LA Jazz Scene CD Reviews: Blue Electric Cool

Electric guitarist Curtis Fornadley fires up his band for an adventurous foray into pop/rock territory with a session of his own compositions.
Reaching back to the 1950s and '60s for many of his ideas, Fornadley stretches out with the kind of energy that remains timeless in our mind's eye. His hip guitar lines appear as if generated from a battery of portable AM radios in neighborhood zones, as Fornadley reaches out to all of us with a common approach that transcends geographical borders. His brand of rock and pop music has traveled around the world.
"Fire in Her Eyes" recalls the popularity that Mason Williams generated decades ago when he introduced a touch of class to the instrumental pop music sphere. Fornadley has the same ability. He releases crystal clear fusillades that pepper the air with excitement, as his lyrical accuracy creates pleasant landscapes. "Nothing Can Bother Us Now" counters with a smooth jazz happening that settles in comfortably, like a romantic couple parking by the fireplace. Here, his guitar takes on a velvety luster fit for soothing the pain.
"Blue Electric Cool" sizzles with more smooth jazz authority. "Weapons of Mass Destruction" fires away with a poignant statement designed to alarm.
"Race with Jesus on PCH" applies a heavy dose of surf guitar to the program; while "Tasty Burger" moves light and comical, like a humorous television sitcom spot. With this latest of his eclectic albums, Fornadley gives us a unique set of fired-up guitar adventures. Audio samples are available at www.blueelectriccool.com.

-Jim Santella
Originally published in LA Jazz Scene October 2005

Jazz Review.com CD Reviews: Blue Electric Cool

Curtis Fornadley , otherwise known as Curtis has released his third CD entitled Blue Electric Cool on the IF6WAS9 Record Label. At first glance, Curtis' recording is a highly evolved hybrid rock recording. Further examination reveals a very distinctive marriage between R&B, rock, fusion jazz, avante garde and '60s styled surfing music. The formula is instrumental guitar taken to another level beyond the rudiments of traditional jazz as some have come to recognize. Musically speaking, Fornadley displays some very ecletic skills on the guitar, coupled with a style that makes the transitional lines of containment invisible. In other words, his insightful blend of musical soundscapes into one influential base, with rock as the underlying theme makes the Curtis journey into jazz a gathering of perspectives.

With this release, Curtis takes a slingshot approach to his craft. He uses rock music as the projectile, while stretching his imaginative style of play far beyond traditional thinking. In fact, he appears to aim for the unknown as he takes his listeners into the realm of some of the unexplored reaches of creativity. Although jazz is the underlying approach, the tie that binds all of the ingredients into one collective containment of activity is Curtis' ability to connect the dots across a wide range of influences. Overall, Blue Electic Cool is a push beyond the familiar with the guitar rising into the forefront of influences. As a composer, Curtis' arrangements are imaginative and revealing, which allows him a degree of flexibility to be intuitively creative. Overall, this CD brings the element of surprise into an arena of jazz that has a totally different idea in mind.

-Sheldon T. Nunn
Originally published at www.jazzreview.com

20th Century Guitar Review of Blue Electric Cool

Kicking things off with “Spanish Surf”, a track that sounds like “Herb Alpert meets Eric Johnson” the tone is set; this is a great CD. Blue Electric Cool is the third album from L.A. guitarist Curtis Fornadley . From the striking CD artwork to the sharp studio sound, there are a lot of fine guitar ideas on these 13 tracks. Earlier albums from Curtis (“Curtis” 1999 “ Room 137” 2001) provide a fine introduction to his melodic jazz-rock instrumentals. Now his 2005 CD, Blue Electric Cool continues to perfect his sound, adding Acid Jazz elements and a real horn section on three tunes.

Highlights include “Fire in Her Eyes”, which sounds like a post-modern, rockin Ventures style rave up. “Acid Exp. #2” evokes a fascinating new Acid Jazz sound for Curtis, while the Metheny inspired sound of smooth instro guitar jazz filters through on several tracks including the 7+ minute title track. “Tasty Burger” works in some voice samples sure to make you smile. There is even a tip of the hat to fusion icon Al Di Meola on the breakneck pace of “Race with Jesus on PCH”. Cool as ice and true blue, Blue Electric Cool features Curtis in excellent form on a number of electric guitars including a Fender Custom Shop Classic Strat and Tom Anderson Drop-Top Strat. Backed up by fine players like Dave Hill (bass) and Rob Chismar (drums), Blue Electric Cool reveals fresh musical ideas spin after spin. www.BlueElectricCool.com

-Robert Silverstein

The Daily Vault Album Reviews: Blue Electric Cool

My appreciation for the guitar work of the likes of Ronnie Montrose and Larry Carlton has led me to listen to a fair amount of instrumental guitar music over time. One of the conclusions this has led me to is that there are a lot of guitarists out there who think they have both the technical and the compositional chops to entertain without words… and fewer who are right. Thus, I approached this disc with an attitude of caution.

Fortunately for both of us, guitarist Curtis Fornadley was more than up to the task of giving me an attitude adjustment. This consistently entertaining sophomore effort from the LA-based Fornadley -- who goes by "Curtis" professionally -- won me over with its sustained high quality musicianship, strong composition and occasional bold strokes.

The most appealing aspect of Blue Electric Cool is that these cuts are more than just jams, they're actual songs, with beginnings, middles and ends, builds that make sense and arrangements that leave space for interplay without ever devolving into self-indulgent soloing.

The second most appealing aspect of this disc is Curtis' eclectic taste and audacious mixing and melding of musical styles. A perfect example is this disc's opener, "Spanish Surf," which sounds just about like what you might hope for with a title like that -- the basic propulsiveness of a surf guitar tune, interspersed with unusual little Spanish-tinged interludes that incorporate exotic rhythms and synth tones.

Curtis delves effectively into Carlton-esque jazz-pop fusion (complete with horn section) on "Street Walkin'." "Fire In Her Eyes" has an almost Western feel to some passages (is that one of Clint Eastwood's old "man with no name" themes whistling through the background on the choruses?), then goes off on a sweetly twisting solo. "Nothing Can Bother Us Now" lays down a slow, sweet blues groove that had me snapping my fingers. "Rollercoaster" is an aptly named, energetic and rather Jeff Beck-ish jam which would sound even better without the synth accents. And "Tasty Burger" is indeed a very tasty blues-funk goof (again, with horn section).

One of the more interesting cuts here finds Curtis experimenting with a vaguely Eastern tonality and doing some nimble picking on "Race With Jesus On PCH" -- which in its latter stages jams hard and creatively enough to make me think of early '80s Rush (that's a compliment, son...). C also has some fun with the Prez in the rather menacing "Weapons Of Mass Destruction," and lends a rather proggish feel to the shifting, expansive title track.

At times Curtis goes a bit Stevie Ray Vaughan in terms of feel and use of distortion, and like any smart electric guitarist, he ultimately worships at the altar of Jimi ("IF6WAS9 Records"… yup). But his approach is a little cleaner and more mainstream than either. That's not a knock; simply a concession to the reality that Hendrix is Hendrix, Vaughan is Vaughan, and Curtis is Curtis.

The title of this album seemingly offers a nod to Joe Satriani -- Flying In A Blue Dream and all -- but Curtis is not a "guitar playing as gymnastics" kind of guy; he's a lot more focused and confident than that. Blue Electric Cool in fact fits the personality of this album beautifully -- clean, sharp, confident and fun. Enjoy.

RATING: B+
-Jason Warburg
Originally published: June 15, 2005 www.dailyvault.com

"I really, really, really like your CD. This will be an album I listen to regularly; It is seriously good stuff. I've really gotten into instrumental guitar music like Satriani and this is better than several of his albums (although Surfing With the Alien is killer)." -John Renehan, South Lyon, MI

Smother.net Review of Blue Electric Cool

Curtis - Blue Electric Cool

Instrumental rock can sometimes be amazingly great and sometimes lackluster and a snorefest. Somewhere along those two lines is where Curtis's “Blue Electric Cool” resides. Most often it's quite intriguing with legend-painted-all-over-it guitar riffs and gnarly percussion but then there's those inevitable moments when you realize you haven't heard a voice in a long time. But hell, the music is the voice, you hear yourself saying as the next good song starts to play. Heck when you have a song called “Race with Jesus on PCH” followed by a tune with the name of “Acid Exp. #2” you know the dude's got some big balls and showcases his knack for writing some truly electric leads whether it's on a surf rock or jazzy background.

- J-Sin

"The music really kept my attention, and waiting on the edge of my seat to see what the next song would bring. Rollercoaster is my favorite song on the CD. This CD would appeal to a wide range of musical tastes. Must hear!" - C. Shatter

Melt Magazine Review of Blue Electric Cool

As a self-taught guitarist who grew up with my fair share of Jimmy Page and Jimi Hendrix posters, I have a particular soft spot for those who can make some magic on the six-string stick. SoCal standout Curtis has been making waves in his native Los Angeles, including a nomination for Guitarist of the Year at the L.A. Music Awards and a nod from Music Connection magazine as well, and from what I've heard from him so far, it's been well deserved. Curtis' latest release Blue Electric Cool hybridizes surf, rock, funk and even acid jazz with eye-popping results, especially for those who grew up memorizing Jeff Beck's Blow By Blow note for note. But even if you're not a guitar fan, Curtis has the chops to win you over. Dig it.

-Scott Thill

"I picked up your album and all I can say is WOW! What gear do you use to get your amazing tone?"
-Mike Berger, Ontario, Canada

Upbeat and More - The Best in Electric Fusion R

At the nucleus of this band is a guitarist named Curtis Fornadley whose style is quite reminiscent of Mark Knopfler. He is a good provider and works several jobs to bring us this album. While Curtis is primarily a guitarist, he plays us a few faint notes from the keyboards. In addition, he helps out with horn arrangements, engineering, and even art design. That makes him employed in five separate areas. Nevertheless, the guitar is really where he finds his greatest strength. He's so good on the guitar that this single skill alone holds up the album like iron girders.

The foundation is fortified with other excellent instrumentalists as well. Embedded within the core are Rob Chismar on drums and Dave Hill on bass. Each provides a consistent level of luxury in their playing.

Within the first couple of seconds, you'll be thrown for a loop. Right when you think you're fading off into a dream, the beat drives straight into the badlands of Dire Straits. This is what you'll find in the first song, Spanish Surf, and believe me, it's more than appropriately named.

Before this track finishes, we are introduced to our first guest, Roy Wiegand, who gives us a trumpet that's sappy, sentimental, and sweet. He's a patient guide on our tour through these melodious mountains.

Eventually, the sun sets in the horizon and we return to home base. It's an exhausting workout as we're basked in sweat from head to toe and this, my dear, is only the beginning.

Onto the next track, Street Walkin', Michael Todd and Tom Whaley join Roy and the rest of the group in their expedition. Michael presents us with a tenor sax that's trippy. To complement his stumbles, tumbles, and falls, Tom's trombone lubricates the lower layers.

These three banditos who volunteer their time and make this brief visit are a band of hikers who climb the hills and slide down the steep slopes. While the gravel is loose and there is little to grip, you'll never find these guests losing their footing. They are valuable company to bring along on this trip.

If Spanish Surf gave you the hunch that Mark Knopfler made an impression on the musician, the next song, Fire in Her Eyes, will give you more than an inkling. It definitely gives the impression that the music of Dire Straits has made their mark on Curtis. On top of that, this song features some of the most interesting guitar effects to be found on the album, which is why it's one of my favorites in this “cool” collection.

The band continues to keep you guessing. After hitting us with three thrilling pieces early on, the fourth track, Nothing Can Bother Us Now, tries out something new and different. Instead of being upbeat and active, it lays back with a breezy rhythm. It has the spine of Soul and the brain of Blues. I hear aspects of Spock's Beard, Kevin Gilbert, and Simon Apple in this song. Like these bands, it has a lot of passion even when it's almost idle.

Just when you think the music is about to be pushed over by a plethora of lazy beats, we get something a little angrier in the fifth piece. In this song called Spy vs. Spy, the guitars and bass are truly aggressive. They compete with one another like the secret agents in Mad Magazine's corresponding comic strip.

Keeping pace, the next tune, Rollercoaster, is fast and frequently changes directions as it takes the listener up and over very high valleys. When it seems its inertia has run out, it rides up and down a couple camel humps before returning its riders to the station.

There are even more fun and fibrous pieces to chew on in this convenient snack pack. Pirate plots a course for the stomach-turning seas. The Steel Drums clue us in that Carmen Sandiego is hiding somewhere in the Caribbean .

In addition to Street Walkin', the trio of guests turns up in the next tune. After taking five, they take us down to a swank café for a succulent cut called Tasty Burger. This triple combo of trumpet, tenor sax, and trombone is utterly engaging, making the two tracks where they appear some of the best material on the album.

Rick Jelinek lends the albums only voice (aside from sound bytes) on this track as well. While this piece takes the most chefs to prepare, you'd never think there were too many cooks in the kitchen. Likewise, the tracks that only have three contributors still offer enough chutney to spice up even the blandest dish. You'd never think those shifts were understaffed. Whether they have six musicians, seven, or three, the patrons will be pleased.

By the way, there is another intriguing fact about Tasty Burger. In this track, you'll hear several clips of Homer from The Simpsons and Samuel L. Jackson's jive-talking hit man from Pulp Fiction. Homer comments on his affection for yummy hamburgers while Samuel's order rings up as a regal Royale with Cheese. Also, just to be clear, these snippets are really in there.

The next in line is Race with Jesus on PCH. It starts with some tribal beats and then goes off into the domain of The Dixie Dregs. Dave's bass playing sounds like Kopecky in a few places. This song also moves in a quick and complicated manner that makes me think of Niacin as well.

Acid Exp. #2 is a slow and hallucinogenic buzz. It won't take long to lose your time and place in this sluggish piece.

In a song called Weapons of Mass Destruction, the secret is out and now the buried arsenal is found. Like Tasty Burger, this one uses a clever sound byte that is voiced by no other than President Bush. This clip is used countless times. Fortunately, the President's phrasings work very well within the constructs of this song.

The title track is the longest and most shapely song in the line-up. While Curtis strums the guitar, he plays the keyboards as if they were an electric xylophone. The bass does nothing more than blow bubbles and bide its time. The drums, however, are patient as each percussive element is given it very own individual attention.

In the last piece, Good Night, we are tucked in and the switch is flipped. There is little resistance to go to sleep. The night light illuminates the room with an amber and ambient glow. After being drained from this demanding day, it takes no time to drift away.

Curtis lets us know inside the cover, “Special thanks for to anyone who paid for this CD.”  While you would be doing a good deed by purchasing the album, you'll also receive valuable bars of music and precious bullion beats. What you uncover in these melodic mines are well worth your time.

Curtis also adds, “Support Independent Music!” and I must concur. The more we collectively curtail the costs of such creations, the better the chance material such as this will independently ascend to the surface. To learn more about the album and artist, visit the band's web site at www.BlueElectricCool.com .

Reviewed by Joshua Turner, October 2005

"Love your artistry and vision of music. Keep it coming."
-Randall Prince, Angier, NC