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Reviews & Interviews


Read clips from interviews and samples of what others are saying about Dan Pinto and his music below. If you like, click on the links found after most samples to read or listen to the full source article or interview.



October, 2010-Internet Interview

    AAJ: What is your sound and approach to music?

    Dan: It has changed dramatically over the years. I find that as I have matured, my approach has added great strength to my reasoning for why I compose what I do and the way I do it, and patience to work out my musical thoughts in much greater depth. But at the same time, I retain a free will to improvise and allow for mistakes that sometimes turn out to be a good thing in the long run.

    AAJ: What was the first Jazz album you bought?

    Dan: Dave Brubeck, "Time Out."

    AAJ: How would you describe the state of Jazz today?

    Dan: I would probably have to say "full of opportunity." The world in general has gotten much smaller, thanks to the use of the internet. And jazz musicians are being given a great option to express themselves in ways that they would not have been able to in years past. All About Jazz is a perfect example of this. Look at all they do to give opportunity to jazz musicians to be heard. There are no boundaries anymore. The listener is free to choose jazz from an endless spectrum of styles, thanks to sites like this.

                                                                           All About Jazz("Take Five" Interview)


February, 2010-Live Radio Interview

    Randy: Percussively, I think that the drumming has really helped just to syncopate your rhythm. If you're looking at it from a drumming stand point before you branch out to any other instrument, I really believe that it gives you a different view of things. A more rhythmically advanced view of things. Am I saying that correctly?

    Dan: It gives you a better understanding of the rhythm of the music, period. It also gives you a better foundation to start with as a composer. I was in Rock & Roll bands as a drummer long before I started playing keyboards. Playing with bass players and rhythm guitarists gives you a foundation of rhythm and the knowledge of it's importance. When you take that and expand on a lead instrument the way I did with keyboards, it helps your compositional skills. How the drums or bass would do things are always in my subconscious when I'm writing for keyboards. And so it does give you a little extra power in your writing.

    Randy: On "Anomalies," the records' got a certain flow to it. The vocal piece really doesn't disrupt it.

    Dan: I almost didn't put that track on that CD because of the fact that it was really an instrumental album. But "Flight Of The Phoenix" was a song that sort of hit a soft spot for me with what happened on 9/11. I went ahead and dedicated that song to not necessarily the victims, but to the victim's families. Because everyone was dedicating things to the people that had perished, you know. It was a sad thing but there were a lot of people that were alive that were suffering greatly. I felt that was the way to go. I just thought that they needed to be recognized as well.

    Randy: Absolutely, yes. Well it's a fantastic disk, you really have done a great job. Now, you're also more along the lines of a movie buff?

    Dan: Yeah. Im not a fanatic but before I was into music, I had attempted doing some cheap stuff with my Dad's 8mm camera. I think the first movie I ever saw in a theater was the "Poseidon Adventure" by Irwin Allen. After I saw that, I became a fan instantly. I was like, "how did they put all that together?!" you know. And right away I was thinking, being an artist. The creative juices were flowing. I was saying to myself, "wouldn't it be neat if I could do that." A year later I was out there with the 8mm taking footage and doing these things. Of course I had no idea what I was doing.(laughing) But that was long before I became involved with music. But it all came full circle because later in music my interest in movies was now the music for films. Guy's like John Carpenter who did a lot of off the wall stuff comes to mind. But John is also a musician. He writes the music for a lot of his own films. I found that really intriguing to be able to produce, direct and then write the music for it. There are not a lot of people that do that. Later I eventually did a production of my own which was an independent film, but just for the sake of writing the motion picture soundtrack.

                                                                                           Randy Allar(WCSB 89.3 Radio)


June, 2009-CD Review:Anomalies 

     Dan Pinto has carved out a career scoring films for TV and industry. 'Anomalies' is his latest project and hangs together as a unified piece, rather than a series of tunes that could be incidental music... ...Perhaps the main standout, and maybe highlighting a way forward in a crowded marketplace, is 'Labyrinth' which features the fluid and highly melodic fusion guitar of Ivan Romero. This is an excellent slice of jazz fusion referencing bands like Return To Forever, but arguably more accessible.
                                                                                David Randall(GetReadyToRock.com)


June, 2009-CD Review:Anomalies 

     Dan Pinto has taken the best of what he's learned over the years and come up with a release that appeals to Jazz-Rock Fusion and Modern Jazz fans but even moreover morphs this combination of styles with Film Score music. He has an excellent grasp on how to create an orchestral sound and beautifully blends his professional experience of writing music for film in order to create a truly unique combination.  ...The final result of "Anomalies" is a creative work that offers much more than one would expect but more importantly, something that you would come to expect from the likes of Dan Pinto.


February, 2009-Live Radio Interview

    Simon: I know that composing is a huge part of your life. And you particularly love film scores. Tell me about "Die For A Life."

    Dan: "Die For A Life" is a movie that I wrote the screenplay for. I would like to make it clear that I am not a filmmaker, but it's very difficult for even top notch pros to land a major motion picture. Usually the film industry's motion picture companies such as Universal and Warner Brothers etc., have their own people that they bring in to do these things. To get a soundtrack is very, very difficult. Even if you were to get to do a soundtrack, they take your music and cut it up and use it in ways that maybe you never intended. You could give them a beautifully arranged piece of music and cringe thinking you didn't mean for it to come out that way. With the dollars that they pay you for that kind of work, you're not in charge so what I wanted to do was to create a film on my own. Not having any real experience in film making, but having an eye to see how films are made by seeing and enjoying them over the years, I thought that with the help of some close friends I would put this thing together. It was something that was only supposed to take a few months that turned out to be a five year long project.

    Simon: I know that you list both Keith Emerson and Rick Wakeman as musical influences and I have to admit that I greatly enjoy listening to both. Particularly the early 70s stuff when they were using the modular Moog. A bit of trivia for you is that I interviewed Keith a while back and he still has that original modular Moog, it's still in working order in a recording studio in LA. You're a bit of a Moog guy I hear.

    Dan: Yeah, I was introduced into Moog synthesizers back in 1974 although they had been out for a few years. Certainly Keith Emerson was one of the pioneers of the use of them on stage in the early 70s. But even before him, there was a gentleman by the name of Dick Hyman who released an album all done with Moog synthesizers. No one really knew what this was and when that was released people stood back and said "Whooa! What is that!" They had no idea that sounds could come out that way and that intrigued me of course. When I heard that Keith Emerson was involved with Bob Moog, it's inventor, taking the instrument on the road, I said well then if he can do it, that sounds like something that I should be getting into. And so a couple of years later I bought my first Moog synthesizer and the rest was history.

    Simon: A little birdie that shall remain nameless told me that way back when in the 70s, that you were actually tinkering around trying to build your own polyphonic synthesizer?

    Dan: Ah yes, I can tell you a little bit about that. I have a cousin that actually worked for the government designing some rather top secret electronic stuff. Being very knowledgeable about electronics back then and knowing me as a keyboard player obviously, he brought something to my attention. There were no polyphonic synthesizers that were affordable, only ones costing thousands of dollars. There was Moog and another company by the name of Arp that were all one note synthesizers that you could play only one note at a time. PolyMoogs were released later and I think the starting price was around eight thousand dollars. Most people were not going to be able to afford that. So my idea was to do an experiment to build something that I could use for recording purposes not sure whether or not it would be stable to bring on the road. My cousin brought this to my attention on how to build the circuits. So we started working on this project actually building the filter circuit and the oscillator circuit. I stripped out an old Hammond organ keyboard that had certain contacts in it that we would have needed to use to create the polyphonic effect. I mean we went right in there and tried to put this thing together with the hammer and nails and you know, hahaha. We made the power supply and it actually worked but by the time we were done finishing the thing, synthesizers became affordable! Hahaha. We figured that there was no reason to go on spending all this money when I could just go out and buy one now, you know. Hahaha. 

    Simon: I know that you tend to go out and play all the parts of a piece yourself and through the wonders of all the modern editing process, you bring them all together. I would imagine that it takes a good deal of self-restraint though. It must be very easy to overwork a track and put too much into it.

    Dan: Yes, I'll agree with that. You learn over time. From my experience, it took years of doing things. Like with each person having their own nitch to the way they have their formula of composing. I think that one of the most important things that Ive learned over the years in as far as composing, especially as a person composing with multi instruments, is that unless you're on a time schedule constrained in that respect where you have to have something put out right away because you have a deadline to meet... it's always best to take the time composing something. Give it space. If you feel like you're running out of ideas or you have a good idea and don't know where to take it next, the best thing to do is to just stop and let it rest for a day or two and come back to it. For me that's always worked. You come back with a fresh mind. You think more clearly about what you've done and help to prevent yourself from creating those errors. That's important...

                                                                                           Simon Barrett(Blog Talk Radio)


February, 2009-CD Review:Anomalies

    This is one fusion album that does not disappoint! Featuring additional multi-talented artists combining elements of Acid Jazz Rock, Progressive Fusion and film soundtrack music as well as beautifully arranged piano and orchestra, this new release is packed with works that will make you want to listen to it over and over again!... 



October, 2008-CD Review:Anomalies

    The artist navigates through sinewy time signatures, complete with lighthearted romps and nicely orchestrated opuses, largely enamored with memorable hooks and blitzing guitar parts by Ivan Romero. Moreover, Pinto combines the best of many musical worlds while excelling as a strong composer and fluent soloist. Not overcooked or superfluous, the artist injects a Midas touch throughout the overall scope of these sharply arranged compositions...

Glenn Astarita(All About Jazz)


March, 2008-Music Artist Review

    There is a new presence on the web among composers in the World of Jazz-rock Fusion that has been quietly going about doing his work. Uniquely gifted, Dan Pinto has made a concentrated effort to bring to light a music style in a different way that of which has not yet been widely heard. With the development of Internet technology over the last 10 years, that is changing. His dedication to his work is unwavering as he continues to redefine the meaning of the style, "Jazz-rock Fusion." By combining this form of music with orchestral arrangements in a film soundtrack styled environment, he in fact has developed something very different.

    In 2000, Dan Pinto released a CD titled "Visions," which included all new compositions using a combination of orchestral arrangement, ballad and new age material. Since then, he had been working quietly on independent films. But starting in 2006, he went back into the studio and began writing with a new goal in mind. With Dan's experience in working on orchestral sound and writing music for film & video along with his many years of composing music in styles of Jazz-rock Fusion, he has yet again come up with another triumph. In February 2008, Dan Pinto's latest was released as "Anomalies" is what has now become his landmark style of Fusion music. He combines Jazz-rock with film soundtrack styles and presents something new and different. To further enhance his new release, he's invited three superb players to contribute to the sound. The addition of electric guitar, sax, flute and female voice has made "Anomalies" and Dan Pinto's music style brand of Fusion all that much more refined...

                                                                  Eclectic Sound A & R(Blogger News Network)


March, 2008-CD Review:Anomalies

    Dan Pinto is the king of fusing Jazz and Rock, and I have to admit that he does it in such a way that it sneaks up on you unannounced. Dan has had considerable success in the creation of music that has a film soundtrack feel about it. Part Orchestra, part quiet solo and part drama. And there is plenty of drama in Anomalies. The listener is seduced into the story line...

Simon Barrett(Blogger News Network)


March, 2008-Published Interview

    Simon: The music industry is a tough one, just being a great performer does not ensure success. Many great artists spend their entire career gigging within a 50 mile radius of home. You managed to break down the wall, how did you do it?

    Dan: It's important to find what aspects of the music industry give you true enjoyment and excel at and work on that. Because when you're happy doing it, you create your best work. For me it's writing and recording my sound. If doing live gigs pays the bills and your good at it and your audience responds well to it, then thats the way to go. But it's not for everyone. Some musicians have no choice and unfortunately some great players are forced into doing things they really don't want to do. I promised myself a long, long time ago that I was going to do what made me happy, otherwise, I'll just get a 9 to 5. But to help you in being successful, I believe that you need to create a nitch for yourself and put a twist on it that makes it your own. That wall that you were mentioning before is one that's never really broken in my opinion. There is always something to overcome, I really don't feel that you ever think that you're quite there. Even when you really are. And I think that's a good thing because if you did, then there wouldn't be much left to live for. With every project I do, when I look back, I want to feel like I did something better than before. Ive been happy with that idea and have been lucky so far because I do feel comfortable in that way...

                                                                               Simon Barrett(Blogger News Network)


February, 2008-CD Review:Anomalies

    Anomalies is full of interesting and palatable melodies, sounds, phrasings and timing that do stimulate the curious element of the musical soul. Translation: You most likely will want to listen, even though some part of you may wish to abandon the effort because it may not resemble what you're used to hearing. I stayed... and actually enjoyed it for its many facets. Case in point would be "Labyrinth," "Forty-Two," "Flight Of The Phoenix," and "Pandora's Box." The first is a frenzied journey into the depths of improv fusion with a touch of Jethro Tull. "Forty-Two" is most identifiable as Rock-jazz(more Rock than Jazz, I think) and is quite the prolific and "vocal" piece on keys. The latter two definitely capture that Kansas(the group) flavor very nicely and in an original manner. "Enigma" is another nicely arranged piece that strides in with majesty and authority. The keys here are pleasantly prominent, though very agressive in spots.

    Pinto has a winner here if you like hybrids of this persuasion. It's a true delight in sound and concept coupled with professional efficiency...

                                                                                 Ron Jackson(Jazz Review Magazine)


February, 2007-CD Review:Visions

    I am impressed with Dan Pinto's ability to adapt to the multiple styles of music that are contained in this CD. The writing he's done with the orchestration is very good and his compositional skills rate with the best Ive heard... 

Carrie G(CD Baby)




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