Out on GroundUP Music, Ford’s fifth studio release, ‘Big Party,’ continues the band’s tradition of engaging, amazing, and confounding listeners. The band, the brainchild of uber-talented keyboardist Henry Hey, mixes rock, jazz, and funk with a formula that is all their own. 

Keyboardist Hey, working with Snarky Puppy guitarist Chris McQueen, Snarky Puppy drummer Jason “JT” Thomas, and bassist Kevin Scott, known for his work with Gov’t Mule, form the core of ‘Big Party.’

Given the acumen of the players, you would expect an adventurous ride. 

The opening track, “Into Bright,” exceeds all expectations and sets a high bar. Hey’s organ lead lines and flight of fancy synth work help form an infectiousn bedrock, which is supported by the heady rhythms. 

“BOMP” takes a different but no less satisfying tack. Drummer Jason “JT” Thomas steps into the forefront of the mix with an inventive drum pattern. If you’re a fan of tricky time signatures, this one’s for you. The synth/guitar/drum interplay gives hints of prog-rock, fusion, and funk. Yet, at less than five minutes, the song breezes along. 

“Dirt Cake” competes for my favorite song on the album. There are hints of Steely Dan, with its dirty lead guitar lines, Hammond-like organ, and distorted bass. Including a tasty bass solo adds a funk element overtop of the straight-ahead rock backbeat.

“Echo,” with its mournful slide guitar work by guest Jordan Peters, is a stunning ballad. Thomas’ cymbal and rim work add to the moody nature of the song, while touches of Fender Rhodes dance in the background. 

Striking but in a different way is “Song For Jim.” The track, written as a tribute to the keyboard giant and producer Jim Beard, is buoyant, infectious, and moving. The interaction between the guitar and synthesizer sets the pace as the rhythm section negotiates ta tricky time signature. Hey’s Fender Rhodes signature is earthy, while the rhythm section stretches and breaks out the song’s central theme. Hey also provides a synth solo, which is otherworldly, and then the track takes another left turn with the guitar coda. I’m sure Jim Beard is looking down and smiling. 

“Va!” With its energetic bass/drum intro, Brazilian-like Fender Rhodes passages, and ethereal vocalization of the melody, it is weird at its finest. The band doesn’t play it safe with the closer. It’s more organ and guitar goodness with touches of 70s-sounding synths thrown in. 

‘Big Party’ doesn’t have one of its nine songs that I would say represents the true essence of the album. However, taken as a whole, there is no denying how forward-leaning and occasionally brilliant Forq’s ‘Big Party’ is.