--=[ Mark Portmann ]=--

Mark Portmann - No Truer Words (1997)

Since this keyboardist left his high profile gig with the Rippingtons in the mid 90s, he's paid some bills doing parts and arrangements for superstar producer David Foster, and Portmann's own instincts as studio ringleader make No Truer Words a busy, diverse affair. One gets the sense that Portmann's truest heart lies in finely orchestrated romantic pieces like "Destinations" and "Canyons," but he has a blast jacking up the urban swing on the party jam "Slink" and overseeing a handful of solid soul vocals. Portmann's finely honed jazz heart beats at the core of even the most heavily produced pop track. And his roots are never far behind either - former Rippmates Tony Morales, Steve Reid and Jeff Kashiwa show up to help their old pal explore his wide ranging but never scattered artistry.
Listen out for that beautiful songbird "Lori Perry"















Mark Portmann - Driving Beverly Hills (1994)

Musically, this exhilarating ride through the playful streets of Los Angeles proves no less a calling card for the city's lighthearted side than Randy Newman's "I Love L.A.." Aside from asserting his considerable abilities as a solo artist, composer and producer after a handful of years as a keyboardist with The Rippingtons, Portmann desired to create an innovative recording specifically designed both sonically and musically for the freeway, where folks in the City of Angels spend so much of their time. The tunes are lively, spry and spirited, providing two morning to night, top down, wind in your face joyrides that perfectly capture both the cool, laid back aspects of beach life ("200 South Robertson," the vocal "Cruise Control," sung by former Hiroshima lead singer Machun) and the often frenetic pace of the palm lined streets ("California Spyder"). The pacing is perfectly balanced, and though there is an amazing number of all star performances, Portmann allows himself to emerge as leader by expanding his chops on plucky pieces like "It's My Turn." With guests like Steve Bailey, Jeff Kashiwa, Tony Morales and Steve Reid, there were indeed a slew of Ripps comparisons. His compositions are as accessible as Russ Freeman's, but Portmann's vision and often jazzy keyboard style carry him beyong the artistic bounds he had with the band.

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