Element A440, The Industrial Bitch, Ginger V Get Sinister

From The Pit – Music and Show Reviews

By Mike Ritchie

In a quiet, secluded patio-like room illuminated by a fountain of melted candle wax and a tent like ceiling extending into the dark carnival air of Hollywood loomed the curtained circular stage of Bar Sinister www.facebook.com/ClubBarSinister.

Tonight’s show featured a trio of acts that ranged from the creatively deranged, the industrial macabre and the dark dinged shine of the painted up burlesque.

 

Arizona’s Element A440: www.facebook.com/elementa440.music opened the show with Porn Star, a pretty little tune about the pitfalls, temptations and so called glory of the flesh pedaling, on camera, paradise. Though a trip to Vegas would now be in order. No other band could start a show with ‘excuse me, I don’t mean to bother you but do you mind slam-fucking me for about an hour?’ The keyboards and heavy guitar meshed as Halo, Graven, Katt and Animal said hello to the dark back alleyway of Hollywood. Halo took the Blade Runner meets Alien styled mic, ‘that could be used as a murder weapon in a future homicide scene’ and began the ‘during show’ meet and greet getting face to face with the local brethren.

The evening’s first Intravenous Nursery Rhyme started as Halo cooed/screamed the creepy dark tale of the disillusioned/disenfranchised misunderstood next antihero. In the presence of Freaks, he’s home. If you love drugs and kinky sex say yeah! If you’ll do all manners of filth and debauchery, leaving your dignity, health and pride in a forgotten dark pile for fame and fortune say Kookie Kutter! Yeah! They continued with the bass heavy, lugging headbanging drudge of N.D.Q., the stalking keyboards and guitars grabbing from the darkness on Something Else and finish with Godidiotocracy’s stance on religions more pronounced hypocritical issues. Their show was a twisted group portrait of Marilyn Manson, WASP and Venom in a Mad Max burned out world.

The Industrial Bitch: www.facebook.com/pages/The-Industrial-Bitch/286183468065978 was next, intro’d by the intimidating, dark veiled Undertaker, R.I.P. Who was possibly already dead but still aging well, alongside the uniformed sound-maker DJ UK 1 alongside the hot, dancing paw prints and clawed, eye scratching glare of Kitty Rodriguez and the sugar skulled sweetness of Julie Mendez. Taking our attention, desire, admiration and evil thoughts the Bitch was unleashed.

She teased us; opening with Six Inches of Death, the dancers weaved their spell as the creepy black hatted undertaker sat smitten acting out the enamored throws of his insidious obsession with her. ‘You can’t buy me, you can’t hit me or have me’ said the Bitch in a soft soothing voice surrounded by an industrial street walking beat before she killed the pimp. The laws of the street, spoken and unspoken represent the Cracked Covenant when the sun goes down and the nightlife comes out.

The synthesizer’s heavy keys were loud with angry guitars taking center stage behind the cyber industrial plates hammering and flame flying steel fabrication as she walked spreading her addictive Bullshit. The Industrial Bitch stated her loud mission statement, to which she’s ‘entitled’.

AKA, Shere Thu Thuy was born in Saigon and is currently the only Vietnamese female industrial Goth, cyber rock vocalist in LA beginning in 2011 with concerts at The Whisky, Bar Sinister, Club Addiction and Club Sacrilege.

Ginger V’s: www.facebook.com/officialgv West Hollywood vaudevillian assault brings behind him a wealth of theatrical experience, performance and a group of strong/like-minded musician’s looking to rock the musical cradle a bit in favor of Marilyn Manson, NIN, The Beatles and Bowie.

After a few moments of creative-technical difficulty, not every great show is perfect; they broke into some Bohemian Rhapsody. Ginger might be the king or ‘honorary Queen of the damned’ according to his dark cabaret inspired music and imagery. They started the originals with a preview of The Culling EP due out in September with Everything is Fine. Ginger went back to 2011 and his Atlanta recorded debut on The Fake & The Fabuless and sang a twisted but true tale of life/career fakery in fame’s name from the broadcasted fairytale on the TV/movie screen to the tabloids, with a clever sprinkling of jaded cynicism and underground laughter.

The perky vaudevillian piano keys joined by guitar on Reprise blended with Gingers low-throated vocals while the ‘next big thing’ got ready for their big scene. Guitars screamed and whined telling the musical tale as vocals get angry, yelling about the price that’s been paid. Going old-school to one of the original places of infamy we revisited New Orleans and the House of the Rising Sun. Keyboard synth started the Deaths Head Romance, the crash and burn lasts MUCH longer then the infatuation… run, before she raises the open covers and offers. R. Velveteen went a more Goth, industrial dance floor route, selling the world’s oldest well-used service.

They finished with another taste of the Culling and a killer Virus. Ginger V takes the elements of Ziggy Stardust, the best of Manson’s Holy Wood lyrically exploring the most grotesque corners/moments of its golden age. Glitch Nix, Jimmy Zee, Siris Nihil and Ferny Blasphemous help bring this skillful, sophisticated, musically attractive, lyrically sporting Hollywood’s ‘face value’ vision into the bright lights when the camera’s on back to the depressive, addictive, fame starved dark corners of broken hope and dreams when the crowd goes home.

To end the show the best way possible, with a debaucherous, treacherous walk down the left hand path, former Dawn of Ashes/current Urilia www.facebook.com/URILIAband front man Kristof Bathory joined the brood onstage to finish the evening in devilish fashion.

 

Photography by Mike Ritchie www.facebook.com/mike.ritchie.338

Read more from the pit articles and reviews by Mike Ritchie on his web site www.coveringthescene.com

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Legacy Recordings Celebrates One of America's Most Influential Composers and Recording Artists with Release of Paul Simon - The Complete Albums Collection

 

Five Decades of Culture-Changing Popular Music Showcased on Monumental 15-Disc Career-Spanning Library Collection Available as Physical and Digital Releases Tuesday, October 15 of this year !

Legacy Recordings, the catalog division of Sony Music Entertainment, celebrates American artist Paul Simon, whose birthday is October 13, with the release of the monumental career-spanning 15-disc commemorative set  Paul Simon - The Complete Albums Collection (http://smarturl.it/ps_complete_amzn) available as a physical and digital release on Tuesday, October 15th, 2013

Paul Simon - The Complete Albums Collection brings together, in a deluxe library box with magnetic closure, the 12 studio albums and two full-length live concert recordings which comprise the official canon of an extraordinary writer and tunesmith whose voice and music inform six decades of popular culture.

Included on Paul Simon - The Complete Albums Collection are the artist's seminal and groundbreaking solo recordings from the 1960s (The Paul Simon Songbook), the 1970s (Paul Simon, There Goes Rhymin' Simon, Paul Simon in Concert: Live Rhymin', Still Crazy After All These Years), the 1980s (One-Trick Pony, Hearts and Bones, Graceland), the 1990s (The Rhythm of the Saints, Paul Simon's Concert In The Park - August 15, 1991, Songs from The Capeman), the 2000s (You're The One, Surprise) and the 2010s (So Beautiful or So What).

Each of the titles in Paul Simon - The Complete Albums Collection includes the original album in entirety, plus reissue bonus material not appearing on the original 12" vinyl releases (37 bonus tracks in all).  The 15-disc collection includes a 56-page book full of photos and new liner notes penned by American music historian Ashley Kahn.

The deluxe complete set includes The Paul Simon Songbook, an acoustic album--recorded in London in the summer of 1965--showcasing solo versions of many songs that would become central to the Simon & Garfunkel repertoire. 

During the period covered (1965-2011) in Paul Simon - The Complete Albums Collection, Paul Simon continually expanded his musical vocabulary, each new album taking the artist beyond six-string acoustic accompaniment into whole new worlds of sound, while remaining consistent and true to the crafts of writing and recording. In the 1970s, he explored reggae, progressive jazz and Latin music.  By the 1980s and 1990s, Simon was creating new music steeped in Louisiana zydeco and South African jive, Brazilian street samba and Puerto Rican salsa.  On 2011's So Beautiful or So What, he channeled Indian ragas, Delta blues, and West African kora music, even sampling Reverend J.M. Gates' 1941 recording for "Getting Ready for Christmas Day."

We will bring you more news, track listings and a Review soon !

 

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From The Darkness, a Specter Now Leads the Way of the Unholy Divine

 

CD Review: Ghost B.C. – INFESTISSUMAM on Loma Vista Recordings

A Music Review by Joseph Timmons : Xombiewoof Magazine

 

Ghost B.C.

On the evening of the seventh day, while the good lord rested, when his back was turned, from the darkness a great evil sprang, unholy souls with an essence black as pitch, Papa Emeritus II and the Nameless Ghouls came forth, and we do delight in the harmonies of the damned.

OK, that, I just came up with, but I have to say this is a band that I have been waiting for and it has been a long time coming. I was first enlightened to the presence of Ghost (also known as Ghost B.C. in the United States) just a short time ago, a well-kept secret of an underworld society I would gather.

A Swedish heavy metal band, formed in Linköping in 2008 first released a 3-track demo in 2010, followed by a 7" vinyl titled "Elizabeth", and eventually their debut full-length album Opus Eponymous. This new voice of “Doom Rock” created a stir in the music world; their album was widely-praised Grammy-nominated which increased their popularity significantly In the US. Now, their second album, and major label debut, INFESTISSUMAM has been released, Lord have mercy on our souls!

Ghost are easily recognizable due to their eccentric on-stage presence (five of the group's six members wear hooded robes, while the vocalist appears in a skull mask and a cardinal outfit) and highly secretive nature of their identities, with the members being referred to as "Nameless Ghouls”, they have collected a cult like following, nay, an assembly of worshipers that will follow them to any and every performance possible.

I have spoken to some critics and Ghost has been often compared to groups such as Black Sabbath, Blue Öyster Cult, Mercyful Fate, and Witchfinder General, but really they are an “Un-wholly” new “Religion” of a performance group. Ghost has a sound that is symphonic and resonates on a very deep and enchanting level, no speed driven, illegible lyrics or instrumental solos that last for 30 min, their creative talents are complete and self-evident, and the cathedral like organ music and soft alluring tones of Papa Emeritus II suck you in and convert you to allegiance.

I do not think of them as “Black Metal”, but the spirit ( no pun intended) is there, the lyrics are where the darkness exists, the subtle accents on specific words, like “Suffer, Little Children, To Come Unto Me”, a lyric from Idolatrine, or as the phrasing in “To the sound of the end of day, Mesmerized the assembled sway” from Monstrance Clock, which I would think is not so much a reference to the worship of Satan, but as to how the mind of man is weak and wants only to follow blindly our self-proclaimed leaders. And there is my favorite song on this collection of Black Hymns – Secular Haze, is it a prayer to Lucifer, of testament to the deceiver that lies within the government leaders. I enjoyed the dark and playful nature of this fantastic group of talented musicians who seek out fans that understand their music, not just the mindless who would smash their heads against the wall because they are told to, Ghost B.C. is a force of intellectual magnificence, Hallowed be their name!

The image of a “Dark Pope” soaked in a satanic visual image is a mocking affront to social normality and goads harsh critics of their music and image to make of them a forbidden fruit, which only sweetens the taste of their darkness. Their fans have collected and grown exponentially on sites such as Facebook and YouTube, although their official videos are limited, Fan created videos and Fan Art spreads like wildfire and their presence on the internet is vast and in every conceivable language. There are detractors that claim this is the second coming of the Devil, which leads to speculation that people want to embrace their dark desires and “Bath in the Blood of the Innocent”, or it could be the masses wanting to hear the voice and music of ones who would be understanding and compassionate to their want for powerful and imaginative verse.

 

Secular Haze–Official Video

Really, what is “Evil” and what is “Holy” and where does the truth lay; this is a question for the papacy, as for me, give me Ghost B.C. I rate this album 10 out of 10, for all the “good” reasons, I enjoy the priest and minions of the Dark One, come join the converted, attest to the new covenant to an old god.

Revel in INFESTISSUMAM

Uncle Anton would be Proud…….. Mwaaahahahahahahahaha.

Joseph Timmons is not an advocate of the Dark Lord, But took great joy and artistic license to have a great deal of fun with this review.

Enjoy the sprit (again, no pun intended) of this review article and get a copy of INFESTISSUMAM, Available on CD, Vinyl in your local Record Stores and on iTunes.

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DISCOVER THE FUNNY SIDE OF FRANK FRAZETTA!

A wealth of rarely-seen material by the late master returns this week!

Frank Frazetta has been called “The Grand Master of Fantasy Art,” but did you know he did a glorious omnibus’ worth of funny sexy and funny cute stories in the Golden Age of comic books?! That’s right, hillbilly babes to hoppy bunnies were drawn with the Frazetta magic. And Eisner-winning editor Craig Yoe captures that magic in the new FRAZETTA—FUNNY STUFF large format, full-color, 256-page hardcover collection from Yoe Books. FRAZETTA—FUNNY STUFF debuts at the MoCCA Fest in New York City this weekend and will be in comic book shops this week.

Yoe says, "Besides the amazing art itself, Frazetta fans will be stoked by the sheer quantity in this big thick book. There are 27 comic book stories, well over 200 of The Master's delightful text illustrations, and tons of rare and unpublished original art, illustrations and photos carefully reproduced in the introduction."

Frazetta’s "Fire and Ice" collaborator Ralph Bakshi provides a compelling freeform, stream of consciousness introduction that you have to read to believe. Dig the beatnik beats of this hep cat sharing his story of working with THE MAN. Only Craig Yoe can conjure up such wild and unexpected material!

 

 

“The team at Yoe Books put countless hours in restoring these charming strips to ensure a proper vintage reading experience,” said IDW Senior Book Editor, Justin Eisinger. “Like each and every Yoe Book, FRAZETTA—FUNNY STUFF is a lovingly created artifact that itself is a piece of art.”

 

But don’t just take our word for the glory of this vintage Frazetta. Here’s what some fine, respectable folks have to say about the man and his funny work.

 

“Frank Frazetta... his comic book output was unforgettable!” —Harvey Kurtzman

“You don’t have a full picture of Frank Frazetta until you’ve seen his funny stuff. It was his own favorite work, as it captured an important aspect of Frank that his sword and sorcery paintings did not—his warm sense of humor.” —William Stout

Why stop there?! Even the great talent himself was known to claim that the funny side was the real Frazetta.
“I do reveal that dark side in some of my work. I am known for my violent stuff. But the funny stuff is the real me.” —Frank Frazetta

 

Pappy's Golden Age Blogzine says that FRAZETTA—FUNNY STUFF is “a long overdue compilation! The book is beautifully produced. I love the over-sized pages, and especially the enlarged spot illustrations. As always, Craig's books are impeccably designed and printed. Permanent binding, thick quality paper to ensure the best reproduction possible. You will never go wrong buying a book with the Yoe Books imprint.”

Keep an eye out for the limited edition as well. A hot ticket item at 100 copies, it features a bookplate signed by Yoe as well as a variant cover featuring a rare drawing of one of Frazetta’s much-lauded sexy gals!

 

 

Craig Yoe is available for convention appearances and interviews with the press in regards to this and his other books.

Yoe Books' website is http://yoebooks.com

FRAZETTA—FUNNY STUFF ($49.99, 256 pages, hard cover, full color) will be available Wednesday, April 25, 2012. ISBN 978-1-61377-167-9.

Visit IDWPublishing.com to learn more about the company and its top-selling books. IDW can also be found at http://www.facebook.com/#!/idwpublishing and http://tumblr.idwpublishing.com/ and on Twitter at @idwpublishing.

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Graphic Novel Review: Saucer Country #1 on Vertigo Press

 

Saucer Country #1

By Paul Cornell and Ryan Kelly

Reviewed by Sean Stoltey

First, a little background. In general I’ve avoided “indie” titles in the past. I know, I know, I’m a horrible person who trades creativity for familiarity or some other similar BS. I have unapologetically enjoyed my Big Two superhero comics my entire life. Over the last couple of years I have really had my eyes opened by a few things: Criminal, 100 Bullets, Walking Dead (comic book, NOT the show, don’t get me started!), Invincible, Irredeemable and a few others. It’s forced me to broaden my scope and try things that I may not have considered before. This ideal is what led me to Saucer Country by Paul Cornell and Ryan Kelly.

Maybe it’s because I’ve recently been watching the early seasons of X-Files that I missed back in the day, but I got a definite X-Files vibe from the cover. So with that in mind I sat down and started reading. Right off the bat I found my expectations were wrong. By the way, that’s a good thing. I’ve been reading comics for over 30 years and being surprised is a nice treat. The opening seemed to play into the X-Files expectation, classic images of aliens, two people awaking in a car with lost time and unexplained wounds. Then we find out that our main character is Governor Arcadia Alvarado and we are plunged into a few pages that are pure politics. Nothing ideologically specific, Cornell is smart enough not to make it “political” and alienate (pun intended) any potential readers. However Arcadia is a politician so we have to experience that world with her. Which is fine with me, I love a good political setting. West Wing was one of my favorite shows, and Cornell does a good job setting up how the political world is going to work its way into the plot and supporting characters. Then page nine comes at you and we’re introduced to a whole new and interesting bit of crazy.

Here we meet Professor Joshua Kidd, under scrutiny from the Harvard University Administrative Board about the book he wrote on UFO sightings. On this page we meet Professor Kidd’s…friends, and we realize this is going to be a little more than the usual alien abduction story. The Professor only gets one more page of screen time later in the book, but these teaser pages of his story are more than enough to intrigue this reader and leave me wanting more. Which is what a first issue should do, and this one does it in spades. In the opening scenes, Arcadia was found with her ex-husband, Cornell shows his bitterness over coming up with Arcadia and then being left behind when her career took off. I am a fan of coming into a good story without too much foreknowledge, so I don’t want to get too specifically into the rest of the story. I do want to say though, that Cornell has really hit a homerun in my estimation. Maybe because he is British and is able to take his influences and outsiders view of America and mash them together he comes to a mash up I would never have dreamed up and cannot wait to read. The good old sci-fi trope of Aliens, and the current political fodder of illegal aliens. There is a bit of a twist/revelation at the end that as a reader you see coming from a mile away. Its impact on the characters is what makes it work though. This one final page with two lines of dialogue, sets up ramifications for the three characters featured that I for one am excited to read.

I haven’t mentioned Ryan Kelly’s art yet, don’t take that as a knock on him. As I said before, I haven’t been reading a lot of indie/creator owned work, which is why I hadn’t really heard of him before. I think he lays out a page that is at once interesting and very easy to read. His storytelling is very effective. Something that is usually a pet peeve of mine, but he nails it as well as the expressions of his characters. That being said, there were a couple of panels that confused me a bit as far as the characters expressions until I realized that there may be something going on there that we don’t realize yet. This took me from not liking the panels, to being intrigued by them. I may be reading too much into it, but that’s something that sold me on the book. It sets up a lot and leaves you wanting more. So in the end it is very much like X-Files in that regard. A great bit of mystery is set up and in case I haven’t said it enough: I can’t wait to see where these guys are going with it.

 

About Article Author: Sean Stoltey

Sean Stoltey, writer, raconteur and retired rabble rouser, hails originally from California's Central Coast but currently resides in Southern California's BEAUTIFUL--San Fernando Valley. Screenwriter, Comic Book author, these are things he does because he's too poor to be a Producer or Publisher.

Sean has been reading comics, watching movies, reading books and selling his soul (or at least his hearing) to Rock'n'Roll for as long as he can remember. He has been discussing and arguing about these things for almost as long.

So now he has come here to throw his opinions in your face as well and hope that, even if you don't agree, hopefully you will enjoy them. For the record: Kirk was the greatest Enterprise Captain, Han was the only one that shot, Led Zeppelin was the greatest Rock band to walk the Earth and Keith Richards is the coolest undead person to walk the Earth. Coolest living people are my sons and my Mom and Dad. My Dad F---in' rocks, and my Mom can kick your ass.

You can ask Sean anything at http://www.formspring.me/WWest3001 contact him via twitter @WWest3001 or boring old e-mail at SeanStoltey@yahoo.com

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Technorati Tags: vertigo,comics,graphic novels,pop culture,sean stoltey,saucer country,x-files,paul cornell,ryan kelly

The Balladeers of Down Under Rise Above in Ambient Majesty

 

Review: Neurogenesis EP by Monks of Mellonwah

Winners of the Best Indie Rock Band award at the Artists In Music Awards in Los Angeles and nominated for Best International Act at the LA Music Awards, the Monks of Mellonwah are quickly entering the world stage spotlight, finding both US and International acclaim. this four-piece alternative rock and indie band based in Australia, the Monks draw on the depth and variety of influences driving each member to create a fresh and unique sound. The total creative element is a blending of classic blues & rock in 60’s, 70’s and 80’s styles in addition to modern creativity.

the Monks of Mellonwah been busy developing an electrifying and ambient atmospheric live act in a balladeer arrangement, soft tones with strong musical scoring and harmonic movements make them unique in a very homogenized “pop” culture. The Monks of Mellonwah released their first music video ‘Swamp Groove in April 2011 and have since enjoyed play on ABC’s music program RAGE.

Growing media interest has led to the Monks being featured in an up and coming radio documentary and more recently Los Angeles radio presenter Mikey Jayy aired the Monks song Neurogenesis while showcasing the band on his show ‘The Great Unknowns’. He also announced the bands nomination for Best New Indie/Rock Band and Best New Rock Band at the All Indie Music Awards.

We received the 5 song Neurogenesis EP by Monks of Mellonwah and were quickly impressed with this still relatively new group’s ability to capture and hold the listeners attention. Their style does harken back to the Singer / Songwriter styling’s of the 60’s and 70’s, similar to Gordon Lightfoot or James Taylor, but not “preachy” or “melancholy” but lively and full of youthful playfulness that is definitely contemporary. The singer has a sound similar to Donovan, but does not languish in the dreamy musical harmonies in their songs, but brings energy and life into each verse.

The song titles are simple, unpretentious and light hearted, like the music itself, “Neurogenesis” ( both the standard and radio edits), “Never Ending Spirit”, “Kyoto” and “You Shine” are introspective without being too vague or redundant. I would definitely classify this group as a “Rock” band, but they also could be mixed in with a power rock or hybrid of R&B/ Dance sound, which is, in my opinion fabulous, most new music groups today wind up getting pigeon holed into a particular style and cant transition into the multiple musical arenas of interest. I am very fond of the song “Kyoto” and the title track “Neurogenesis” the music is flowing and engaging, atmospheric but not overly ambient to the point where you can’t get in the beat, in fact, the beat is solid and functional, keeping you in the groove and is very hypnotic, power chords make it a great mix of influences and yet unique to the Monks of Mellonwah’s individuality.

Go to http://www.monksofmellonwah.com/ and find out more about Monks of Mellonwah, their new Video “Swamp Groove” and their vision of of their music and more. You can also find them on Facebook at https://www.facebook.com/monksofmellonwah.

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Bandleader Michael Treni Continues His Resurgence With Boys Night Out, a Powerhouse Session Showcasing His 16-Piece Orchestra With Jerry Bergonzi

 

A boys' night out is usually dedicated to the avid pursuit of instant gratification, but in the case of trombonist Michael Treni, this convivial music hang was a long time coming. His fourth release since rededicating himself to music after a successful career in business, Boys Night Out features Treni's talent-laden 16-piece orchestra. It's the work of a savvy leader who knows how to get the most out of his crew. While Boston tenor sax legend Jerry Bergonzi is the band's best-known player, the cast features an array of veteran cats well-versed in turning a brief solo into a compelling, personal statement. The CD will be released on April 17, 2012.

"As beautifully as everyone plays no one is trying to show off and the chemistry is really great," says Treni, who is quick to note that the gender specific title track doesn't acknowledge the reality of today's jazz scene. "The whole idea is guys going out and playing in the club for fun. When I wrote it 30 years ago, you didn't have all the wonderful female musicians that you do now."

A gifted player who attended the University of Miami, Treni established himself on the New York City scene in the late 1970s while keeping company with other rising young improvisers like Tom Harrell, John McNeil, Paul McCandless and Earl Gardner. After losing an opportunity to tour with Art Blakey, he turned his attention to writing and arranging. By the end of the 1980s he had transitioned into running his own audio technology company, and it was two decades before his focus returned to making music. His pleasure at being back in the fray is evident on every track of Boys Night Out.

The album opens with his intricate arrangement of Leonard Bernstein's "Something's Coming" from West Side Story. With its changing time signatures and polyrhythmic counterpoint the piece kicks off the proceeding in style, with incisive solos by Horace Silver alumnus Vinnie Cutro on trumpet and Bergonzi on soprano sax. Treni wrote the title track, "Boys Night Out," for his first New York ensemble, Jazz Horizons Orchestra, circa 1978. An homage to Thad Jones, the piece features Sal Spicola's lithe soprano sax and some fiery trumpet work by Toshiko Akiyoshi Jazz Orchestra alumnus Chris Persad.

"My favorite writer is Oliver Nelson, but I also love Mingus and Thad Jones," Treni says. "I like the colors that Gil Evans produced and I love Bob Brookmeyer's writing. My guiding principal is to leave lots of space and not get in the soloist's way."

Noted jazz educator Jerry Coker wrote the orchestration for "Strayhorn," a gorgeous, loving tribute to Ellington alter ego by the great West Coast composer Clare Fischer. The harmonically rich material provides an inviting framework for the inventive alto sax improvisations of Spicola, a Woody Herman veteran, and Bergonzi on tenor sax.

Coker contributes another Boys Night Out highlight with his arrangement of Billy Strayhorn's "U.M.M.G." It features brilliant solo work by inventive pianist Charles Blenzig, the rising young altoist Craig Yaremko, and Bergonzi, who demonstrates why he's widely considered one of the most powerful tenor saxophonists of his generation. Treni closes the album with his lush arrangement of Jimmy Van Heusen's standard "Here's That Rainy Day," an adventurous orchestration that surrounds his plush trombone with strings and woodwinds.

Coming of age in Portland, Maine in the 1960s, Treni studied with a succession of highly accomplished big band veterans, including Don Doane, a brilliant trombonist who toured with Woody Herman. "Doane was a jazz trombonist on par with Frank Rosolino and Carl Fontana," Treni says. "He invited me down to his regular jam session when I was in the 9th grade and I went every Saturday. After four years I still couldn't read, and didn't know theory or chord structure, but I could play any tune at any tempo. I won a full scholarship to Berklee and studied with Phil Wilson, but it wasn't until I got to Miami that I got serious about learning theory."

At the University of Miami he displayed such prowess that the school recruited him for the faculty at age 19. Before long, Treni launched the band Kaleidoscope with classmate Pat Metheny. Following his graduation, and after a brief stint teaching at the Berklee College of Music in Boston, Treni moved to New York City. By the late 1970s he was a rising player in the New York jazz scene. But when Treni lost the opportunity to tour Europe with Art Blakey's Jazz Messengers, his ambition took him in another direction. Recommended for the Messengers by his University of Miami buddy Bobby Watson, Treni impressed Blakey at an on-stage audition at a Village Vanguard.

"After the set Art came up and gave me a bear hug and said, 'Damn man, you can play!'" Treni recalls. "I finished the week with him and everything seemed set for the European tour, but when I didn't hear anything I called Bobby. It turned out that Curtis Fuller heard about the tour and asked if he could do it, so I didn't get to go. That snapped something in me. If I wasn't going to play with Blakey, I was going to pursue a career as a writer and commercial arranger."

When he walked away from music in the late 1980s, it was to pursue an entrepreneurial vision as the founder of a company specializing in innovative wireless audio and language interpretation systems (he holds two patents in wireless technology). He returned to his first passion, jazz, about nine years ago. Working in partnership with his equally gifted producer Roy Nicolosi, who's also an accomplished reed player, he has gradually assembled the Michael Treni Big Band, a jazz orchestra rife with heavyweight players.

Today, Treni is almost grateful for Curtis Fuller's intervention. After a successful stint as an arranger and a career in business, he's back making music on his own terms, enjoying all the camaraderie, creative frission and sheer swinging joy of a boys' night out. The title might be dated, but the band's sound is timeless.

"Back when I first arrived in New York, a boys' night out meant making the rounds at jam sessions, rehearsal bands, and sitting in at jazz clubs, all in the hopes of establishing a reputation as an up-and-coming player. Today, Treni's "Boys Night Out" is all about keeping the music alive for the next generation."

Visit his page  http://www.bellproductionco.com/

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SCOTT DETWEILER: Artist in the News

“MERCY OF THE GROOVE” TO BE RELEASED IN FEBRUARY 2012 

MERCY OF THE GROOVE is the 5th in the series of live released by Detweiler since 2009.  The 5 (five) cuts of over 49 (forty nine) minutes of music includes two medlys as well as stunning renditions of the classic, "Take 5", and Detweiler's instrumental, "Fleur De Lis". It was recorded at Jax Bar & Grill, in Glendale, California (in the Greater Los Angeles area), in July 2011 with a single microphone placed in the middle of the stage.  It features Ed Cogan on piano and organ, Dale Jennings on bass, Bill Johnston on saxophones and Paul Van De Riet on drums.  “Mercy Of The Groove” is released in limited quantities.  It will not be immediately available in the digital format.  It is only available at a Detweiler live show or by writing to scottdetweiler@hotmail.com.

DETWEILER TO PERFORM AS GUEST SOLOIST WITH CHAMBER PLAYERS LOS ANGELES ON FEBRUARY 17, 2012 

"Fireside at the Miles", Initimate Soundings: Music of early 20th Century France.  Miles Playhouse, 1130 Lincoln Blvd, Santa Monica, CA 90403.  Chamber Players of Los Angeles will perform works by Satie, Poulenc, Ibert and Roussel.  Detweiler will guest perform pieces by Django Rhinehardt with the ensemble.  $10 admission, $5 for students and seniors.  www.chamberplayerslosangeles.com.  

 

“BIG SCOTT” IS NOW AVAILABLE 

The cd features both new material and staples from the Detweiler repertoire.  It is his 14th release and is his fourth in the continuing series of Detweiler’s live, unedited and unrehearsed releases of performances intended to document live early 21st century music.  It was recorded at the legendary Jax Bar & Grill, in Glendale, California (in the Greater Los Angeles area), in the fall of 2010 with a single microphone.  It features Dale Jennings on bass and Paul Van De Riet on drums.  As a self-discipline, Detweiler makes it a point to perform with a trio at least once per year.  “It is good for my playing because I have to cover a lot more ground than I do with my larger ensembles”, says Detweiler.  “Even if you have heard the same material played with my quintet”, he explains, “you will notice a variation of the texture of the music when the pieces are executed by a trio”.  “Big Scott” is released in limited quantities.  It will not be immediately available in the digital format.  It is only available at a Detweiler live show or by writing to scottdetweiler@hotmail.com.

 

Scott Detweiler Quartet: Linoleum Bonnet (live in Los Angeles)

 

DETWEILER CELEBRATES FIVE YEARS AS PEERLESS GUITARS ENDORSEE

Scott Detweiler will celebrate his 5th year as an endorsee for Peerless Guitars. He will return to perform and demonstrate the guitars at their booth in January at the annual convention of the National Association of Music Merchants (NAMM) in Anaheim, California. "I am proud to continue to be affiliated with Peerless", says Detweiler, "because of their continued commitment to excellence". Peerless Guitars will celebrate their 40th year in the guitar making business in January 2011. In honor of the occasion they are issuing several limited edition 40th anniversary models.

 

 

 

DETWEILER ENDORSED BY OLYMPIA STRINGS

Olympia Strings has endorsed Scott Detweiler. Olympia, established in 1984, is one of the world’s leading manufacturer of guitar strings. The company also make strings for most other stringed instruments, as well as guitar plectrums (picks) and straps. Detweiler has worked very closely with Olympia as a product consultant. His feedback about how well product prototypes stood up to the punishing demands of his performance, rehearsal and recording schedules has been instrumental in the development and perfecting of their products. Beginning in January 2011, his image will be included in an international marketing campaign that will be presented to the music community in both in print and on the world wide web.

 

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