Heralded pianist Sullivan Fortner, widely considered one of the best of his generation, steps out for a somewhat surprising project, acknowledging his musical roots in New Orleans. However, don’t be too concerned, as his trademark ballad fare and exploratory excursions are represented. He has been nominated for three GRAMMY Awards, including in the Best Jazz Instrumental Album category for his prior Artwork release, Solo Game.
The album was recorded in the studio during Fortner’s second week-long residency at The Village Vanguard in the summer of 2023 with drummer Marcus Gilmore (grandson of the late Roy Haynes) and bassist Peter Washington (longtime member of Bill Charlap’s trio). The session was unrehearsed and spontaneous, although these tunes were now well-perfected via live performance. These three had never played together as a trio, but none of that should be surprising. I witnessed Fortner in various new settings, both trio and otherwise, on a jazz cruise two years ago and can attest to his penchant for spontaneity. In one memorable moment, in his charming way, he said, “I feel a ballad,” and proceeded to sing “Embraceable You” while accompanying himself only with his left hand. Every time he performs, he is just so effortless, yet the chord changes, rhythms, and harmonics would challenge most proficient pianists. All of that is on display here.
This trio intentionally recaptures the same sense of connectivity, energy, and immediacy of the Vanguard sets with no edits, retakes, or isolation in the studio. The repertoire is wide-ranging because there are only three distinctly New Orleans tunes here, along with an original, tunes from Clifford Brown, Woody Shaw, the obligatory Cole Porter standard, and others.
The titular and opening track is his interpretation of Allen Toussaint’s early ‘70s classic, wherein Fortner makes it a much more piano-centric piece than the pop veneer that shrouded the original. What’s not lost is the ebullient joy. Listen closely to Fortner’s right and left hands to move the tune along briskly. It all works so smoothly, but it’s ridiculously complex. The tune immediately induces a smile, if not a bounce, in one’s step. The other Crescent City pieces are “Again, Never” by his late mentor Bill Lee and Lee’s sister, the underappreciated pianist and educator Consuela Lee’s “Discovery.” The former is a delicate ballad that Fortner excels in, with an expressive solo from Washington while Gilmore’s brushwork whispers. The latter swings gently, with Fortner hitting all kinds of unexpected notes along the way, and the bass-drum tandem pushes him steadily along.
While some of his choices may be unusual, delivering a Cole Porter tune (“I Love You”) is not. Sullivan richly colors this one with strains of stride piano, unusual harmonics, and a swing quality not inherent in the original, giving Gilmore plenty of space to exhibit his voice midway through, which sends the trio into an exhilarating frenzy. His lone original, “9 Bar Tune,” conjures Monk on steroids with its angularity as Fortner weaves his lines with Gilmore, again stating his case with conviction. Donald Brown’s “Waltz for Monk” almost belies Monk’s percussive sharpness as Fortner is so smooth and poised. Fortner exhibits his exploratory side in these pieces, touching on the ‘out’ as much as the ‘in.’ Oswaldo Farres’ “Tres Palabras” features a nimble, lyrical Washington solo over Spanish rhythms and repetitive piano motifs. One could consider this a part of the New Orleans homage, though, as the city is a melting pot of so many cultures, Cuban in this case.
Clifford Brown’s “Daahoud” has Gilmore skittering on his kit tastefully before the trio puts its bost-pop spin on one of the most iconic beboppers as they fill the tune with complex start-stop rhythms, Gilmore getting the last say. They conclude with another trumpeter’s piece, Woody Shaw’s “Organ Grinder,” which maintains some of its bluesy characters but mostly swings gleefully in a way that invites hitting ‘repeat.’ One can’t fully appreciate the tightness and risk-taking in just one listen. Besides, the mood is so exultant that you’ll want to continue to indulge.
