“If the violin has a future in rock and jazz, it is with Joe Deninzon”
Photo by Brian Tirpak
Headspace: Rock Metal Bands [2009]
‘Headspace‘
As one can infer from the front cover, the band I am about to describe is really unique as for both genre, techniques used and arrangements. I beg forgiveness in sackcloth and ashes because I neglected attention to their previous works, which means I don’t have a touchstone from the past, but hey…there are so many bands around and too many releases. One lifetime couldn’t be enough even if one dedicated their whole free time to music, and I am one who’s very close to that goal actually!
Anyway, the opener “New Material” begins deceiving you by making you think Stratospheerius are in the vein of Red Hot Chili Peppers, but then the electric violin and track plot bring towards T-Ride and the likes. Excellent are the bass lines by the way.
“Old Ghosts” is a danceable groovy Rock that has some percussions and hooks that have connections to Santana. The amplified guitar and the violin are the protagonists here and they are perfectly in tune; after all, when the guitar didn’t exist yet, the fiddle was already notorious because of rumors about musicians such as Italian Tartini’s and Niccolò Paganini’s; the latter, perhaps because of his otherworldly skill, had devilish tales swirl around him. In fact, he was rumored to:
Have sold his soul to the devil, or even himself be Satan incarnate- Use the guts of murdered women as string material for his violins
- Have been imprisoned for gambling debts
Due to the superstitions surrounding him, and the fact that he didn’t receive last rights before death, permission to bury his body in consecrated ground was withheld until five years after his death, after an official inquiry could be made into his orthodoxy, and his son could give a generous ‘donation’ to the church. Moreover the Evil One, as agent of death and creator of dance, became linked to the violin during the Renaissance period, as depicted by paintings such as Pieter Brueghel’s “The Triumph of Death” and Hendrik Goltzius’s “Couple Playing, with Death Behind“. These introductory statements are necessary as every song is made particular by the acoustic or the electric violin, and this is especially valid for “Sold out“; like all string instruments it is more difficult to play than a piano for instance, because you need more precision but this major effort is repaid by the infinite nuances you can achieve; the solo is therefore vital and this one is – without exaggeration – awesome, since it is played in a guitaristic manner.
Coordinates vary completely with the record highlight, “Today Is Tomorrow“, reminding of Genesis in the vocals and Incubus (USA) when the distorted guitar bursts into; the utmost care was delivered to the guitar licks and the bass windings along with the moog psychedelic inserts make it suitable as a single, whereas “Mental Floss” and “Gutterpunk Blues” are perfect candidates for modern Western flick soundtracks; there’re wah-wah, John Zorn, psychedelia, acoustic guitar, guitar shredding and everything is skillfully performed. Each member is a master of their instrument and the emotive links between the 4 members is real considerable.
The elegance of the cover “Driven to Tears“, originally composed by the Police, melts with the fat bass sinuosity, while the frantic and surgical drum work is closer to a gardener’s chisel; decidedly moving are the lyrics, surpassing the other ones that Sting’s band wrote as for their mordant; such topics are still topical, altho the song is about 25 years old.
Multiformity is guaranteed by New Jersey’s musicians but at the same there’s always a link with the full length as a whole; that’s why “Yulia” is no exception, even tho it deal with Jazz Rock in a fairly free and romanticist way, whereas “Long Rd.” manages to combine Funky rock with a fairly melancholic violin. It may sound like a heresy impossible to realize but Joe Deninzon and his pack made it real!
In conclusion, “Heavy Shtettle Part II: Heavier Shtettle” is the only composition written by four hands together with Mr. Alex Skolnick; curb your headbanging, because it is heavy, especially the final part in crescendo, but it is not Heavy metal and it is based on Middle-East percussions and rhythms; another masterpiece indeed!
One more thing to stress out is the excellent recording giving great attention to detail, which is vital to albums like this.
After all it turned out to be a positive thing that a band of this kind has come out these times; I fear that if they’d started in the 80’s they would have been understood by too few people, while now the public is more mature in all. Surely in the 70’s there was more place for avantgarde artists and labels were not as oppressive and market-oriented as nowadays’, yet it seems unlikely that some major would have signed them, as they are too forward with their minds! About the 90’s enough has been said and the decline of music sales and the excess of releases, so I will limit myself to claim that today’s tighter competition has been a timely useful spur to the four-piece.
The violin has never been made so topical like now, and most of the time its notes stay far from nostalgia or melancholy, the way bands such as My Dying Bride have accustomed us. Were they still alive, my country-fellows Vivaldi and virtuosist Paganini would be crying for joy, but also more recent violinists such as Stravinskij, Prokofiev and Sciostakovic would like to attend a Rock gig of the quartet, no shit!
If you have an open mind, tastes that range from Frank Zappa, Mahavishnu Orchestra, Dave Matthews, Radiohead, Jeff Beck, Bela Fleck and Blues Traveler and are in search of something different, go for this record; for once the band’s name doesn’t exaggerate and is up to the expectations created. No, you won’t get bored even after a century by these 10 tracks, my word!
MARKUS GANZHERRLICH – April 20th, 2009
Line-up on this record:
Mack Price – electric and acoustic guitar, vocals
Lucianna Padmore – drums
Bob Bowen – electric bass, moog, vocals
Joe Deninzon – acoustic violin, 6-string fretless violin, 7-string fretted electric violin, mandolin, lead vocals, acoustic guitar
Benny Koonyevsky- guest percussions
GearWire [January 2009]
The Wood Viper Violin: Stratospheerius’ Joe Deninzon On The Electric Violin
by Patrick Ogle
Joe Deninzon of Stratospheerius says you could fill ten books with him talking about the violin. We decided, therefore, to get specific. We talked to Deninzon about his Viper Violin and how he would up playing it. Deninzon comes from a family of classical musicians. His father played with the Cleveland Orchestra for 30 years. He began lessons on the violin at age 6. Then he fell in love with rock music and later on, jazz. But at the time, he learned bass and guitar and shunted his violin to the side. What kid wants to play violin in a rock band?
“A few things happened which were major catalysts in my life. The first was when I heard Stephane Grappeli, my first introduction to jazz violin. The second was when local Cleveland celebrity Michael Stanley invited me to play violin with his band, and the third was when I heard a recording of Jerry Goodman with the Mahavishnu Orchestra.” says Deninzon.
These three things opened him up to using all the musical concepts he had learned and brought him “back” to the violin — the instrument he feels he is and was most adept at. He went looking for an electric violin.
“I did some research and bought a six-string Jensen electric violin, which had the top four strings of a regular violin (E,A,D,G) and went two fifths below with a lower C and F. This instrument served me well for many years, and then I moved to New York and met Mark Wood,” he says. “His Viper used the same Barbara pickups my Jensen did, so the sound was identical, but what sold me on the instrument was the ‘chest support’ system, which allowed me to free up my mouth and chin, since I sing and play violin at the same time, and the frets enabled me to nail the high notes at clubs where the monitor situation was less than ideal. I also loved the fact that it had a seventhth string (a low B-flat), which went a whole step below cello range. Perfect for distorted power chords, or recording cello parts for string arrangements.”
The Viper is a solid body instrument — not acoustic — and as such, it needs to be played through an amp. Deninzon is emphatic when discussing an amp versus playing through the PA.
“I don’t care what anybody tells you, and I’ve had arguments with many soundmen about this. Electric stringed instruments sound like crap when put directly through a house system,” he says. “I have a very strong opinion about this. You wouldn’t run an electric guitar direct in a live situation, would you? Since the Viper has such a large frequency range, I have found it to sound good with Fender Twins or Mesa Boogie Cabinets. The more powerful tube amps usually are best for these instruments.”
Deninzon also likes exploring how different effects sound with the Viper.
“When I played guitar, I became well-acquainted with distortion, wah, delay pedals, etc. I like how those things sound on a violin. Not quite like a guitar, not quite like a violin, something completely different,” he says. “I have two huge pedal-boards I use when playing with Stratospheerius or Metro Strings. I am also developing a book for Mel Bay addressing how string players can get into using effects and incorporating them into their sound.”
In the studio he uses it in many different ways.
“Often when someone is on a budget and can’t afford to hire a whole string section for their project, I play the cello and viola parts on a Viper and the violin parts on a regular acoustic violin,” says Deninzon. “With the right amp and EQ, you can get a pretty realistic cello sound.”
Among the Viper’s best features are the chest support system which incorporates a guitar strap behind the back and an adjustable chest support device. This means you do not have to hold the violin and strain your neck and shoulders. He also likes the way the Viper looks.
“The design looks like a flying V guitar, and is one-of-a kind for an electric violin design. Very sleek. ” he says. “The frets are a great cheat sheet, since in a rock situation, you can’t always hear yourself, and this really helps you nail notes. It’s especially great if you’re a singer and are trying to multi-task on stage.”
He does think there are some things about the Viper that could be rethought.
“My female colleagues have complained to me about getting “viper boob” when they play for extended periods of time. I think he needs to work on adjusting the chest support system to make it more comfortable for women.” he says.
He also says there are intonation problems — but adds most fretted instruments have those.
“The area where the F, C, and G string are has intonation problems, and sometimes the instrument goes flat as you go up the fretboard. On a violin, there is almost no margin of error, and I know Mark is constantly trying to improve these things,” says Deninzon. “When I bought the instrument, the D and A string would get ripped every once in a while around the third fret, and I had to sand the lower frets down a bit to smooth them out and prevent this from happening.”
In addition to Stratospheerius’ new CD, Deninzon is also writing and recording with his new electric string quartet, Metro Strings.
Kalamazoo Gazette [April 2008]
Ad Lib
by John Liberty
STRATOSPHEERIUS’ LOCAL DEBUT
Meet Joe Deninzon, the ‘Jimi Hendrix of the violin’
As a young man, Stratospheerius frontman Joe Deninzon played bass, guitar and violin.
There came a point when he had to pick an instrument, and he went with the violin because he was better at it. The Russian-born musician, who grew up in Cleveland and now lives in New York, was classically trained on the violin and listened to a lot of jazz, but echoing in his heart and mind was the music of Led Zeppelin, Frank Zappa and Aerosmith, among others.
Deninzon found a balance between the two styles with an electric violin. Five years ago, he bought a Viper, a seven-string, solid-bodied wood violin shaped like a flying-V guitar. He bought it from Wood Violins, a New York-based manufacturer of electric violins, violas and cellos.
“I played violin, thinking like a guitar player,” Deninzon said during a phone interview from New York. “I was able to scratch both itches.”
Deninzon and the rest of the progressive-rock band Stratospheerius will make their local debut at 9:30 p.m. Friday at Bell’s Eccentric Cafe, 355 E. Kalamazoo Ave. Admission is $5.
The group — Deninzon, drummer Lucianna Padmore, bassist Jamie Bishop, percussionist Benny Koonyevsky and new guitarist Auerelien Budynek — released its latest CD, “Headspace,” last summer. The band blends rock, jazz, funk, R&B, hip-hop and freewheeling instrumentals. And, of course, there’s the Viper.
People tend to look at his instrument as a novelty, Deninzon said.
“I’m trying to get past that and just make music,” he said. “People kind of freak out because it’s different.”
The animated Deninzon — “I go nuts at live shows” — said “people have called me the Jimi Hendrix of the violin,” although he said he’s constantly looking to refine his sound — “It’s a journey, not a destination.” He also wants to revive a dying part of the live-concert experience by “bringing back the glory of the guitar solos, or, in my case, violin solos.”
Headspace: Cool Cleveland [2007]
Headspace
Stratospheerius
Fiddlefunk
It’s familiar, but like absolutely nothing you’ve heard before. That’s about all this reviewer can muster as a lead for reviewing the latest Stratospheerius release, Headspace. Led by electric violinist/vocalist/mandolinist and former Clevelander Joe Deninzon, the quartet unleashes their fourth full-length effort with an assortment of songs that simply careen from your speakers. Following up their critically-acclaimed Live Wires disc, Headspace contains a frenzied mélange of alt-bluegrass, progressive rock, jazz fusion and funkabilly, with shades of the neo-hippie 90s and space rock for good measure. If Bela Fleck and Frank Zappa had a love child in outer space, it might grow up to sound like these guys do.
Band leader Deninzon brings it from the word go, channeling every bit of voracity through his 6 and 7-string Viper electric violin. No joke, he pushes bandmates Mack Price (guitars, vocals) Bob Bowen (electric and acoustic bass) and Lucianna Padmore (drums) into the stratosphere. You know their name is fitting after the set opener “New Material,” which pinballs through an array of time signatures and chord progressions that stop on a dime. In contrast, “Old Ghosts,” “Today is Tommorrow,” and the manic “Gutterpunk Blues” go for a bigger, louder and faster Jam Band ethos. Pay particular attention to the inimitable cover of The Police classic “Driven to Tears” and the set closer, “Heavy Shtettle II,” which you simply have to hear yourself to believe. Even I’m a bit lost for words about it. Memorable hooks, gravity-defying instrumental prowess and a kitchen sink move toward rock and Zappa-esque fusion fill Headspace. Let it fill yours.
Stratospheerius performs at the Beachland Ballroom, 15711 Waterloo Rd., next Wednesday, November 7 at 8PM. Singer/songwriter and former Clevelander Jann Klose opens the show and Ryan Montbleau headlines. Visit Stratospheerius at http://www.myspace.com/stratospheerius. Visit the Beachland at http://www.beachlandballroom.com/. Pick up the new Stratospheerius CD at http://www.cdbaby.com/.
Headspace: Blog Critics Music [2007]
Stratospheerius, Headspace
by Jon Sobel
There’s so much going on on this CD that it could merit an “Indie Round-Up” column all on its own. Stratospheerius’s music can’t be pegged to one genre, but neither is it a simple hybrid of a couple of styles. For that reason, it’s exciting stuff.
Jazz fusion, Stingpop, progressive rock, classical strains, and jam-band spaceouts take turns running through the ten songs on this, the band’s fourth album. Leader Joe Deninzon’s devilish violin weaves the compositions together, and he lends his throaty vocals to some of the tunes, layering attractive melodies over odd time signatures and dynamic, unpredictable arrangements. Think of a much more adventurous version of the Dave Matthews Band, add Steely Dan precision and prog-rock inventiveness, and you’ll get an inkling. There’s also a Police influence that would be quite evident even without the revved-up cover of “Driven to Tears.” The crack musicians deserve mention individually: drummer Luciana Padmore, bassist Bob Bowen, and guitarist Mack Price.
These songs really do sidestep genre, yet one foot remains in accessible pop territory. “New Material” opens with a Celtic jam that flames into a lightspeed funk-rocker. The song is a funny take on creative inspiration and writer’s block: “I need a death threat deadline panic attack/I need a big bolt of lightning to strike me in the ass/Where’s my material/I need new material.” “Mental Floss” is an exciting odd-time instrumental jam, while “Gutterpunk Blues” begins with a delicate-punk (a new term I just made up) mandolin solo (Deninzon again) which leads into crashing heavy-metal riffage and then devolves into wild electric guitar and drum soloing. The jazz fusion elements come to the fore in the slower instrumental “Yulia,” while the pumped-up klezmer of “Heavy Shtettle Part II: Heavier Shtettle” closes the CD with a blast of technical prowess and ear-candy fun.
An interesting and spirited journey into outrageous creativity, this CD is highly recommended for anyone with an adventurous ear, including fans of fusion, progressive rock, the Police, the Kronos Quartet’s pop experiments and collaborations, and fiery fiddling. Sample the music at the Stratospheerius website and their Myspace page, and read a good interview with Joe Deninzon.
Jon Sobel reviews music and theater on a regular basis for Blogcritics, and occasionally comments on politics, world affairs, and life in New York City. He is also a computer professional, musician, and small-time concert promoter in New York City. (His band, Whisperado, can be criticized at will.)
Headspace: Sea of Tranquility [2007]
Hailed as champions of “psychojazz trip funk,” Stratospheerius leap deep into progdom withHeadspace — a smart and satsifying album in which a mandolin-powered instrumental called “Gutterpunk Blues” can straddle a frantic, spot-on cover of The Police’s “Driven to Tears,” and a Jewish heavy metal anthem (“Heavy Shtettle Part II: Heavier Shtettle”) and a solid, fiddle-fueled rocker about a songwriter pissed off because he can’t write a song (“New Material”) book-end a collection of 10 equally fascinating pieces.
Fronted by electric violinist (and guitarist, singer and mandolin man) Joe Deninzon, Stratospheerius veers more heavily from its instrumental past into vocal-based music influenced as much by Bruce Springsteen and Joni Mitchell as Frank Zappa and Bela Fleck, Kansas and The Flower Kings. Hence, these songs tell stories that, coupled with some intense instrumentation that the quartet makes sound way too easy, emerge as substantial pieces of ear candy. And the three instrumentals here improve significantly upon the band’s earlier work.
Despite the unusual shredding (mandolin rules, dude!) and virtuoso aspirations inherent in this music, Headspace resonates with an earthbound freshness that reflects a charming change of direction for a band that’s already established itself as critical darling. The possibilities just became seemingly endless.
Track Listing
1) New Material
2) Old Ghosts
3) Sold Out
4) Today Is Tomorrow
5) Mental Floss
6) Gutterpunk Blues
7) Driven to Tears
8) Yulia
9) Long Rd.
10) Heavy Shtettle Part II: Heavier Shtettle
Added: July 12th 2007
Reviewer: Michael Popke
Score: 4 1/2 stars
Headspace: Aquarium [2007]
Headspace: ProgSheet [2007]
Stratospheerius – Headspace
In my head, there are times I listen to a piece of music and subdivide the beat, then subdivide the subdivisions, trying to look at rhythms in different ways. I was in that sort of mood listening to this CD. The song Old Ghosts is a good example. Vocal rhythm, bass accents, guitar groove, drum groove, percussion, and violin all dividing the rhythm in their own ways yet united at the same time. A funky one, that tune. Sold Out is full of exciting changes – Jean Luc Ponty and Chick Corea gig with the Dregs is what it reminds me of.
Headspace is a cranker of an album, with Joe Deninzon showing some vocal chops in addition to his Herculean violin skills. Drummer Lucianna Padmore, bassist Bob Bowen, & guitarist Mack Price play baffling beats, power passages, and some sweet grooves. Guest artist Benny Koonyevsky adds great percussion as well – a sort of modern day Morris Pert. A high voltage cover of the Police’s Driven To Tears is a welcome addition to this wonderful jazz / rock / fusion / world disc. A massive energy generator of ideas. I needed this.
ProgSheet [July 2007]
A Few Words With… Joe Deninzon
Interview by John A. Wilcox
Born in St. Petersburg, Russia, Joe Deninzon has been called the Jimi Hendrix of the violin. From his work with Blackmore’s Night, Project Object, and Byron Nemeth to his prog fusion ensemble Stratospheerius, Deninzon has put his own stamp on the violin. Hot on the heels of Stratospheerius’ latest release Headspace, Deninzon served up a corker of an interview for Progsheet!…
PS: A good portion of kids play violin starting in elementary school, then move on to other instruments or give up music entirely. What made you want to stick with the instrument?
JD: I think my parents, more so than anything else. I was raised in a household of classical musicians, and they saw it as a career path for me from an early age. I was given a violin at age 6, and put through the standard curriculum of a classical violinist. coming from Russia and entering the American public school system in the midwest, People who played the violin were perceived as geeks, and I wanted to fit in and be cool. as a young kid I was very influenced by my environment and my peers, like most kids. At one point, I was seduced by what I heard on the radio and saw it as a way to still be a musician, but connect better with the the public. I saw rock and pop music as a way to communicate with people and be “cool”. I stayed with the violin because it was what I always did best, and people thought of me very differently once they heard me play. Those moments and my parents’ encouragement kept me going. As I grew older, I began to appreciate classical music on a deeper level and began to realize how ignorant most people around me were.
At the same time, I began hearing more intricacies in jazz and rock. When I was young, I was not aware that you could rock out on the violin, and I badly wanted to form a band and write my own music, so I took up bass at age 13, and guitar at age 15. I was always singing for as long as I can remember. During high school, I lead two separate lives: my life as a classical violin student, and my life as a guitar hero wanna-be in juvenile rock bands. When I first heard Stephane Grappelli, Jean-Luc Ponty, and Jerry Goodman from Mahavishnu Orchestra, it changed my life. I realized that I could play my favorite music on the violin, which was my strongest instrument, and I could try to do something innovative with it. I already knew the “language” of rock, blues, and jazz on the guitar and electric bass, and it was just a matter of transferring it to the violin, which came very easily to me when I first tried it.
PS: What are you able to express through the violin that you couldn’t with, say, a guitar?
JD: First of all, the violin has an unparalleled ability to sustain notes and imitate the human singing voice. Great sustain is something all guitarists strive for but don’t always get. I am also endlessly captivated by its percussive qualities. I think the violin is as much a percussion instrument as a melodic instrument. There are endless things that you could do with a bow that you just can’t do with a pick. The big challenge, though, is playing chords and imitating voicings of a guitar or piano, something I’m constantly working on. As well as intonation.
PS: When I think of violin in jazz/fusion/rock/pop, it tends more often than not, to sound pretty. Your playing can be heavy, rat ass nasty, & smokin’ hot. What drew you to this aggressive approach to the instrument?
JD: I actually got sick of the “pretty” violin sound that everyone knows. I wanted to get away from the cliches of my instrument, and I did this by using guitar pedals, chopping, scratching with the bow, imitating cuica drums, records scratching, using wah wah pedals, not always playing “notes”, imitating guitar feedback, I can go on and on…
I can still sound like a traditional violinist when called upon to do so, as I am 75% of the time, but it’s good to be versatile. I look at it like an actor taking on different dialects. The problem is people might catch you on a gig doing one kind of thing and think that’s all you do. That’s human nature.
The first people who inspired me to get away from the standard violin sound were Jerry Goodman on Celestial Terrestrial Commuters (Mahavishnu’s Birds of Fire album), and Sugar Cane Harris’s blues-harp-like solo on The Little House I Used To Live In (Frank Zappa’s Burnt Weeny Sandwich album).
PS: What did having the solid discipline of classical training bring into your more improvisational soloing?
JD: It allows you to execute whatever is in your head, and also gives you a deeper musical vocabulary. I would encourage any musician on any instrument to get a solid classical foundation, even if their goal is to play rock, blues, electronica, jazz, whatever…
Any student that comes to me and says they want to be a rock star will get the Led Zeppelin book and the Kreutzer book of violin etudes assigned to them on the same day.
PS: What is the most enjoyable aspect of being part of Stratospheerius?
JD: Meeting fans that drive 3 hours to see you. Travelling and playing music you like with people you like. Not knowing what mystical lands the music will take you to on any given night, Getting great energy from audiences. I can go on.
PS: Are all the arrangements for the Stratospheerius material worked out on stage before you go into the studio?
JD: Yes. The songs on the new album were “broken in” over the course of many months in live situations. I much prefer that before going into the studio. The songs are already a part of you.
PS: How did you come to hook up with Rave Tesar as a co-producer? I first became aware of him when he played keys with Annie Haslam.
JD: He was recommended to me by our old guitarist, Jake Ezra, who’s band “Van Davis” recorded their last CD at his studio. Rave is an amazing musician with infinite patience. I know I drove him crazy during the mixing process. We are always on the same page and finish each others sentences when dealing with music.
PS: Tell me a bit about working with Lucianna Padmore. She is one kinetic drummer!
JD: She was a young student at the New School majoring in jazz. Alex Skolnick and Ron Baron, former guitarist and bassist with the group, knew her from school and brought her into the project a few years ago, and she has been with us ever since. I love her like a sister.
PS: Give a little background on the tune Pleasurepain.
JD: It’s sort of autobiographical and deals with the dichotomy of love and conflict that exists in marriage, once you get past the infatuation/newlywed stage. You can apply it to any relationship. You gotta work at it.
PS: I love the line “Try to resurrect a better version of yourself” in Long Rd. What inspired the lyric?
JD: Long Rd is kind of a sarcastic song about the mixed messages you get growing up as a teenager. The self doubt and conflicted feelings you have about things, some of which carry over into adulthood. It also addresses the fact that we take for granted all the good things in our life and complain too much, hence the last verse. I guess the main message of the song is to chill out and not take yourself so seriously.
PS: Of all the songs out there to cover, what drew the band to the Police’s Driven To Tears?
JD: We’re all huge fans of the band, and it was a song that always spoke to me over the years. I like the issues it addresses, and I’ve always wanted to cover it. There are songs that I respect so much that I have to honor them by playing them and making them my own, and songs that I respect too much that I have to honor them by not playing them. The Police song and any other cover we’ve done would apply to the former, I think music by Bob Dylan, Bob Marley, and the Clash would apply to the latter.
PS: How did you get the gig playing with Ritchie Blackmore on Ghost of a Rose?
JD: I was recommended by somebody, but I never found out who it was.
PS: Did Blackmore give any specific instructions, or were you left pretty much to your own devices?
JD: His producer, Pat Reilly, gave me a few general guidelines, but I came up with most of the parts myself.
PS: You’ve played with Frank Zappa stalwarts Ike Willis & Napoleon Murphy Brock. Was Zappa a big influence on you musically?
JD: Absolutely. We’ve covered a bunch of his songs live, and I grew up listening to his music. I think Zappa, Miles Davis, Stravinsky, and Bruce Springsteen, are my biggest musical heroes of all time. I respect anyone who makes groundbreaking music on their own terms.
PS: Any plans to play with Mahavishnu Project again at some point?
JD: No. Certain members of that group have a poisonous personality.
PS: What’s next up on the musical horizon for you?
JD: Stratospheerius has been taking up most of my time and I plan to keep writing with and recording the band, but I have many different projects on the backburner that I really want to follow through on. Among them, an acoustic jazz record that is 70% done, a solo electric/acoustic violin/voice project that I want to pursue (inspired by Tim Reynolds), some kind of electronica project incorporating the electric violin, maybe some re-mixes of Stratos songs. I am also working on some psychedelic string quartets, as well as writing more commercial pop songs with my friend Chris Millaterri. Someday in this lifetime, I want to write a jaw-dropping electric violin concerto. There are definitely not enough hours in the day.
PS: Please tell me 6 CDs you just never get tired of listening to!
JD:
Bruce Springsteen – Born to Run
Frank Zappa – Roxy & Elsewhere
Screaming Headless Torsos – 1995 debut
Miles Davis – Kind of Blue
Stevie Wonder – Songs in the Key of Life
Mahavishnu Orchestra – Birds of Fire
Headspace: Ytsejam.com [2007]
Stratospheerius – Headspace (2007)
Stratospheerius, led by the talents of Joe Deninzon on Lead vocals and a multitude of acoustic and electric violins, is probably best described as a light jazz group with a little Progressive Rock, country and Funk thrown in for good measure.
The production is exquisite and the musicianship is top notch. There are no low points on this album, although there is a cover song I wouldnât have included for sake of making room for another original.
New Material: Funky, melodic and very reminiscent of a more talented Lenny Kravitz.
Old Ghosts: A nice jazzy piece. Very spooky in it’s feel. One of the hot spots on the album.
Sold Out: A Progressive Hoe-down intro melding into a funk-grove with a nice light jazz melody. Sublime.
Today is Tomorrow: Light and airy with a nice vocal. This is a beautiful song that keep your ear interested.
Mental Floss: Odd times and funky grooves. This is a well constructed instrumental piece that shows off the talents of everyone in the group.
Gutterpunk Blues: Western/Bluegrass feel to the intro with a nice seamless transition into a a solid metal groove. Another of the hot spots on this album. Nice melding of styles.
Driven to Tears: This is a groovy cover of one of my favorite Police tunes. While I love this arrangement, I feel it would have served better as a b-side or web download and made room for another original piece.
Yulia: Probably the most jazzy piece on the album. Very melodic and sad, with a tinge of hope.
Long Rd.: Funk-jazz piece with a great solo. The vocal verses are entertaining but I find the chorus very repetitious and somewhat tedious.
Heavy Shtettle Part II: Eastern and Persian influences abound on this wonderfully crafted instrumental. The music is imperative, demanding attention.
Added: June 27th 2007
Reviewer: Koggie