Fornaxnow there's a word you probably haven't heard since sophomore Latin classif ever. It translates as "oven" words such as "furnace," al forno anduse your imagination for another exampleare derivatives. Whether or not his surname emanates from ancient lingo, one thing is certain: trumpeter Dan Fornero's Not So Old School is indeed both contemporary and burnt-tongue delicious.
Well-known by way of his globe-trotting work with Phil Collins, the Brian Setzer Orchestra, Neil Diamond and present status as one of L.A.'s most in-demand session artists, Fornero takes the leader reins here and gathers some of L.A.'s premier "suspects" to offer 10 original selections steeped in the best high-energy funk, R+B, and pop-rock traditions. The up-tempo fare on this particular menu is so rhythmically intense it would make a "Mummy" shake its bandaged booty. And, the more restrained material is elegantly cognac- smooth.
It's obvious from the get-go that Fornero has a penchant for the driving pulses and biting staccato funk of the styles of Tower of Power, Prince, Earth, Wind & Fire, Al Jarreau andrest his Godfather SoulJames Brown ("Gonna Be Fine" "Cunning & Baffling," "DataBass"). With a premier rhythm section that cuts loose below the screaming horns and the soul- oozing vocals, this contemporized effort is as goodor perhaps even betterthan some of the aforementioned.
Eschewing the need for extensive spotlighting on his stellar playing ("Wish You Were Here"), Fornero has shrewdly allowed the ensemble to collectively shine. His original and co-authored tunes certainly demonstrate his talent, expertise and devotion to the genres. The vocal selections throughout are superb ("My Only Girl," "Don't You Know" "These Are the Words") but, make no mistake: what delivers the KO here is the utterly incredible cohesion of the horn sections forged with what percolates below (Hey Thanks). Overall and throughout, the guitarists and rhythm section rock this casbah.
Not So Old School is an impeccable performance that is supreme fun andnot for one 16th notestudio sterile. At this cooking school, the recipes are 5-Star and the use of asbestos gloves is highly recommended.
Track Listing: Gonna Be Fine; Cunning & Baffling; My Only Girl; Hey Thanks; These Are
the Words; DataBass; Don’t You Know; Wish You Were Here.
Personnel: Lynne Fiddmont, Sean Holt, Kudison Kai, Lamont Van Hook, Lisa Vaughn,
Dan Fornero: vocals; Gregg Bissonette: drums; Matt Bissonette, Leland
Sklar: bass; Al McKay, Ramon Stagnaro, Andrew Synowiec: guitars; Wally
Minko: synthesizers/piano; Kevin Ricard: percussion; Dan Fornero,
Wayne Bergeron, John Fumo, Gary Grant, Larry Hall, Harry Kim:
trumpet/flugelhorn; Nick Lane, Andy Martin, Bill Reichenbach, Arturo
Velasco: trombone; Tom Evans, Larry Klimas, Sal Lozano, Eric
Marienthal, Don Markese: woodwinds.
I was first exposed to jazz thanks to my Mother (stage name Tobey Castle) who was a professional singer with the Tommy Dorsey band back in the day. Mom sang to me all the time as a little girl, but it never occurred to me to pursue it professionally until I met my husband David
I was first exposed to jazz thanks to my Mother (stage name Tobey Castle) who was a professional singer with the Tommy Dorsey band back in the day. Mom sang to me all the time as a little girl, but it never occurred to me to pursue it professionally until I met my husband David. He encouraged me to become a songwriter and together as co-writers we have written material for two albums and an EP.
As The Brehms, we try to bring a beautiful ambience to any event, and we feel just as comfortable in situations where we are
background ambience, or pushing the energy in a large scale concert, and everything in between.