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Lay Your Hands on Me

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The late saxman's final studio recording is smoother than should be legal, switching between alto and soprano and featuring all the right ingredients (killer production, nice melodies), but cooking only in certain spots. Most notable of these are the title track (too good to save for the end), which finds the Chicago native mastering jazz improv over loose, haywire industrial machinery, and the hypnotic sax melody, sax harmony textures, and bouncing groove of "DB Blue." Elsewhere, though, are those oh-so-agreeable romances and pretty but too polite vocal ballads that take the spotlight away from Art Porter in favor of Lalah Hathaway and Brian McKnight. Porter is a stylish, skilled player, but on Lay Your Hands on Me he too often calculates rather than just letting the mood take him where he should be going. Still, this is part of a valuable legacy from a saxman who departed way too soon.


Nacido(a): 1961 en Little Rock, AR

Género: Jazz

Años de actividad: '90s

Art Porter, a native of Little Rock, AR, began his musical education at home, learning and practicing jazz standards under the instruction of his father Art Porter, Sr., a renowned pianist and former accompanist for Carmen McCrae and John Stubblefield. Starting off on drums and becoming part of his father's band, Porter was drawn to the sax after noticing the melodic proficiency of his father and another band member, Leonard Johnson, who was his high school band director. He decided to drop the drums...
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Lay Your Hands on Me, Art Porter
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