pat martino

Portland Jazz Festival reviews: Ramsey’s wrap up

Renowned jazz journalist's reviews of the 2016 jazz extravaganza



Editor’s note: ArtsWatch is honored to feature the first appearance on our pages of one of America’s most esteemed jazz journalists, former Portland resident Doug Ramsey, who was back in town for the 2016 Portland Jazz Festival. He conducted one of the festival’s Jazz Conversations with piano legend Kenny Barron and issued reviews on his excellent blog, Rifftides. We rounded them up and, with Ramsey’s permission, are re-publishing them here.

Sullivan Fortner

In his solo piano concert opening the Portland Jazz Festival last night, Sullivan Fortner surveyed a wide territory of styles and wrapped them into his own. At the Bösendorfer grand in the recital hall of Classic Pianos, Fortner’s program ranged from a spiky treatment of Bronislaw Kaper’s “Invitation” through an encore saluting Duke Ellington and Billy Strayhorn.

Sullivan Fortner ©2016-Mark Sheldon.

Sullivan Fortner ©2016-Mark Sheldon.

Fresh from winning the American Pianists Association’s Cole Porter Fellowship in Jazz, Fortner incorporated influences both subtle and obvious. He used the blues to work his way into “Making Whoopee and invested the performance with a rollicking quote from “Surrey With The Fringe on Top” and a sly borrowing from Willie The Lion Smith’s “Echoes of Spring.” Fortner seems anything but calculated in his improvisations. In “Someone to Watch Over Me,” he led himself briefly into what might have been a blind harmonic alley and with a daring octave leap found a way out. He made a transition from Bill Evans’s “Very Early” to his own composition “Ballade,” which included a lovely cycle-of-5ths section.

Although he can be dazzling in his use of technique, nothing Fortner plays seems intended purely for effect. He made clever paraphrases of the melody in “Just One of Those Things,” worked in a few seconds of waltz time, hinted at James P. Johnson’s swing feeling, then went into the full stride piano style of which Johnson was the master. Introducing his melding of Ellington’s “Single Petal of a Rose” and Strayhorn’s “Star Crossed Lovers,” he described their storied partnership as a “love story” inspired by the Divinity, then reflected on his own love of the piano and of music.

Fortner dedicated “My Favorite Things” to John Coltrane. He created an introduction that may have had its inspiration in Coltrane’s free period, slid into a liberal interpretation of the famous melody, made a tag ending that flirted with ¾ time, then used a series of key changes to bring the piece home. The festival—dedicated to Coltrane—was off to a good start.


Pat Martino preview: In the Moment

Legendary jazz guitarist performs at Portland Jazz Festival


“The past doesn’t exist,” says Pat Martino. “The future doesn’t exist. What exists is now.”

Since 1980, when he underwent neurosurgery for a life-threatening brain aneurysm, jazz guitarist Martino’s memories are foggy, sometimes nonexistent. Partly because of this condition, Martino stresses the importance of the present. He insists that his past experiences and future ambitions aren’t so important.

Pat Martino

Pat Martino

Martino’s emphasis on the moment sits at the core of his approach to music.  His music happens in the now, as he and his band members adapt to each other and the changing demands of each particular song. Accordingly, Martino’s Feb 20th Portland Jazz Festival show at the Newmark Theatre will be an exercise in improvisation, in adaption to the moment. “It’s difficult to give a preface to experience,” Martino says. “Improvisation not only takes place in the structure of the music. Improvisation is life itself.”

Last Friday, I talked with Pat Martino. He told me about his musical philosophy, his upcoming concert at the Portland Jazz Festival with organist Pat Bianchi and drummer Carmen Intorre, and his life — or at least what he could remember of it.


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