Leave That In There finds Sullivan Fortner turning inward without sacrificing the adventurous spirit that has made him one of jazz’s most compelling pianists. Produced by acclaimed bassist Derrick Hodge, the album is less a collection of compositions than a carefully woven tapestry of memories, family history, Black musical traditions, and musical self-reflection. Anchored by a stellar band that includes bassist Tyrone Allen II and drummer Kayvon Gordon in their first studio outing as Fortner’s working trio, the record stretches the piano trio format with Hammond B3, marimba, synthesizers, Bàtá drumming, and fearless improvisation. Rather than revisiting the past nostalgically, Fortner uses it as living material, connecting every piece into an evolving musical autobiography. The compositions are compact, yet expressive, with space for each to breathe and allow for stunning moments of improvisation.
“Sugarcane” opens the album with remarkable purpose, blending Bàtá rhythms, marimba, and acoustic piano into a vibrant meditation on Louisiana history and Fortner’s childhood memories. The track balances celebration and historical weight while establishing musical themes that echo throughout the album.
“Que Diablos” serves as the album’s contemplative centerpiece and may well be my favorite song on the album. Fortner’s lyrical touch and the trio’s conversational interplay create an atmosphere where curiosity outweighs certainty, allowing every phrase to breathe naturally.
“A Poignant Time”, while brief, packs quite a punch and delivers exactly what its title promises. The trio favors restraint over virtuosity, allowing melody and subtle harmonic movement to communicate emotional depth without unnecessary embellishment.
“Aerobatics Pt. 1” introduces one of the album’s most adventurous stretches. Fortner’s rhythmic imagination takes flight as the trio navigates shifting textures with remarkable cohesion. The song is a perfect introduction to the even more adventurous “Aerobatics Pt. 2,” which expands on the first movement with greater freedom, blurring the line between written composition and spontaneous invention while showcasing the trust this working trio has developed.
“Sorcerer’s Stick” injects playful unpredictability into the program. Fortner layers groove, modern harmony, and rhythmic surprises into a composition that constantly changes direction without losing momentum. Infused with playful ride cymbal work from Gordon and expressive acoustic bass from Allen, the song makes the listener take notice. Quite a feat for a track shorter than 3 minutes.
“Swirl” tips its hat to Thelonious Monk while remaining unmistakably Fortner. Angular melodies, unexpected pauses, and sly humor create one of the album’s most engaging performances. The mighty Hammond B-3 is center stage here, teasing the listener while Allen and Gordon take off in a flight of fancy.
“T295” embraces abstraction through fully interactive ensemble playing. The trio shows remarkable sensitivity, letting each musical gesture influence the next in real time.
“Number 3” provides the album’s lone cover, honoring drummer-composer Lawrence Williams and Fortner’s mentor Marcus Belgrave. The fast waltz feels simultaneously respectful and freshly reimagined through the trio’s spirited performance. Fortner and his compadres make this their own.
“12 Gallons” thrives on rhythmic invention and kinetic energy. Allen and Gordon establish a flexible foundation while Fortner continually reshapes the harmonic landscape above them. It’s a weird and wonderful slice of whimsy.
“Aria II” revisits ideas from Fortner’s 2015 debut without simply repeating them. The composition illustrates how themes mature over time, reflecting the album’s broader concept of musical continuity. His B-3 work is as stunning here as his acoustic piano playing on the album.
The album closer, “Another Poignant Time,” revisits earlier emotional terrain from a new perspective. Rather than providing neat resolution, it leaves the listener reflecting on the interconnected journey Fortner has carefully constructed.
Leave That In There may be Sullivan Fortner’s most cohesive artistic statement to date. Its recurring motifs, historical awareness, and deeply personal storytelling reward attentive listening, while the exceptional chemistry between Fortner, Tyrone Allen II, and Kayvon Gordon gives every composition a sense of discovery. Derrick Hodge’s production allows each texture, from acoustic piano to Bàtá drums and synthesizers, to serve the larger narrative rather than distract from it. The result is an album that feels both intellectually rich and emotionally generous, confirming Fortner’s place among the most imaginative voices in contemporary jazz. At first the album seemed to be an incomplete statement. Then I realized I just wanted the music to continue.