Porter knows how to play so that he penetrates deeply into the heart.

With quick runs and infectiously melody, “KGB” has some of his best playing on the album.  Another stunning, plaintive melody, Porter seems to channel Grover on “Broken Promise,” the way he plays out the notes for the longest time, then changes up the melody to bring some relief to the tension of the piece.  Uptempo “Meltdown” is sassy funk, with some signature Lorber piano licks.  Closing out the set is Porter’s inspired "L.A." It’s one of those easygoing tracks with another intriguing, romantic melody. On Pocket City, Porter taps into some deep emotions making the listening experience both exhilarating and intense throughout. It’s definitely worth a listen, whether it’s your first of fiftieth.

Tragically, Art Porter died in a boating accident while overseas for a jazz festival just four years after this debut album.  He left behind a modest but powerful musical legacy in four albums: Pocket City was followed by Straight to the Point (1993,) Undercover (1994,) and finally Lay Your Hands On Me (1996.) Each album is progressively better in terms of production quality, the emotional charge, and Porter’s growing prowess.  I recommend listening to the entire body of work, especially Porter’s superlative cover of Stevie Wonder’s “Send One Your Love” from the Undercover album. For more, explore his earlier work with The Jeff Lorber Fusion.  A tribute album was produced following his death, posthumously released in his honor, For Art’s Sake (1998.) It was filled with songs Porter had composed and played, but had not yet put on an album, live performances, some remixes, and a new song featuring Gerald Albright and Jeff Lorber. Finally in August 2004, Jeff Lorber released Shades of Soul on Narada Jazz. Shades of Soul was made up of Jeff Lorber, guitarist Marlon McClain and bassist Nathaniel Phillips with guest appearances by Chris Botti, Terry Stanton, and, yes, Art Porter.  Some of the last recordings of his life previously unreleased, Art Porter appears on several tracks.  The music was originally recorded in 1994.  For a detailed biography of the band and making of the album, click here.

I miss Art Porter and can’t help but wonder how huge a megastar he would be today.  I am so grateful his music lives on.  For more information about Art Porter and to watch several live performance videos, visit www.myspace.com/artportertribute

Background*:  “Art Porter, Jr. was born in Little Rock, Arkansas in 1961. At 9 years, Porter joined his father's band as a drummer and played with them into his teenage years. Then, Porter was drawn to the saxophone for its melodic abilities. He began to introduce his sax playing during shows with his band, "The Art Porter Trio."  At 16, clubs that once welcomed him began to block his appearances because he was under age. Porter was arrested and charged with working under age in a night club serving alcoholic beverages. Then Arkansas Attorney General, and future President of the United States Bill Clinton (also a saxophonist) intervened to get the charges dropped and pushed for a law to be changed that would allow under age musicians to appear in adult facilities as long as their legal guardian accompanied them. This law became known as ‘The Art Porter Bill.’
“Porter was well schooled, attending Berklee College of Music, Northeastern Illinois University (BS in Arts,) Roosevelt University (Master's,) and at Virginia Commonwealth University where he studied piano under Ellis Marsalis, a former saxophonist himself.

“During the mid 1980s he moved to Chicago where Porter was mentored by legendary tenor saxophonist Von Freeman and bassist James Lear.  He performed with jazz giants Pharoah Sanders and Jack McDuff. In the 1990s he developed an interest in R&B and hip hop, merging elements of these into his performances. Porter and his father performed for President Clinton during his 1993 inauguration, playing “Amazing Grace” at a prayer breakfast.

“When Porter signed with Verve Records/Polygram Records, he decided that instead of jumping on the then-current neo-classical jazz bandwagon, Porter decided to make his largely self-composed debut contemporary rather than bop-revisited in style. Porter was sent on promotional and concert tours where he built up a reputation for being very amiable and giving a high-octane performance. Porter was a whirling wonder on stage, smiling like a Cheshire cat, blowing his heart out, running around the venue honking it up.

“In 1996 Porter traveled to Thailand to appear at the Thailand International Jazz Festival. After the festival on 23 November, he went boating on the Kratha Taek reservoir in Sai Yok, Thailand. Tragically, the boat Porter was traveling in overturned, and Porter, along with several others, drowned. Porter was survived by his wife Barbi and two young sons, Arthur Lee Porter III and Arrington Porter.  
“Art Porter died tragically at the age of 35 while on tour in Thailand, as his fourth release, ‘Lay Your Hands On Me’ was perched atop the charts. In a tribute in Jazziz Magazine Eckstine reflects, ‘Art’s great achievement,’ adds Eckstine, ‘was that he was one of the few contemporary players who had it all, real jazz chops, stellar tunes, an incredibly energetic live performance and no fear about taking chances and evolving. Someone I once met affectionately nicknamed him ‘Maceo Coltrane’ and I had to agree. In my book, he was the funkiest sax player in a long time. He definitely gave his all in the time he had here. He made a real statement, which reflected who he was as a musician, and received great respect from his peers before moving on.’”

The story doesn’t end there.

Tragedy was not yet finished visiting the Porter Family. Three months after Art Porter’s funeral, his wife Barbi was diagnosed with cancer.  2001, Barbi Porter died from her disease.  Two smart, adorable boys were left behind, Arthur Lee Porter III and Arrington Porter.  In July 2001, in Chicago’s Park West club, friends and peers of Art and Barbi Porter held benefit concerts for the boys.  Playing that night were Peter White, Marion Meadows, Jeff Lorber, Brenda Russell and more.  In 2004, with the release of Shades of Soul, the boys were once again remembered.  The CD liner notes encouraged people to make a donation to the boys’ education fund.  In the spirit of love so engendered by Art and Barbi Porter, we include this information again here in hopes that it might tug at your heart too.

Art Porter Jr. Children’s Education Fund
P.O. Box 166035
Little Rock, AR 72216

* Background built from reference sources on Wikipedia, Verve, My Space, Smooth Jazz Vibes, Narada, Jeff Lorber, and Guy Eckstine sites.