Gordon Goodwin's Big Phat Band
Press
Newcity Music—May 30, 2012

Record Review: “That’s How We Roll” by Gordon Goodwin’s Big Phat Band

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California bandleader Gordon Goodwin is known for his work on Disney soundtracks like “The Incredibles” (for which he nabbed one of his many Grammy awards) and his extensive work in keeping big bands alive. On his band’s sixth release, he continues that tradition, and features several guests to enhance the feel. Saxophonists Dave Koz and Gerald Albright join in and give extra spice to “Rippin’ N Runnin'” alongside regular member Eric Marienthal. A capella group Take 6 lend their pipes to the funky “Never Enough” with incredible results•one wonders why they don’t collaborate with bands more often. It also helps that bassist Marcus Miller lends a hand with his electric bass, which gives the tune even more punch.  Read More...

 
JazzReview.com—April 2011

Gordon Goodwin’s Big Phat Band

That’s How We Roll

Artist Interview by Denis Poole

Composer and arranger Gordon Goodwin certainly has an impressive resume.  A 2006 GRAMMY Award winner for his arrangement of ‘Incredits’ from the Pixar film The Incredibles, Gordon has also enjoyed eleven more Grammy nominations and picked up three Emmy Awards along the way.  Not only that, since 2000, Goodwin has been the driving force behind his own creation Gordon Goodwin’s Big Phat Band and when recently I talked with him from his studio in Los Angeles I was interested to know what had been his motivation for beginning what has now evolved into a modern day big band phenomenon.  Read More...

 
Leonard Maltin's Movie Crazy—December 29, 2011

Animated Jazz—And More

Leonard Maltin

Gordon Goodwin is a talented musician, composer, arranger—and animation buff. Years ago he got to score a pencil-test scene called “The Bedroom Argument” that was cut from Snow White and the Seven Dwarfs and unearthed for a laserdisc release of the film; you can see (and hear) it now on YouTube. He’d almost forgotten about this long-ago assignment when it turned up online, and says, “I remember how awestruck I was to be working with that iconic material! That pencil test animation has such personality, arguably more than after it’s been inked and painted.” He later composed and arranged music for such series as Animaniacs and Freakazoid!, as well as Looney Tunes Sing-Alongs.  Read More...

 
The International Review of Music—February 5th, 2012

Live Jazz: Gordon Goodwin’s Big Phat Band at Vitello’s

By Don Heckman

The performance by Gordon Goodwin’s Big Phat Band at Vitello’s Friday night was a hearty reminder of the decades when big bands were the stars of popular music. Some of those bands – Count Basie, Duke Ellington – were firmly rooted in jazz. Others – Sammy Kaye, Guy Lombardo – played music primarily for dancing. And still others – Tommy Dorsey, Benny Goodman, Glenn Miller – did both. Something for most musical tastes, in other words, during an era in which jazz qualities were so strongly present in the music – with even the Kayes and the Lombardos occasionally dipping into jitterbug-pleasing swing rhythms – that jazz and pop music were virtually synonymous.  Read More...

 
GoodSound!

“Goodwin’s music shows a wide array of influences, including Ellington, ‘70s funk, Warner Brothers cartoon soundtracks, and Frank Zappa. There’s a healthy dose of humor in his jazz, but the arrangements are precise and well thought out…That’s How We Roll benefits from Goodwin’s broad musical interests and his ability to write arrangements that let his band wail…The recording, mastered by Doug Sax, is pristine digital, and while I occasionally wished for a bit more warmth, the sound is detailed and the full soundstage captures the scale of the band.” 4 of 5 —GoodSound!

 
Jay Vee Music

“From the first note to the last, this record will hold your attention. Smooth, charming… and strong! This record has it all.” —Jay Vee Music

 
IndyStar.com

“Gordon Goodwin’s Big Phat Band never met a groove it couldn’t love, and its arrangements have more intricacy than such big-beat music’s straightforward emotional profile usually suggests…I don’t usually like to hear Gershwin’s ‘Rhapsody in Blue’ messed with, but I found Goodwin’s 7-minute-plus version very much in the spirit of the original, with some concise soloing and a reshuffling of its familiar tunes amounting to a new interpretation of the most famous attempt ever to fit jazz into the concert hall.” —IndyStar.com

 
Metronome (Boston)

“…an edgy, modern day sound that’s infectious, musical and most of all, danceable. One listen to this superb band and you’ll be shaking your booty in the aisles (or wherever you happen to be hanging out)…Outstanding!” —Metronome (Boston)

 
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