by Joe Deninzon | May 9, 2012 | The Next World
http://progressiverockcentral.com/2012/05/04/a-superbly-gifted-violinist/
Stratospheerius – The Next World
Stratospheerius
The Next World (Digital Nations, 2012)
A leading candidate for best rock album of 2012 is the deliciously addictive album The Next World by Stratospheerius. The wide-ranging New York-based band is the brainchild of electric violin sensation Joe Deninzon.
Stratospheerius displays violin virtuoso, mandolinist and vocalist Joe Deninzon at his prime, accompanied by three outstanding musicians: Lucianna Padmore on drums, Aurelien Budynek on guitar and vocals, and Jamie Bishop on bass and vocals.
The Next World mixes state of the art progressive rock, jazz fusion, Dave Matthews Band-style jam band rock, contemporary bluegrass, cutting edge electronica, blues, folk-rock vocals harmonies, and even Balkan Gypsy music. Joe Deninzon’s dazzling violin solos, creative loops and effects are clearly spectacular and demonstrate that is one of the most talented instrumentalists in the current rock scene.
The Next World is dedicated to the late Bob Bowen, the bassist in both Stratospheerius and the Joe Deninzon Trio. Bob was killed in a bicycle accident in Manhattan (New York) in 2010. Bob’s bass appears on the track “The House Always Wins.” Bob Bowen also created the cover artwork for the album.
The Next World combines solid songwriting and tradition with extraordinary electric violin work and the sounds of the future.
by Joe Deninzon | Apr 27, 2012 | Joe Deninzon, The Next World
Have you ever been to electric violin land? A master of four-string wonder crystallizes his vision
Over the five years that have passed since Joe Deninzon carved a personal niche in the rock domain with his band’s debut, “Headspace”, he made forays into jazz territory with a trio of his own on the instrumental covers collection which is “Exuberance”, but it’s in STRATOSPHEERIUS that the violinist holds the richest palette to take colors from. And this time he goes for a big picture, even though tango “The House Always Wins” and punky yelp of “Tech Support” might throw things to the humorous side to dissolve the wah-wah-adorned cerebral swipe of “The Missing Link” or the heavy “Gods” idiosyncrasy and, thus, blur the intent.
So while “Release” opens the lookout in quite pathetic manner, planting a folk dance onto proggy stem – a trick that works miracles in the vocal-free rave “Fleshbot” – when the full view comes into focus with the guitar-and-fiddle rage of “Climbing” a fabulous vibe goes down the listener’s spine. Ignited by Aurelien Budynek’s axe, “Road Rage”, the most classically-burdened piece on offer and at the same time the sharpest, marries its riff-fest to Balkan swirl, whereas “One Foot In The Next World” thrives on its fusion sensibilities, but “The Prism” is where the Eastern-hued vibe turns triumphal and the purest release reveals itself. After that, another five years would make a cruel wait.
****2/3
![The Next World: Seattle PI [April 2012]](https://joedeninzon.com/wp-content/uploads/2012/04/seattlepi.png)
by Joe Deninzon | Apr 24, 2012 | The Next World
Perhaps despite themselves, Joe Deninzon & Stratospheerius are proving the sub-genre of ’70s progressive rock is very much alive and well in 2012. While Stratospheerius describes itself as a “psychojazz trip funk” band, The Next World is squarely in the linage of works from bands like Yes, King Crimson, and Genesis, along with nods to jazz/rock fusion. While Deninzon doesn’t claim any of these groups as influences, citing instead musicians likeFrank Zappa and Jean-Luc Ponty, The Next World seems grounded in the conventions of progressive rock, which gives Stratospheerius the ideal format to showcase their musicianship and songwriting abilities.
For example, one trend in old school prog rock was the tendency to feature lead singers with high-register tenor voices. That’s certainly true of Russian-born bandleader Deninzon. But few other frontmen also excel as masters of the electric violin. A high-flying rock band also usually requires a guitarist capable of both soaring leads and inventive and energetic chord support. For the current incarnation of the group, French fretman Aurelien Budynek does just that. In prog rock, the ensembles are normally built on the tight performances of a rhythm section capable of unusual time signatures and quick tempo changes. Bassist Jamie Bishop and drummer Lucianna Padmore fit that bill to a T.
Their The Next World album opens with the jubilant “Release,” which is about letting go of old restrictions. Tricky time signatures and interwoven vocal lines mark “The Missing Link,” showcasing an extremely psychedelic guitar solo from Budynek. The entire band becomes hopped-up speed demons on “Tech Support,” with appropriate electronic sounds to deliver the message that the singers need that elusive technical support and, “You’re my last resort.”
Offering different moods and approaches, Stratospheerius goes Appalachian on “Climbing,” which erupts into King Crimsonesque rising and falling scales, reflecting the lyrics by a singer who is “still climbing” while he ages and is “looking over my shoulder.” Crashing gongs punctuate the fusion-jazz of “Fleshbot,” which might have fit on Wired if Jeff Beck had been a fiddle master with a streak of humor.
Speaking of humor, “The House Always Wins” goes even further back in time for influences, with a bouncy, swingin’ tribute to the breed of blues you might expect in a MGM musical-that is, if violinists had been plugged in back in the day. (The bassist for this track is former band member Bob Bowen. The album is dedicated to his memory, as he died in a bicycle accident in 2010.)
The variety of styles continue to range from the rough-edged “Gods,” in which “the more the pain, the more gods we need,” to the gentle instrumental, “Ballad for Ding Bang.” After the rock jam of “Road Rage,” we get one song seemingly deliberately crafted for radio airplay, the poppy “One Foot in the Next World.” The song from which the album drew its title has the listener part in the next world, part in this life, and one part twisting the knife. To close off the album, why not add a touch of ELO-style exuberance in “The Prism”? It’s a dramatic echo of “Release” with lyrics calling for the audience to break free from what imprisons us.
Some of the publicity for The Next World might suggest the album is a Deninzon project with Stratospheerius essentially his backing band. That’s far from the case. The album does have ample samplings of Deninzon’s accomplished violin work, but Budynek’s guitars are on display in equal measure. None of the “jams” sound like spontaneous improvisations, but are rather tightly crafted studio pieces including intricately produced vocal articulations, electronic effects, and multi-tracked instrumentation. Most of the songs are five minutes or less, meaning there are few opportunities for extended demonstrations of virtuosity. It’s an album with bright, vibrant tones from four players who aren’t competing, but rather congealing.
For this release, you’re not likely to think Zappa or
Mahavishnu Orchestra, but rather Trevor Rabin, Jon Anderson, or perhaps Robert Fripp. In the end, The Next World is an album for fellow musicians to appreciate and prog rock fans to enjoy.
Read more: http://www.seattlepi.com/lifestyle/blogcritics/article/Music-Review-Joe-Deninzon-Stratospheerius-3477902.php#ixzz1sztkOPxe
by Joe Deninzon | Jan 16, 2012 | Exuberance, Joe Deninzon Jazz Trio
Joe Deninzon Trio: Exuberance
Joe Deninzon has made a name for himself by defying expectations. The Russian-born fiddler has jazz and classical chops, but he’s equally adept at ass-shakin’ rock, funk, and straight-ahead pop. Joined here by guitarist Steve Benson and bassist Bob Bowen (who has since passed away), Deninzon finds unexpected nuances in the Alice in Chains classic “Heaven Beside You,” Steely Dan’s “Bodhisattva,” and Radiohead’s “The Tourist,” rendering them with the same care and adeptness as Fats Waller’s “Jitterbug (Used To Be A) Waltz” and Django Reinhardt’s “Nuages.” Deninzon also revisits one of his older tunes, “Sun Goes Down”, sung here by Luba, and Bowen contributes the titular piece (“Exuberance, in the Face of Utter Anguish and Despair”), two of the record’s most exhilarating moments. In the end, Exuberance serves as a refreshing and unpretentious bridge between jazz, classical, rock, and pop built by three musicians who seem capable of just about anything.
![Exuberance: Jersey Beat [November 2011]](https://joedeninzon.com/wp-content/uploads/2011/11/jerseybeat.jpg)
by Joe Deninzon | Nov 22, 2011 | Exuberance, Reviews
The JOE DENINZON TRIO takes an interesting look at the term “standard” on their “Exuberance” (joedeninzon.com). Along with a number of original jazz compositions by the trio – Joe’s nine-string violin accompanied by Steve Benson on guitar and the recently late Bob Bowen on bass – they take music from the near and relatively far past, and put it through a progressive jazz filter. Sure, one might expect it of tunes like Fat’s Waller’s “Jitterbug (Used To Be A)” or even Chopin’s “Nocturne in Eb Op. 9 No. 2,” but they move it significantly further with Steely Dan’s “Bodhissatva,” Jimmy Webb’s “Wichita Linemen” (perhaps the one piece that strains the most), Alice in Chains’ “Heaven Beside You,” and even Radiohead’s “The Tourist.” And these guys make it all work so you may not even realize that this isn’t the original genre for those tunes. The one vocal is by guest Luba, whose silky smooth voice slides comfortably over an original, “Sun Goes Down.” Over an hour of cool jazz.
![Exuberance: Sea of Tranquility [2011]](https://joedeninzon.com/wp-content/uploads/2011/06/sea_tranquility1.jpg)
by Joe Deninzon | Nov 22, 2011 | Exuberance, Reviews
Joe Deninzon Trio: Exuberance
Even listeners familiar with progressive seven-string violinist Joe Deninzon might be surprised when the first two tracks from Exuberance — the latest album to feature his instrumental trio — spill out of their speakers. Steely Dan’s “Bodhisattva” and Alice In Chain’s “Heaven Beside You” subtly echo the originals, but Deninzon, bassist Bob Bowen and guitarist Steve Benson make them their own by embracing the musical nuances of both songs. Sans vocals, these pieces give off pleasures both new and odd. On the other hand, the trio underwhelms with its low-key take on “Wichita Lineman” (which remains a beautiful song, regardless of who performs it and how). There also are covers of “Nuages” by the trio’s major influence Django Reinhardt, as well “The Tourist” by Radiohead and Chopin’s “Nocturne in Eb Op. 9 No. 2.”
Several originals stack up well next to the other artists’ material, with Deninzon’s electric violin dominating, especially on “Surreptitious Soliloquy” and the kinda-sorta title track “Exuberance, in the Face of Utter Anguish and Despair.” “Sun Goes Down,” the album’s only vocal piece, featuring Luba’s singing, was included in the indie film What’s Up, Scarlet? and wouldn’t sound out of a place in a smoky nightclub around 1 a.m.
Exuberance was recorded with all three musicians in one room, playing live with no overdubs or fancy production. You can’t really hear the rawness over the professionalism, but you know it’s there. Sometimes sparse, but always engaging, these 13 songs should please long-time fans of the trio and Deninzon’s rock band Stratospheerius, as well as newcomers.
Track Listing:
1) Bodhisattva
2) Heaven Beside You
3) Nuages
4) Exuberance, the Face of Utter Anguish and Despair
5) Ellipsis
6) Night Coast
7) Sun Goes Down
8) Surreptitious Soliloquy
9) Wichita Lineman
10) The Last Days of Scorpio
11) Chopin Nocturne in Eb Op. 9 No. 2
12) Jitterbug (Used to be a) Waltz
13) The Tourist
