Sullivan Fortner, a leading figure in contemporary jazz piano, continues to blend tradition with innovation as he expands his musical repertoire. Known for his deep respect for jazz standards, Fortner has built a reputation for both technical prowess and expressive restraint, which has earned him widespread acclaim within the jazz community.
Since relocating to New York in 2008, Fortner often returns to perform at Concord Baptist Church of Christ in Brooklyn’s Bedford-Stuyvesant neighborhood. There, he finds a grounding contrast to the recognition he receives elsewhere. “There’s no celebrity there,” he said recently, emphasizing the humility fostered by his faith community. This humility is further reinforced during visits to his hometown, New Orleans, where playing at his parents’ church reminds him of his roots and the candid feedback inherent in that environment.
Fortner’s profile rose significantly in 2025 with the release of his trio album “Southern Nights,” which won him his first Grammy Award in the category of best jazz instrumental album—a milestone in his career that followed earlier recognition, including the Larry J. Bell Jazz Artist Award from the Gilmore International Piano Festival, known for primarily honoring classical pianists before Fortner’s win. Fellow musicians such as pianist Jason Moran and trumpeter Ambrose Akinmusire have praised Fortner’s exceptional technique and his commitment to serving the music rather than showcasing virtuosity for its own sake.
His latest album, “Leave That in There,” released this year, marks a departure from his earlier, more traditional work. The record incorporates a broader sonic palette, including organ, keys, marimba, and electronic elements, as well as overdubbed vocal layers, demonstrating Fortner’s willingness to explore new textures. The album features his regular trio, bassist Tyrone Allen II and drummer Kayvon Gordon, and draws inspiration from Fortner’s New Orleans upbringing and regional history, including references to the 1811 Sugarcane Rebellion and Spike Lee’s documentary on Hurricane Katrina.
Fortner’s musical foundation was laid early through his mother’s gospel teachings and mentorship from veteran New Orleans trumpeter Clyde Kerr Jr., who introduced him to jazz classics and nurtured his open-minded approach to music. After studying under Jason Moran at Manhattan School of Music, Fortner joined the band of trumpeter Roy Hargrove, establishing himself as a sought-after sideman before emerging as a leader.
Despite his considerable compositional skills, Fortner expresses ambivalence about writing music, preferring to interpret existing jazz standards known for their melodic and harmonic richness. His work with vocalist Cécile McLorin Salvant has been described as a nuanced blending of original and covered material, with Salvant noting the vocal quality Fortner imparts to his piano playing. Pianist Fred Hersch highlights Fortner’s distinctive attitude toward music, which prioritizes musical enjoyment and expression over the pressure to compose constantly.
As Fortner’s influence grows, he maintains a low-key demeanor that contrasts with his rising status. He describes his motivation simply as a love of playing music, underscoring a genuine commitment to his art rather than a pursuit of fame. “Because he doesn’t do all that rah-rah around himself,” Moran observed, “he’s been able to elude that trap of becoming the star. But he’s the star for us.”