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 was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.