Pink Martini: 30 Years of Magic, Mischief, and Multilingual Jazz
The sold-out crowd was an eclectic mix of ages and backgrounds, reflecting the band’s ethos: unity through music, humor, and a healthy dose of irreverence. As bandleader and pianist Thomas Lauderdale took his place at the baby grand, the audience erupted into applause. What followed was an evening that blurred the line between concert and cabaret, with Lauderdale at the helm—a conductor not only of music but of joy.
“It’s been a few years of doing this annual residency here,” Lauderdale tells me during our FaceTime interview earlier that week. He spoke with the same easy charm he displays on stage, casually smoking a cigarette as he strolled the streets around SFJAZZ. “It’s great to be in one place for five days. What a city to spend that time in, right?”
Pink Martini was celebrating a milestone: its 30th anniversary. For Lauderdale and his longtime collaborator and original vocalist China Forbes, the journey from college friends to international icons is a testament to their unique chemistry and shared vision.
A Band for the World
Pink Martini was born in 1994, a passion project founded by Lauderdale in his hometown of Portland, Oregon. “I was working in politics then,” he explains, “and I started the band as a way to provide music for political fundraisers—progressive causes I cared about.” From affordable housing to civil rights, the band’s origin story is as rooted in activism as it is in music.
The addition of Forbes the following year solidified the group’s identity. Their first collaboration, “Sympathique” (with its iconic refrain, Je ne veux pas travailler—“I don’t want to work”), became an anthem in France and beyond. Today, Pink Martini’s repertoire spans over 30 languages, an ambitious feat that Lauderdale credits to the band’s ethos of cultural diplomacy. “When we go to a new country, we learn to sing in the local language,” he says. “It’s a way to build bridges, even if we butcher a bit of Arabic or Mandarin along the way.”
SFJAZZ Residency: Holiday Spirit, Pink Martini Style
The weeklong residency at SFJAZZ felt like a culmination of the band’s three decades of artistry. Their setlist was a treasure trove of fan favorites, opening with “Amado mío” and including the sultry “Hang on Little Tomato,” the lively “¿Dónde estás, Yolanda?,” and the melancholic-yet-hopeful “U Plavu Zoru.” The crowd erupted during “Hey Eugene,” and the medley traversing 18 languages was a dazzling finale.
On stage, Lauderdale interspersed dazzling piano performances with quirky anecdotes and effusive praise for his bandmates. Guitarist Dan Faehnle, hailed as the “best jazz guitarist in the world” by Guitar Magazine, delivered solos so captivating they could silence even the most restless audience members.
Guest performer Edna Vazquez, a Mexican singer and multi-instrumentalist, added a soulful layer to the evening with her dramatic rendition of “Sola soy,” sung against breathtaking stained-glass visuals. She remained on stage to play percussion and harmonize with the band, her presence a reminder of Pink Martini’s commitment to collaboration and inclusivity.
In true Pink Martini fashion, the audience was more than just spectators. Lauderdale orchestrated a venue-wide dance contest, promising a signed poster to the winner. Later, a conga line snaked its way through the auditorium to the infectious rhythms of “Yolanda,” the crowd’s laughter and movement turning the night into an unforgettable celebration.
A Conversation with Thomas Lauderdale
Offstage, Lauderdale is as fascinating as his music. Our conversation, just before soundcheck, ranged from his admiration for Bill Evans and Chopin to his love of throwing eclectic parties soundtracked by everything from Cesária Évora to Duke Ellington’s jazzy take on Mary Poppins.
One standout moment was Lauderdale’s reflection on growing up with a father who came out as gay in the 1980s. “He’s one of the subjects of a documentary called Conversations With Gay Elders,” he says. “It’s a beautiful film about honesty, love, and navigating life as an LGBTQ parent.”
This personal history shapes Lauderdale’s worldview and his role in Pink Martini. “We’ve always been about creating spaces where people feel connected, where they can celebrate who they are,” he says.
When asked about the band’s future, Lauderdale shared exciting plans: an album with Iranian icon Googoosh, a new symphonic record, and even another holiday album. “There’s always so much to do,” he says, his signature exuberance shining through.
The Best Jazz Band in America
Pink Martini is more than a band; they’re an experience—a kaleidoscope of sound, culture, and humanity. Whether it’s their performances with symphony orchestras at the Hollywood Bowl or their intimate residencies at SFJAZZ, they have an uncanny ability to make the world feel a little smaller and a lot more beautiful.
As the final notes of “Brazil” echoed through the venue, it felt less like an ending and more like an open door—an invitation to a world where music is the universal language and every melody holds the promise of connection. Pink Martini is a symphony of humanity, weaving a tapestry of sound that transcends borders, languages, and time.
The room lingered in a moment of shared silence, the music fading but its resonance still palpable. Thomas Lauderdale’s words about the power of music to bridge divides came back to me: “Every band should make the effort to connect. It’s a little thing, but it means everything.”
