The Porterhouse Quintet: Thumbs Up Little Buddy

by John Sadowski

"No guitars were used in the making of this album."

Given the prominent if not dominant role guitars play in most of today's jamband scene its compelling when a band within this genre can so boldly, albeit proudly, make this statement on their first studio album. And even more compelling is when they not only make this statement but back it up with some pretty wicked grooves.

The Porterhouse Quintet is a Northwest-grown funk machine that is quickly sprouting into the listening markets of Oregon and Washington.. Based in Portland, Porterhouse is lead by Joey Porter (formerly of Five Fingers of Funk and Rubberneck), the keyboard wizard behind this bands driving jazz/funk sound. He is also the entire reason the band has no plan or desire to ever add a guitar to their sound. Why? Simply stated, he can cover all the bases himself.

With Porter on Hammond organ, Fender Rhodes, clavinet, Mini-Moog and just about anything else that is keyboard-based, the band is rounded out by Josh Cliburne (tenor and alto sax), Sean Foote (bass), Micah Kassell (drums, percussion), and Derek Sims (trumpet, fluglehorn). Together they create an interesting mixture of psychedelic acid jazz and neo-classical Motown funk. And they do it all without guitars.

The band was born out of the weekly funk jam sessions at Jimmy Macs in downtown Portland where Porter quickly built a name for himself one of the brightest newcomers to the Northwest Scene. Their first album Thumbs Up Little Buddy is a great example of the complex jazz-funk fusion that Porter and company have molded into their own and stands as a testament to the key master's driven musical ambition. One part Herbie Hancock, one part Liquid Soul, Porterhouse creates a panorama of sound that makes ones mind swim as the body dips and grooves.

On the opening title track Porter leads the band through a 1970's style funk revival using a variety of keyboards and sounds at his disposal. The horn work on the track lends itself to a dark smoky jazz club reminiscent of 1920's Chicago while Sean Foote's slap bass keeps one foot rooted in deeply in the 1970's style funk. All the while Joey Porter leads them through passages of time and structure changes creating a myriad of musical textures. This is the heart and soul of their sound and is restated throughout the album on tracks such as "Juicy" and "Steak Sauce Part 1 (Bring on the Sauce)".

That isn't to say the band can't get a little edgy too at times, showing their penchant for straight ahead rock. On "Marination" Porter adds a little muff distortion to his Clavinet while Cliburne runs his tenor sax through another distortion rack to give the sound a crunchy almost metal feel adding yet another layer of complexity to the jazz/fusion theme. Yet the soul of the Porterhouse sound remains throughout. Thumbs Up Little Buddy is an excellent work that hones in on the main theme of The Porterhouse Quintet's sound: classic jazz and funk with a post-modern twist. It remains complex and provoking at the surface while avoiding sounding overly intricate and discombobulated, thus making the listener pay attention to the various textures created within the arrangements while still getting lost in dance and groove while relishing in original theme. In the end they remain true to their jazz and funk beliefs and their faith is not lost on the listener.

Jazz, Funk, Jazz, Rock and Roll, and Solar Flares
June 2000 - Portland, OR

By Gordon Wilson

Jeeze louieeze,  I might be having hard times in my own gnat like existence, but music keeps on churning out divine harmonies, melodies and rhythms all over the place, thank goodness!  Fine examples of this musical manna that I have witnessed this pass few weeks at fine music clubs in this here city of roses, Portland, OR are as follows.

The "Tom Grant Trio" are a spectacular jazz trio, they have a wonderful "ear", "sensitivity" and "playful creativity" about their music.  Sometimes music gets very loud, fast, and furious, which is ok, but the best music it seems is when the musicians can not only play notes, chords and beats, but when they can also use tempo, volume and feeling to animate the music, and make it into a dramatic, beautiful, and dynamic musicscape.  This is what I feel the "Tom Grant Trio" were doing, Friday May 19th at the "Jazz De Opus", 33 NW Second Ave., Ptld., OR, one of the best live jazz clubs in Portland.  Seeing musicians who have love, faith, and dedication to their art can be a marvelous and enlightening experience if one opens themselves up to it.  I have heard that the "Tom Grant Trio" are a respected and well know act, I had heard of them, but had never seen them.  My friend Anders stated that they are known as being some of the best "Smooth" jazz around, which I would totally agree with.

Another great band that played recently, was "Galactic" at the Crystal Ballroom, on Wed. May 31rst. "Galactic" was a bit late getting to the Crystal, they were held up in Humboldt Co. or something, but when they took the stage at midnight, they burned down the house!  It's to bad to see the Crystal Ballroom's floor is getting trashed, but what could one expect with so much jamming music going on in there.  I wasn't sure about "Galactic" before they took the stage, I heard them, or a few of them with "Phil and Friends" last summer in Eugene, but that wasn't nearly the same experience as "Galactic" at the Crystal Ballroom this evening.  These guys are genius musicians!  They sound a bit like M.M.W. with a New Orleans funk soul flavor, thanks in large part to their lead singer Theryl de'Clouet.  I wasn't ready for Galactic to be so good!  "Galactic" plays very textural multi-layered music that jams!  Keyboard player Richard Vogel is a modern Bach or Mozart with his mastery over the keys.  Their guitarist Jeff Raines rips with tone perfect guitar leads and Ben Ellman unleashes a soul moving wail with baritone sax, tenor sax and harmonica.  Theryl de'Clouet's voice adds warmth and humanity while bass player Robert Mercurio and drummer Stanton Moore keep the whole thing moving like a mighty sternwheeler chugging around the Mississippi delta.  Galactic's new album "Late for the Future" is awesome, the whole disk is a pleasure, I especially enjoy the tracks "Black Eyed Pea", "Baker's Dozen", and "Doublewide".  Galactic's sound is succinct, clear, and well balanced, while at the same time reaching points of emotionally satisfying fullness.

The "Cornelius Bumpus Quartet" at Jimmy Mak's Bar and Grill on Friday, June 2nd was an unexpected delight.  Cornelius was in town with Steely Dan and decided to play a second night at Jimmy Mak's and this was a treat.  Ahmad Rashad was there along with others for a night of excellent Jazz music.  Cornelius is mellow on stage and has such a presence, it's a joy just seeing him up there.  I'm not familiar with Cornelius' body of work, but I heard he plays the saxophone for Steely Dan, and the Doobie Brothers.  Cornelius doesn't play loud, and seems to be listening quite a bit. Cornelius plays in varied and unexpected time signatures, which I found refreshing to hear, it opens up and makes his style distinct, yet complementary in relation to the other musicians, without having to overpower them with volume.  This was some of the best Jazz music that I have ever seen, with Scott Steed on bass, Ron Steen on drums, Kerry McCoy on piano and Mr. Cornelius Bumpus on Saxophone.  After a while this quartet turned into a free jam with many other good musicians rotating in to jam with Cornelius, all the while Mr. Bumpus was very relaxed and seemed to be enjoying the evening.

The last and latest rock show that I have seen and would like to report on was "Rockin' Teenage Combo" and "Hanuman" at the Mt. Tabor Pub, 6-9-2000.  The Mt. Tabor has the best light show and some of the best sound in Portland.  This night the solar flare was hitting our Earth, and "RTC" and "Hanuman" and the crowd out the Mt. Tabor were eating it up!  Both of these bands are from Seattle and are worth a listen or two, or three, or whenever they come to town and you can make it to the show.  Both bands have newly added members and are utilizing these new energies well.  "Rockin' Teenage Combo" is an eclectic three piece with Dara Quinn on piano, PK on bass, and a new drummer, and this evening they had a nice addition with Joe Cunningham from the "Jive Talkin' Robots" sitting in on saxophone.  "Hanuman" kicks some booty, these guys can get a room shaking.  With awesome percussion, drums, stand up bass, guitar, and new mandolin player, "Hanuman" is a must see!  Good luck to everyone, peace out!