{"id":5842,"date":"2026-03-15T17:40:17","date_gmt":"2026-03-15T17:40:17","guid":{"rendered":"https:\/\/theconcertwitness.com\/?p=5842"},"modified":"2026-03-15T18:41:50","modified_gmt":"2026-03-15T18:41:50","slug":"sullivan-fortner-trio-cankarjev-dom-review","status":"publish","type":"post","link":"https:\/\/theconcertwitness.com\/index.php\/2026\/03\/15\/sullivan-fortner-trio-cankarjev-dom-review\/","title":{"rendered":"Sullivan Fortner Trio"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>Only a few months after appearing at the Ljubljana Jazz Festival alongside vocalist C\u00e9cile McLorin Salvant, pianist Sullivan Fortner returned to Ljubljana with his working trio. The visit came just weeks after he received his third Grammy Award, this time for <em>Best Instrumental Jazz Album<\/em> for <em>Southern Nights<\/em>. His current trio \u2014 featuring bassist Tyrone Allen II and drummer Kayvon Gordon \u2014 has been performing regularly together since 2021, and the near two-hour performance at Klub CD demonstrated how deeply this ensemble language has developed.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The piano trio remains one of jazz\u2019s most revealing formats: open enough to give each musician full expressive space, yet demanding a high level of listening, virtuosity, and collective instinct. Fortner\u2019s trio delivered exactly that, earning a long standing ovation from the nearly sold-out audience.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<div class=\"wp-block-montoya-gutenberg-container content-row light-section normal\" data-bgcolor=\"#0c0d0d\" style=\"text-align:left\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"5152\" height=\"7728\" sizes=\"auto, (max-width: 5152px) 100vw, 5152px\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/03\/untitled-17.jpg\" alt=\"\" class=\"wp-image-5862\"\/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"5152\" height=\"7728\" sizes=\"auto, (max-width: 5152px) 100vw, 5152px\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/03\/untitled-15-1.jpg\" alt=\"\" class=\"wp-image-5864\"\/><\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\">A Trio Built on Visual and Musical Communication<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">One detail immediately caught the eye even before the music began: the unusual placement of the piano. Fortner sat in the center of the stage with his back partially turned toward the drummer, positioning himself between bass and drums. What might have looked unusual at first quickly revealed its purpose.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The trio operates <strong>without charts<\/strong>. Visual communication and spontaneous cues guide the performance, and Fortner\u2019s position allowed both Allen and Gordon to keep his hands in sight throughout the set.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The opening moments confirmed this approach. After a brief introduction, the trio launched into an arrangement based on a theme from <em>Carmen<\/em> by <strong>Georges Bizet<\/strong>. Rather than treating the tune as a stand-alone piece, Fortner used it as the starting point of a flowing musical sequence.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pieces emerged one from another through brief rubato interludes, with Fortner improvising short transitions that served as introductions to the next tune. The set unfolded less like a traditional sequence of compositions and more like a <strong>continuous narrative<\/strong>, guided by the pianist\u2019s cues.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From <em>Carmen<\/em> the trio moved into <em>The Scene Is Clean<\/em> by <strong>Tadd Dameron<\/strong>, and later into <em>For B.P.<\/em> by <strong>Freddie Hubbard<\/strong>. Right from the start it became clear that the group draws deeply from the jazz tradition while comfortably extending beyond it.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Tradition, Humor, and Sudden Turns<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">IFortner\u2019s repertoire moved easily between references \u2014 from classical sources to unexpected popular culture moments. One such example was <strong>\u201cChanging Keys,\u201d<\/strong> his arrangement of the theme from the television show <em>Wheel of Fortune<\/em>, originally written by <strong>Merv Griffin<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fortner\u2019s pianism throughout the evening was remarkably inventive. His playing moved between sharp bebop lines, powerful block-chord passages, and occasional dissonant gestures recalling the harmonic language of <strong>Thelonious Monk<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At times his left and right hands seemed to operate almost independently, engaging in a constant <strong>call-and-response dialogue<\/strong> that created a layered, polyphonic texture across the keyboard.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Behind him, Allen and Gordon formed an exceptionally responsive rhythm section. Allen\u2019s articulate bass lines pushed the groove forward with clarity, while Gordon demonstrated remarkable control of cymbal color, shaping the trio\u2019s overall sound whether swinging on brushes or sticks.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The first extended medley concluded with Fortner reintroducing the band members, joking about adding adjectives before their names \u2014 a playful reference to drummer <strong>Billy Hart<\/strong>, who often introduces musicians that way.<\/p>\n\n\n\n<div class=\"wp-block-montoya-gutenberg-container content-row light-section normal\" data-bgcolor=\"#0c0d0d\" style=\"text-align:left\">\n<div class=\"wp-block-montoya-gutenberg-slider clapat-slider-wrapper content-slider light-cursor autocenter\" data-delay=\"0\"><div class=\"clapat-slider\"><div class=\"clapat-slider-viewport\">\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/03\/untitled-8.jpg\" alt=\"\" \/><\/div><\/div>\n\n\n\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/03\/untitled-19.jpg\" alt=\"\" \/><\/div><\/div>\n\n\n\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/03\/untitled-25.jpg\" alt=\"\" \/><\/div><\/div>\n\n\n\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/03\/untitled-24.jpg\" alt=\"\" \/><\/div><\/div>\n<\/div><\/div><div class=\"clapat-controls\"><div class=\"clapat-button-next slider-button-next\"><\/div><div class=\"clapat-button-prev slider-button-prev\"><\/div><div class=\"clapat-pagination\"><\/div><\/div><\/div>\n<\/div>\n\n\n\n<br>\n\n\n\n<h3 class=\"wp-block-heading\">Speed, Precision, and Collective Energy<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The trio then moved into <em>No Smokin\u2019<\/em> by <strong>Horace Silver<\/strong>. The tempo quickly accelerated into an intense fast swing, yet the ensemble maintained remarkable clarity, with <strong>Tyrone Allen II\u2019s<\/strong> bass anchoring the pulse and <strong>Kayvon Gordon<\/strong> shaping the groove through crisp cymbal articulation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fortner navigated the keyboard with effortless agility, while Allen and Gordon followed every rhythmic shift with precision. Even at such high speeds, each musician retained space for improvisation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Allen began his solo with sharply articulated walking lines before expanding into more spacious phrases, after which Gordon took an energetic drum solo.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Yet the most striking element was not individual virtuosity but <strong>the collective momentum<\/strong>. The trio constantly pushed one another forward, reacting instantly to changes in direction and dynamics.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">New Music and Stride Reimagined<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">At one point Fortner introduced a recent composition written the morning after a U.S. presidential State of the Union address. The piece, titled <strong>\u201cVelvet Nightmare,\u201d<\/strong> reflected the tension suggested in its name.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Before the tune began, Fortner turned to Allen and invited him to start the piece. The bassist responded with a striking introduction built from chromatic runs and wide glissandi, setting an unsettled atmosphere before the trio entered a repeating <strong>7\/4 riff<\/strong>. Gordon switched to mallets, giving the groove a darker, more atmospheric character.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another sudden transition followed \u2014 this time into stride-influenced piano playing. But it was <strong>stride transformed<\/strong>: rhythmically flexible and harmonically expanded. As pianist <strong>Brad Mehldau<\/strong> has noted in recent interviews, Fortner is among the musicians bringing stride language into a distinctly modern context.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Allen later switched to the bow for one of his solos before the trio moved into <em>Waltz for Monk<\/em> by <strong>Donald Brown<\/strong>, another piece associated with Fortner\u2019s album <em>Southern Nights<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For the ballad portion of the set, they offered a lyrical interpretation of <em>\u2019Round Midnight<\/em> by <strong>Thelonious Monk<\/strong>, ending unexpectedly with a brief reference to <em>Just a Gigolo<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">By this point the audience had become accustomed to Fortner\u2019s method of directing the trio: sometimes simply introducing a motif or harmonic idea that instantly signaled the next piece.<\/p>\n\n\n\n<div class=\"wp-block-montoya-gutenberg-container content-row light-section normal\" data-bgcolor=\"#0c0d0d\" style=\"text-align:left\">\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<div class=\"reveal-gallery\"><div class=\"reveal-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/03\/untitled-24.jpg\" alt=\"\" \/><\/div><div class=\"reveal-img-fixed\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/03\/untitled-16.jpg\" alt=\"\" \/><\/div><div class=\"reveal-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/03\/untitled-23.jpg\" alt=\"\" \/><\/div><\/div>\n<\/div>\n\n\n\n<br>\n\n\n\n<h3 class=\"wp-block-heading\">A Playful and Virtuosic Encore<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The standing ovation brought the trio back for a two-tune encore.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">They began with <em>Airegin<\/em> by <strong>Sonny Rollins<\/strong>, followed by <em>Minority<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">During the latter, <strong>Sullivan Fortner<\/strong> reached for a microphone and began <strong>scat singing<\/strong> while continuing his piano improvisation. At times his voice moved in unison with the piano line, and occasionally he even added vocal harmonies to the phrases he was playing.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The Power of the Piano Trio<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The performance at <strong>Klub CD<\/strong> reaffirmed the expressive potential of the piano trio format. With musicians capable of listening and reacting at this level, three instruments can create a musical landscape that feels as expansive as a much larger ensemble.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fortner\u2019s trio demonstrated how jazz tradition can remain fully present while still sounding fresh and personal.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The constantly shifting setlist, built on spontaneous cues and deep trust between the musicians, turned the evening into a living example of what makes jazz performance compelling today: <strong>immediacy, dialogue, and collective creativity.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Follow CD for more concerts <a href=\"https:\/\/www.cd-cc.si\/\">here!<\/a> \u00a0\u2502 Follow <a href=\"https:\/\/www.sullivanfortnermusic.com\/\">Sullivan Fortner<\/a>!<\/p>\n\n\n\n<br>\n<div style=\"text-align: center; margin: 2rem 0;\">\n  <a href=\"https:\/\/theconcertwitness.com\/index.php\/category\/concerts\/\" \n     style=\"background-color: #0C0D0D; color: white; padding: 12px 30px; text-decoration: none; \n            border-radius: 50px; font-weight: bold; font-size: 1rem; display: inline-block;\n            border: 2px solid white;\">\n    Read More Concert Reviews\n  <\/a>\n<\/div>\n<br>\n\n\n\n<div class=\"wp-block-montoya-gutenberg-container content-row light-section normal\" data-bgcolor=\"#0c0d0d\" style=\"text-align:left\">\n<div class=\"wp-block-montoya-gutenberg-clipped-image clipped-image-wrapper\"><div class=\"clipped-image-pin\"><div class=\"clipped-image\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/03\/untitled-26.jpg\" alt=\"\"\/><div class=\"clipped-image-gradient\"><\/div><\/div><\/div><div class=\"clipped-image-content content-full-width\"><\/div><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Only a few months after appearing at the Ljubljana Jazz Festival alongside vocalist C\u00e9cile McLorin Salvant, pianist Sullivan Fortner returned to Ljubljana with his working trio. The visit came just weeks after he received his third Grammy Award, this time for Best Instrumental Jazz Album for Southern Nights. His current trio \u2014 featuring bassist Tyrone [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":5843,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[],"class_list":["post-5842","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-concerts"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Sullivan Fortner Trio Cankarjev dom Review \u2013 Live in Ljubljana<\/title>\n<meta name=\"description\" content=\"This Sullivan Fortner Trio Cankarjev dom review explores the trio\u2019s virtuosic performance in Ljubljana, highlighting spontaneous improvisation and deep ensemble interplay.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/theconcertwitness.com\/index.php\/2026\/03\/15\/sullivan-fortner-trio-cankarjev-dom-review\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sullivan Fortner Trio - Klub CD\" \/>\n<meta property=\"og:description\" content=\"Only a few months after appearing at the Ljubljana Jazz Festival alongside vocalist C\u00e9cile McLorin Salvant, pianist Sullivan Fortner returned to Ljubljana with his working trio. 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