Big Party is the fifth studio album from the band Forq with the first coming 10 years ago in 2014. Henry Hey, the band’s composer and keyboardist is one of the cofounders along with Michael League (Snarky Puppy). The album is a blast, a mix of fusion, funk, rock, whimsy and electronica all in a delectable recipe. It’s damn near impossible to listen to this album and not have a smile on your face. It’s like you’re at a house party and these great players hash out some deep-groove jams that change directions and feel great. All of the musicians are super talented and acclaimed in their own right but mixing them all together created a montage that is indescribably unique. Have a read and a listen and join the Big Party!
Forq’s latest release, ‘Big Party,’ is a celebration of its undeniable grooves, singular sonic brand, and mischievous humor. Your host for this party is critically acclaimed keyboard player, composer, and arranger Henry Hey. He’s joined by Forq veterans: Snarky Puppy guitarist Chris McQueen with his signature funky sound, Government Mule bassist Kevin Scott with his grooving bass lines, and Snarky Puppy drummer Jason ‘JT’ Thomas with his unmistakable musicality and relentless power. This raucous potluck shindig also boasts incredible guitarists Ryan Scott and Jordan Peters, bassists James Genus, Chris Morrissey, and Eli Menezes, and drummer Josh Dion. Tying it all together is the unexpected harmony, head-nodding, and toe-tapping joy that is absolutely Forq. It’s a ‘Big Party,’ and everyone’s invited!
Track By Track
Into Bright starts off sounding like some timekeeping mechanism with a lot of ghost-notes, popping bass, intermittent keys and guitar in the A-section. The synth comes in with the main theme sounding like a playful toy before the the core of the tune becomes full and lush. The bouncy midsection has Hey playing an asymmetric jazzy grooves that segues back into the fuller, dreamy sound. The edgy guitar solo flows in with the dream almost to the end where there’s a bit of sound that sounds a bit like a…kind of like a burp? Very fun!
This piece is all about energy. It’s an instrumental synth disco with singable melodies that features transistor organ over guitar grooves. Into Bright is moving from the shade to the beautiful sunshine.
- Henry Hey – keys
- Chris McQueen – guitar
- James Genus – bass
- Jason “JT” Thomas – drums
BOMP has a bouncing bassline and a rolling synth that will keep your head bobbing a along. The synth line has so many twists and turns, as does the guitar pathway that seem meandering but work so well together with the drum and bass. It’s best to let Hey be the conductor and just relax along the journey. Around the 2/3 mark the trip gets a little darker and faster before settling back down to the the bouncy head. Nice.
Is this a reggae? Is it reggaeton? Is it silly yet singable? yes – all of the above. Maybe it’s called BOMP because it’s a bop but with more weight? And maybe it’s just a goofy name that seems to fit the sound. Bass, guitar, and keyboards all trade off with musical hooks as this chugs along. Drums are featured in a wild solo before the song returns to its groovy beginnings at the end.
- Henry Hey – keys
- Chris McQueen – guitar
- Kevin Scott – bass
- Jason “JT” Thomas – drums
Big 3 features some bluesy guitar in a slow-rolling groove. I wouldn’t realize that you could put WahWah on a Hammond without reading the notes, but there you have it. Hey is and has always been innovative in his approach and his solo accentuates the blues feel.
Big landing points for a greasy rhythm section in this downtempo groover. Wah wah on Hammond organ and a searing guitar solo take it home in the end.
- Henry Hey – keys
- Ryan Scott – guitar
- Chris Morrissey – bass
- Josh Dion – drums
Dirt Cake has the bass and drums set the groove right from the start. I definitely can hear the Sanford and Son riff which is particularly timely after Quincy Jones’ passing this week, although I might not have made the subtle connection if it wasn’t highlighted. The break has a funky bass solo followed by some fuzzed guitar. The refrain towards the end with Hey on a Hammond jaunt is a fun ride.
Bass and drums are at the center of this medium groover pocket. Snaky guitar and wah wah Hammond B3 round out the vibe. Hints of ‘Sanford and Son’ exist here
- Henry Hey – keys
- Chris McQueen – guitar
- James Genus – bass
- Jason “JT” Thomas – drums
The Grotto, an aptly named song, feels like floating in the waves. It picks up the pace early on, like sailing, with the 12 string guitar lead, shifting direction and keeping it interesting. The piano interlude is relaxing and laid back before the cruise continues and then ends with the final piano leg.
It’s the 60s and we are somewhere in an undisclosed island location – maybe in an aqua blue sea grotto turned secret submarine lair. There are also quirky harmonies, electric 12 string guitar and unexpected adventures in melodies upon melodies.
- Henry Hey – keys
- Chris McQueen – guitar
- Kevin Scott – bass
- Jason “JT” Thomas – drums
Kick The Curb has a classic rock feel with some Texas twang, likely from Josh Dion on drums and Ryan Scott on guitar. The guitar jang-a-lang is quite catchy. For me the uniqueness of this song is the “crazy carousel”section I hear around the 2:30 mark. The distorted fade at the 4:00 mark is also uber cool.
Nasty guitar-driven groover with a relentless vibe from the drums. Here is the grease.
- Henry Hey – keys
- Ryan Scott – guitar
- Chris Morrissey – bass
- Josh Dion – drums
Song For Jim has excellent overall balance between the bright keyboards of Hey and the rock-solid rhythm section. Around the 2:50 mark, there’s some Star Trek-sounding synth before the segue into the slinky guitar lead. I really dig the main melody back and forth between the piano and drum/bass.
This is a playful and grooving rhythmic interplay between guitar and keyboard, mixed in with chords that weave through interesting places via the connecting sinew of leading melodies. This piece is dedicated to the great composer and keyboard player – Jim Beard, who was truly one of a kind and is gone far too soon.
- Henry Hey – keys
- Jordan Peters – guitar
- Eli Menezes – bass
- Jason “JT” Thomas – drums
Echo is so gorgeous and a bit Metheny-esqe, perhaps from the 70s Pat Metheny Group era. it’s got some great slide guitar and piano duoplay. It’s ultra-lush, and feels like it could be played around a blazing campfire. It builds slowly and burns bright right to the end.
Some people are such bright lights – so vibrant. Now all that remains is a reflection of the person that they used to be.
- Henry Hey – keys
- Jordan Peters – guitar
- Eli Menezes – bass
- Jason “JT” Thomas – drums
Va! It’s impossible to listen to this song without a smile one your face – from the first bar, you know something is up! When the “va, va, va, va, va, va” vocals start, I guarantee you’ll start singing along. It’s so simple and so fun. The retro graphics in the video with hula hoops and the musicians dancing is right on point. I think the only serious face in the whole thing is JT on drums, but even he breaks into a smile after a bit. But not only that, it’s some pretty groovy music on top of all that. Have fun and listen!
A Brazilian carnival meets a circus carnival and crashes into afropop. Sergio Mendez meets Ray Conniff meets Salif Keita + transistor organ. Enjoy the humorous madness.
- Henry Hey – keys
- Chris McQueen – guitar
- Kevin Scott – bass
- Jason “JT” Thomas – drums
About Forq
Henry Hey – Keyboards
Chris McQueen / Jordan Peters – Guitar
Kevin Scott / Eli Menezes – Bass
Jason ‘JT’ Thomas – Drums
