Headspace: Music Street Journal [2007]

Headspace: Music Street Journal [2007]

Stratospheerius – Headspace

By Greg Olma

Overall Review

Stratospheerius is really a vehicle for the talents of Joe Deninzon. His electric violin is the main focal point of the music and although the other musicians in the band definitely hold their own, it would be hard to take him out of the equation. I am reviewing this after just seeing my first concert by Stratospheerius so some of the tracks are still fresh in my mind. What I find captivating about the CD is that although many styles are brought to the table, they somehow live comfortably together within the context of the songs. There is a little jazz mixed in with rock on some tracks while on other tunes, the band melds in some country and funk parts that give the whole album a little bit of a prog feel. With that odd mix of styles, this project could have gone horribly wrong but Deninzon and company keep things musical so that the listener is kept interested but not overwhelmed with styles and sounds. Only 4 out of the 10 songs on offer here are instrumentals so it really is an album for the masses (not just the musos out there). My recommendation is to put away your pre-conceived notions of the violin (this is not The Charlie Daniels Band) and give the record a shot.

Track by Track Review

New Material: The album starts off with an almost country feel but during the verses, a little bit of The Police comes through. The chorus goes into a totally different direction making it almost 3 different songs. It all somehow fits seamlessly making it the perfect opening track. There is also a nice electric violin/guitar interplay during the solo section.

Old Ghosts: It’s the second song and I’m already hooked. This track has a little mix of Steely Dan and later day Toto but most importantly, it has an effortless feel that is contagious. I guarantee that you will be tapping your foot to this tune before it finishes.

Sold Out: As mentioned earlier, this cut really has a jazz rock sound to it. There is a nice violin solo that fits the cut without being over the top. Deninzon’s restraint really shows that he is true musician by making sure the song comes first, then showing his talents second. Had he over did it on the solo, it would have ruined the track.

Today is Tomorrow: This song starts off slowly but builds until the chorus where it gets quite heavy. During the verses, it has a very Police-like sound, especially in the vocal delivery.

Mental Floss: Instrumentals are not always my “cup of tea” but Stratospheerius know how to keep it interesting. The tune starts off with a Jethro Tull/Joe Satriani hybrid that even adds in some Pink Floyd sounds. Even though the track goes in a few directions, it all comes back to where it started wrapping things up nicely. It is hard to believe that the cut is 6 and ½ minutes long because it goes by quickly.

Gutterpunk Blues: This instrumental cut has a mandolin intro but once it gets going has some heavy Black Sabbath style riffing. There are some Jethro Tull sounds thrown in there for good measure making this one of the heavier pieces on the album.

Driven to Tears: If you guessed that this is a Police cover, you would be correct. Stratospheerius does the song justice by staying close enough to the original but adding their own flavor to it. It is not a straight cover of the song and that is why it works. If you are going to pull out a popular track, then you have to add something of yourself to it; and that is precisely what the band does.

Yulia: This cut is definitely the showcase for Joe Deninzon’s talents. At times, it has a little bit of a classical feel but it builds into a heavier tune as it moves along. Because most of the music on this CD is upbeat, this instrumental somehow feels sad; as though the violin is mourning the loss of someone.

Long Rd.: Aside from the chorus this track is pure funk. The chorus is repetitive but the rest of the tune has a nice groove.

Heavy Shtettle Part II: Heavier Shtettle: The name makes you think of Led Zeppelin and that is precisely what this tune gives you. This is Stratospheerius’ version of “Kashmir” which is heavy in a different way to let’s say Black Sabbath. It makes me want to go and hear what Part I sounds like.

Green Arrow Radio [May 2007]

Green Arrow Radio [May 2007]

Led by electric violinist/vocalist/mandolinist Joe Deninzon, Stratospheerius unleash their fourth collection of songs. Hot on the heals of their acclaimed CD, Live Wires, Headspace brings their live energy into the studio. Vocal rock anthems like New Material, Old Ghosts, and Today is Tomorrow, shout alongside some ripping instrumentals. From the bluegrass punk of Gutterpunk Blues, to the psychedelic roller coaster ride of Mental Floss, and the bigger and louder sequel to the Heavy Metal Hora Heavy Shtettle II. The disc also features a unique cover of The Police Driven to Tears. This album is filled with memorable hooks alongside the without a net instrumental jams the group has built its reputation on. Influences range from theMahavishnu Project, Mr. Frank Zappa and the mightyZeppelin, to Dave Matthews, Radiohead, Jeff Beck, andBela Fleck.I had the chance to chat with Joe to discuss the new album, the strangest billings he’s been a part of and,well just…

LISTEN TO OUR CONVERSATION HERE

Music Street Journal [April 2007]

Music Street Journal [April 2007]

Stratospheerius – Live in Chicago, IL, April, 2007

By Greg Olma

I always find it a little daunting to review a concert by a band that I know nothing about. Such was the case with the Stratospheerius show at Martyr’s on April 23, 2007. I did a little leg work beforehand, looking on the Internet and listening to mp3 samples, but I was still pretty “green” as show time approached. Ultimately it didnât matter what I knew (or didn’t know, as it were) because you either make a connection with the music or you don’t. Well, I’m happy to say, the connection was made and I have since held Stratospheerius as one of my new found gems.

I purchased the new CD prior to the show at the merch booth thinking that maybe a couple of tunes would be played that night. Those fans that knew Joe Deninzon and company were still in for an evening of new music. The new album Headspace wasn’t available yet (except at the shows) so pretty much everyone in attendance was just as “green” as I was to the new material. 70% of the set was culled from the new record which would have been the kiss of death for most bands but for Stratospheerius, it was all about music and not whether it was familiar or not.

I have read that Joe Deninzon is the “Jimi Hendrix of the electric violin” and I can see why this statement is true. Deninzon played his violin, creating a lead guitar sound that just dripped emotion. Like Hendrix, he used his instrument to paint the musical picture in his head. It was certainly not a “let me show you what I can do” display. The other obvious comparison is that Hendrix never played a song the same way. Deninzon and company follow suit by improvising parts during tracks that add at least a few minutes to each song. By nature, improvisation is spontaneous, and you could tell that each member played where their mood took them. It must have been fun for the band to play this way because each show is fresh and exciting.

The highlights of the show for me were “Driven To Tears” (the Police tune), “Old Ghosts” (my favorite off the new record) and “New Material.” Although Joe Deninzon is the leader, the other band members are no mere sidemen (or sidewomen). Lucianna Padmore (drums) and Mack Price (guitars) were given space to play and “show their stuff.” They all looked like they were having fun up on stage. Stratospheerius have carved out a nice little niche for themselves by being a technically proficient band that both musicians and non-musicians can enjoy. For those folks out there that are looking for a night of good music, check out Stratospheerius. You just might make the same connection that I did.

Photos by Greg Olma

Fiddle Trip Funk: HomeGrown Music [2006]

Fiddle Trip Funk: HomeGrown Music [2006]

It’s the full-on electro-fiddle-trip-funk experience! Outrageous fiddler Joe Deninzon and his explosive band Stratospheerius make for an amazing live show, and now you can own your very own snapshot of their onstage pyrotechnics. Zipping through fusion forests, stopping at jazz joints, and letting the funk flow freely, their music encompasses worlds of instrumental wonder and mind-blowing performances!

1- What’s That Thang
2- Pleasurepain
3- Theme From The Simpsons
4- Old Ghosts
5- New Material
6- Intros
7- Shock Therapy

Released 2/21/06

CLICK HERE TO PURCHASE

Port Folio Weekly [February 2006]

Port Folio Weekly [February 2006]

Electric violinist/singer Joe Deninzon formed the rockin’ psycho-jazz, trip-funk Stratospheerius in 1998. Appealing to jam band fans, musicians who admire musicianship, as well as Frank Zappa and Jean-Luc Ponty admirers, the quartet is touring in support of Live Wires.

You were born in Russia and immigrated to America when your classical musician parents joined the Cleveland Orchestra. Were they disappointed when you ventured away from your classical training towards jazz and rock?

It’s hard to say because they always fed my interests. They would buy me amps and gear that I needed, and encouraged me. But every parent’s fear is that you won’t get a steady job and the orchestral path is a more-steady working situation/ I think deep down inside they wanted me to be a classical cat.

What artists originally drew you in that direction?

I was watching MTV in the early 80’s and everything was there, from Twisted Sister to Michael Jackson to Yes, and I just fell in love with rock n’ roll. In high school, I got heavily into Kiss, Led Zeppelin, Aerosmith, Jimi Hendrix, and Black Sabbath.

I took up bass. It was the first instrument I learned to improvise on. I wanted to start a band and no one played bass. It had four strings and a violin had four strings, so how hard could it be?
So then in my high school jazz band, I had a good teacher—when I was 15—that turned me on to Miles Davis and got me really into jazz. The I eventually started to play guitar. And those were the instruments I really learned to rock-out on before I learned to rock-out on the violin, even though I had beenplaying violin since I was 6.

As far as technique is concerned, do you attack the violin the way Jimmy Page does his guitar?

I would think, yeah. I beat it up pretty brutally. I think I approach…in my head I’m hearing Jimmy Page, because those guys had a bigger influence on my violin playing than Itzhak Perlman did.

I noticed on the song “Heavy Shtettle” you inject an obvious Middle Eastern melody.

Definitely. On purpose. Alex Skolnick was in my band at the time and he had always been joking that when he was living in San Francisco that people would tell him he should start a band called Heavy Shtettle, like a klezmer metal band. I had this Middle Eastern melody floating around, so I brought it to him and he completed the song. It’s a celebration of our Jewish roots and our metal roots.

The violin is an instrument of both high culture and the folk culture of the commoner. A big divide exists.

I wish there was a way to break that connection because people sometimes feel intimidated by classical music and feel it’s over their heads. We should try to bridge the gap and try to get people into it because there’s a lot that can appeal to basic human emotion. I was just at the NAMM show and I saw so many kids playing electric violins. When kids see you can rock-out on the violin and do more than just play Mozart, then they get turned on and think playing violin is pretty cool.

Aquarian [December 2005]

Aquarian [December 2005]

THE VERY BEST OF ANGRY JAZZ

By Hal B. Seltzer

“One of my uncles was a viola player. They had to land an orchestra job to provide for their family, because we came here with nothing, so my uncle  would practice in the bathroom while my dad practiced in the kitchen, and everybody else was at each other’s throats,” remembers Joe Deninzon of his early days in the United States. Born in St. ∏etersburgh, Russia, to a family of classical musicians, Joe’s family came here when he was four, and lived with seven people in an apartment in Queens.

“Fortunately, my dad landed a gig with the prestigious Cleveland Orchestra, where he still works today, so I grew up in Cleveland,” continues Joe. “I have played violin since I was six years old, but I later took up guitar and bass and got serious about it.” And get serious he did, as he has become one of the most respected electric violin players in the music world. In fact, he just won an award for “Best Jam Band,” as voted by the Musician’s Atlas Independent Music Awards, and his latest CD, LIVE WIRES, was named one of the top 10 prog/fusion CD’s of 2004 by a leading progressive rock website.

The music seems more progressive and jazz oriented than what one would ordinarily associate with a jam band. “If you’re looking at a stylistically eclectic band that does extended improvisations, then we definitely fit into the category,” Joe comments. “My only issue is that people automatically associate the word “jam band” with the Grateful Dead or Phish. I like and respect those bands, but our sound is more heavy, and even though we have the marathon 20-minute jams on stage, many of our songs are concise, five-minute hook-oriented songs. People forget that by the above definition, Mahavishnu Orchestra, Frank Zappa, Yes, even Pink Floyd were also “jam bands,” but they had little in common with the Dead or Phish. I think you can have the best of both worlds.

Joe truly is an amazing player. His violin pyrotechnics rival the musical dexterity of any rock guitar virtuoso. In fact, early in his career he was branded the “Jimi Hendrix of the vioilin,” and the moniker has stuck with him, and deservedly so. “At IU, I was soloing with a band led by legendary jazz guru David Baker. I think the song was “Eye of the Hurricane” by Herbie Hancock. I remember reading a review of the concert in the student paper, and the guy who wrote the review made the quote. I was floored! That’s a pretty tall and humbling compliment. I would walk around campus after that and people would yell it out to me once in a while. Later, reviewers and fans would mention it as well over the years.

Joe calls his music psychojazz electric fiddle trip funk. “I sometimes call it ‘agry jazz,’ he laughs. His influences are a wide range of styles and genres, which comes out in his own music. “I think the music that speaks to me the most was created in the early 70’s,” he says. “Frank Zappa, Mahavishnu Orchestra, King Crimson, Yes, Miles Davis, Queen, Led Zeppelin. I also love U2, Screaming Headless Torsos, Fatboy Slim. Aside from that, I grew up listening to Bruce Springsteen, I like Bjork, John Scofield, and classical composers like Beethoven, Bach, Bartok, and Stravinsky. I can keep going.”

As far as the near future, Joe is working on a new CD with his band, Stratospheerius. “Right now, I make most of my living recording with and backing up other people, as well as teaching,” he explains. “While this is rewarding in its own way, my goal is to be able to able to earn most of my money recording and performing my original music. I would also like to get more into writing for TV and film. I just finished my first film soundtrack, a lesbian love story called What’s Up Scarlet, which should be out this summer.

Stratospheerius contain all very accomplished musicians. “I had been trying to put a band together ever since I moved to NYC in 1997,” Joe relates. “I lost count of how many guitarists, drummers, and bass players I have gone through, at least 30 on each instrument. I could write a book. To make a very long story short, the pieces finally fit together during the last two years, and in my opinion, the current lineup kicks ass, with Lucianna Padmore on drums, Bob Bowen on bass, and Mack Price on guitar. Anyone will tell you that there has to be a musical and personal chemisty. Everyone has to share the same vision and be a team player. That’s a very hard thing to find, even in New York, where there is an abundance of talented musicians.

Joe and the band will be appearing Jan 19 at Kenny’s Castaways in Manhattan. You can get information about upcoming shows, and CD releases, at joedeninzon.com. If you are interested in some truly great music, played by a world class musician, do yourself a favor and check Joe out!