“Big Party”: Forq’s Latest Adventure in Groove and Surrealism

‘Weird is at the forefront of what we do in Forq,’ says keyboardist and composer Henry Hey, breaking into a laugh. ‘We play groove-based improvised music. I don’t really think of it as “fusion,” unless we’re talking about fusing Ennio Morricone with gameshow music from the ’70s, classic video-game soundtracks, and D’Angelo.’

Imagine Forq’s new release, “Big Party” from GroundUP Music, as a late-night stroll through the quirkiest, funkiest, most David Lynch-esque beach town boardwalk. Or picture it as an especially surreal channel-surfing experience that stretches into the early hours on an old Magnavox TV, somehow bringing together all forms of high and low culture. It’s a blend of humor and trippiness, both fun and elusive—a truly memorable party experienced as if in a dream.

‘We go for sounds that are darker, where somebody might say, “What is that?” And it makes me very happy to have things feel that way,’ says Hey, whose career includes an intimate late-stage collaboration with David Bowie. ‘At the same time, I love melody and I love hooky bits. So I want to keep those in there, and not make things so obtuse harmonically that you lose people. My sense of “weird” is more sonic.’

“Big Party” continues Forq’s unwavering belief in the power of the groove. ‘I always want to have the feeling of asses shaking in this music,’ Hey asserts. ‘And if it doesn’t feel like that to me, I don’t actually want to play it in this band.’ Despite the eclectic mix of ambient and textural influences—from the Ray Conniff Singers to Edd Kalehoff’s music for “The Price Is Right” and the classic arcade game “Dig Dug”—the core of funk history supports the jams. Think James Brown, Sly Stone, essential Quincy Jones productions like Michael Jackson’s “Off the Wall,” early Busta Rhymes, Tribe, and the pioneering neo-soul of Meshell Ndegeocello.

Creating this uniquely vibrant blend is no easy feat. Fortunately, Forq features some of the top improvisers and groove players in the world. On “Big Party,” Forq includes Hey along with his musical confidant Chris McQueen, best known as a guitarist in Snarky Puppy; bassist Kevin Scott, from Gov’t Mule; and Snarky drummer Jason “JT” Thomas. Adding to these long-standing Forq members are guitarists Ryan Scott and Jordan Peters, bassists James Genus, Chris Morrissey, and Eli Menezes, and drummer Josh Dion. Hey composed and arranged the music on “Big Party,” with significant contributions from McQueen and Scott, whose exceptional guitar and songwriting skills are rooted in deep blues traditions.

‘In choosing musicians, number one with me is spirit,’ Hey says. ‘Are they having fun? Are they contributing? I despise the idea of musical mercenaries. All these musicians are lovely people, they’re super creative, and they’re not stuck in one thing.’ They are also impressively accomplished, with Genus being among the greatest electric bassists in history, regularly playing with Herbie Hancock and the Saturday Night Live Band.

Genus’s punchy, nimble bassline helps define the opener, “Into Bright,” a disco-infused track featuring sunny synths and Hey on the transistor organ. His solo, with a seasick warble, provides a delightfully twisted contrast to the dance-floor vibe. “Bomp” comes off like contemporary Latin pop music filtered through Zappa and the Downtown scene. ‘Maybe it’s called “BOMP” because it’s a bop but with more weight?’ Hey muses, as Thomas delivers thunderous solos over a section of near-Sabbath heaviness. “Big 3!” finds the space between jam-jazz reminiscent of the John Scofield Band and instrumental indie rock, while “Dirt Cake” takes ’70s sitcom themes to the outer reaches of modern jazz-rooted musicianship.

Similarly, “The Grotto” brings undeniable chops to a hazy, boozy lounge exotica atmosphere—think Connery-era Bond directed by Fellini. “Kick the Curb” is classic soul-jazz, reminiscent of the midway at a summer state fair. “Song for Jim,” a tribute to the late pianist and producer Jim Beard, is intensely poignant, extending the funky jazz-rock sound Beard helped pioneer as a visionary producer for artists like Mike Stern, Bill Evans, and Bob Berg.

‘He was a tremendous influence on my music and writing,’ Hey explains. ‘He once said to me, “The producer is somebody who helps to realize the artist’s vision.” And when you think about it that way, if you’re always in service of what the artist should need, then that applies to your own records too. So if I’m the producer of Forq, then I have to say, “Is it about me? No, it’s really about the whole concept. What does the band, what does this record need?”’

For “Echo,” “Big Party” required a deeply affecting, beautifully melodic ballad, featuring one of the year’s standout guitar performances by Jordan Peters. (Between McQueen, Scott, and Peters’ contributions, “Big Party” is a remarkable guitar album.) The finale, “Va!” transports Brazilian Carnival rhythms to West Africa. Or, as Hey puts it, ‘Sérgio Mendes meets Ray Conniff meets Salif Keita and transistor organ. Enjoy the humorous madness.’

As always with Forq, the recording is just the beginning. This summer and fall, these tracks will be taken to new heights on stage. ‘A lot of people tell me, “The records are cool,” but they really love the band live,’ Hey notes. ‘Because we tend to blast off.’