All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Add Dan Pinto to the list of jazz-rock and fusion Renaissance men. Amid numerous scores for TV and film, Pinto commenced his career as a formidable drummer and then honed his keyboard skills, while absorbing the fundamentals of progressive rock and fusion keyboard heroes of the '70s and onward. Recorded at his hi-tech studio, Pinto's third solo album covers quite a bit of ground, crossing that sometimes-opaque division between contemporary jazz-fusion and complex jazz-rock, all spiced with a multi-tiered methodology.
Pinto fabricates a comprehensive and rather fast-moving electric foray as he mans the drums and the keyboards.&nbsp;Founded upon thrusting ostinatos and complex rhythmic developments, the artist seamlessly morphs genres such as funk and space-rock into the grand schema. He also delves into the past and lifts a few prog-rock stylizations from the likes of keyboard greats Keith Emerson and Rick Wakeman. Pinto is a studio whiz via his&nbsp;electronic tools of the trade, where he generates blithe themes with the assistance of saxophonist and flautist John Asti.
The artist navigates through sinewy time signatures, complete with lighthearted romps and nicely orchestrated opuses, largely enamored with memorable hooks and blitzing guitar parts by Ivan Romero. Moreover, Pinto combines the best of many musical worlds while excelling as a strong composer and fluent soloist. Not over-cooked or superfluous, the artist injects a Midas touch throughout the overall scope of these sharply arranged compositions.
Track Listing: Funk Shui; Jigsaw; Bermuda Triangle; Labyrinth; Forty-Two; Flight Of The Phoenix; Enigma; Pandora's Box; Pyramids; Aurora Borealis.
Personnel: Dan Pinto: electronic keyboards, drums, percussion, vocals; Ivan Romero: electric guitars; Rhonda Schuster: vocals; John Asti: flutes, clarinet.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...