Solo jazz piano can sometimes sound as though the musician were walking a tightrope without the safety net. Without the security of a rhythm section—no bass or drums to lean on—the soloist enjoys both the benefits and perils of total freedom. On Solo Game, his debut album, New Orleans jazz pianist Sullivan Fortner orchestrates his own tightrope act with playfulness and sophistication.
On these tracks, Fortner manages to sound like he’s venturing out on his own while surrounding himself with familiar company. Like sitting down for a homecooked meal where the host also happens to know a few sleight-of-hand card tricks from the best magicians in town.
Above all, Fortner remains firmly grounded in the Southern jazz tradition. Listening to the opening track, Stevie Wonder’s “Don’t Worry ’Bout a Thing,” we hear Fortner demonstrating his virtuosity in the service of original interpretation, exercising polite restraint. He could do more, but he doesn’t want to overwhelm us in the beginning. On the second track, “I Didn’t Know What Time It Was,” Fortner reinvents the standard with an ethereal quality reminiscent of Debussy’s “Clair de Lune.” We hear echoes of Art Tatum’s stride piano even while Fortner’s influences run all the way from James P. Johnson to Bill Evans and McCoy Tyner. Still, Fortner doesn’t mimic these giants of jazz. He creates a sound all his own. His style remains rooted in the South, for sure. Even when Fortner ventures into terra incognita, there’s always a sense of returning home. On Solo Game, we hear the influences of his mentors, Fred Hersch and Jason Moran, both of whom pay homage to Fortner with their spoken notes on the last two tracks of the album. Fortner’s music speaks for itself, but having these two contemporary masters endorse Fortner in their own words gives listeners an added bonus.
Solo Game is actually two albums. The first nine tracks were recorded and produced by Hersch himself. According to Hersch, Fortner compiled a list of tunes he wanted to record, and Hersch selected and suggested approaches to certain tunes with the only requirement that Fortner record no second takes. So what we hear on these first nine tracks features Fortner’s spontaneity. The second nine tracks were composed during the COVID pandemic. They comprise of synths, wordless vocals, and complex harmonies and rhythms reminiscent of Armenian pianist Tigran Hamasyan. While some jazz fans may prefer the acoustic first half, there are plenty of beautiful moments in the latter “Game” section for anyone to enjoy. What connects these two parts is Fortner’s sense of exploration combined with an understanding of the artform’s rich history.
The final track on Solo Game, “Valse Du Petit Chien,” a rendition of Chopin’s “Minute Waltz,” has less to do with Poland and more to do with the South. We hear Fortner paying homage to New Orleans piano virtuoso James Booker, who recorded an acoustic version of the same tune on his 1976 album Junco Partner. Fortner uses synths and wordless vocals to bring us full circle to his inimitable orchestral sound. In short, Solo Game offers listeners one artist’s fearless exploration, profound musical knowledge, and a healthy dose of good humor thrown into the mix.
SULLIVAN FORTNER
Solo Game
Artwork Records
David Norman is the author of two novels, South of Hannah (2018) and The Watershed Project (2021). He is an English teacher and jazz pianist who currently resides in the Texas Hill Country.