Recorded October 21, and December 15, 2012 Nicolosi Studios, Montvale, New JerseyEngineered by Bryan SmithMixed at Nicolosi Studios, Montvale, New JerseyEngineered by Bryan SmithMastered at The Vault Mastering Studios, Phoenix, ArizonaEngineered by Nathan JamesPhotography by Christopher DrukkerGraphic Design by Ashley Treni

A suite in 10 parts

Pop-Culture Blues

© 2013 The Bell Production Company LLC, Ramsey, New Jersey All rights reserved. Unauthorized duplication is a violation of applicable laws.

www.bellproductionco.com

Music Composed and Arranged by Michael Treni

Produced by Roy S. Nicolosi

One for Duke (6:41)

BQE Blues (5:50)

Minor Blues (8:50)

Bluesy Bossa (6:25)

More Than 12 Blues (5:03)

Summer Blues (7:51)

Blues in Triplicate (9:04)

Mr. Funky Blues (5:13)

Smokin’ Blues (7:59)

Pop-Culture Blues (4:20)

After all, Pop-Culture refers to what is popular in the cultural mainstream, and what could be more popular than the blues? Of all American music, the blues is perhaps the most widely known and admired around the world. The blues, which has its roots in the African American spiritual, plays a major role in most popular music forms including, gospel, jazz, rock and roll, and of course, rhythm and blues. Its influences can even be found in folk, pop and rap music.

Pop-Culture Blues

To most people, Pop- Culture and the

blues go together like baseball and peanuts.

Engineered by Bryan Smith

TheMichael TreniBig Band

The definition of the blues varies from source to source but there is a common thread throughout all.

Merriam-Webster defines the blues as “A song often of lamentation characterized by usually 12-bar phrases...”

According to the Harvard Dictionary of Music, the blues is “A standard rhythmic-harmonic structure in which the 12-bar progression…may be rendered literally…or radically altered, as in modern jazz improvisation. Secondary dominants and dominant substitutions are common in jazz styles, and the use of the lowered seventh degree in bar 4 (producing the dominant seventh of the IV of bar 5) is especially common.” The New Grove Dictionary of Music and Musicians states that the blues is “Melancholic music of black American folk origin, typically in a twelve-bar sequence… finding a wider audience

in the 1940s, as blacks migrated to the cities. This urban blues gave rise to rhythm and blues and rock and roll.”

Wikipedia says “Blues is the name given to both a musical form and a music genre that originated in African-American communities… from spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads. The blues form, ubiquitous in jazz, rhythm and blues, and rock and roll is characterized by specific chord progressions, of which the twelve-bar blues chord progression is the most common.”

The common thread in all these definitions is that the blues is most frequently found as a 12-bar form made up of Dominant 7th chords with the IV chord used in the 5th measure. Given the historical underpinnings of the blues, perhaps Pop-Culture and the blues aren’t as like-minded as people think.

The Michael Treni Big Band

WOODWINDSJerry Bergonzi, Frank Elmo

Ken Hitchcock, Roy Nicolosi Sal Spicola, Craig Yarmeko

TRUMPETS Bill Ash, Vinnie Cutro

Nathan EcklundFredidie Hendrix

Chris Persad

TROMBONES Bob Ferrel, Philip Jones

Joe Petrizzo, Michael Treni

Charles Blenzig, Jim Ridl PIANOTakashi Otsuka BASS

Joe LaBelle GUITAR Ron Vincent DRUMS

Rick DeKovessey PERCUSSION

(shown horizontally in list order)

What then is the Pop-Culture Blues? Several interpretations are possible. Pop-Culture

Blues could refer to the importance of the blues within Pop-Culture. It could also describe the feeling that certain people get when they consider the influence that Pop-Culture has had on music, the arts, and society in general. It might even be that the music on this recording is a product of our Pop-Culture. Which meaning is correct? Perhaps it is all three.

Michael dedicates this CD to the memory of his mother, Theresa Jean Treni (1927-2012)

Michael TreniJanuary, 2013

One aspect of Pop-Culture is that in order to find consensual acceptance throughout the mainstream it has become fashionable to dismiss much of the traditions and standards of the past. In the arts, music, film, and literature there seem to be an attitude that previous forms and techniques are not only passé, but are to be avoided. This is especially true in music where musicians often say they must disavow the past in order to move the art form forward. Is this the reason, or is it because, in their rush to seek peer acceptance and celebrity status, many of today’s musicians feel it takes too much time and trouble to assimilate and master the prior art?

Roger Kimball, writing on the legacy of Hilton Kramer, one of the founders of the literary magazine, The New Criterion, observes that “Tradition is not the enemy, but the indispensable handmaiden of originality and lasting cultural achievement”.

Today, the embracing of tradition in popular music is rare, but when it comes to the blues, its practitioners understand the importance of preserving its legacy through their own work.

The same is true in jazz where musicians strive to preserve the genre’s heritage even as they seek to innovate. This is particularly apparent when it comes to the use of the blues in jazz. There have been many modifications to the blues form over the years contributed by players and composers alike.

Other variations and combinations of the above are possible and even songs that use a non-standard form and harmonic structure can also be labeled a blues if it is evocative of the genre.

10. Pop-Culture Blues

16-bar blues24-bar bluesMinor blues

Major 7th (Bop) blues

(12 bar blues with a 4 bar turnaround extension) (usually written in 6/8 or 3/4 time) (blues based on a minor key)(with chromatically descending II-V progressions)

Given the stylistic arc of this recording the listener probably expects the closing track to be the most contemporary of the suite. The composer has chosen instead to finish off the album on a more relaxed note. Pop-Culture Blues incorporates a variety of stylistic elements that is both representative of contemporary practice yet also pays tribute to the past. The soloists are Ken Hitchcock (tenor sax), Vinnie Cutro (trumpet), Charles Blenzig (piano), and Ron Vincent (drums).

{That the blues has played and continues to play a central role in jazz is evident by its continued popularity over the course of jazz history. Go to any jam session and invariably at some point one of the performers will call a blues “head” (blues song). Blues heads are universally known among jazz musicians and most jazz players consider the blues the perfect vehicle with which to demonstrate their improvisatory skills.

What many players, even experienced players, fail to realize is that the blues can actually highlight the limitations of an improviser. It is much easier to master improvisation on a tune with many chord changes, such as “Giant Steps” (tempo aside), as there are fewer correct note choices and less time for thematic development. In the blues, there are many more scale and note choices available and more time to outline the harmony of the moment and develop thematic ideas. While this might seem easier to the uninformed, it is in fact more demanding of the improviser. The notion that there are “no wrong notes’ in the blues is somewhat of a fiction, for in the blues, there are always “better” notes with their implied harmonic substitutions available at any given time.

9. Smokin’ Blues (inspired by the music of McCoy Tyner)

McCoy Tyner will forever be associated with John Coltrane, but even if he hadn’t played with Trane, Tyner would still have been a major force in his own right. Tyner’s pianistic style and harmonic innovations, the use of Pentatonic and modal scales, have influenced generations of young pianists and composers. Smokin’ is a 24-bar form with a harmonic framework based on minor pentatonic and augmented scales. The soloists are Jim Ridl (piano) and Jerry Bergonzi (tenor sax).

8. Mr. Funky Blues (inspired by the music of the Brecker Brothers)

Mr. Funky is a 12-bar blues based on the altered scale set against a dense harmonic palate. The soloists are Frank Elmo (tenor sax) and Bob Ferrel who plays the Buccin trombone during his solo. The Buccin is a type of trombone with a bell in the shape of a stylized serpent’s or dragon’s head, often with a protruding metal tongue. Sometimes called the “Serpent”, the Buccin was popularized by military bands in France in the late 18th century and was used primarily for parades. (Does its use here make it the first blues instrument?)

The blues is not only important to jazz players, it is important to jazz composers as well. Consider the following jazz blues compositions that have become an essential part of the jazz repertoire; “All Blues” (Miles Davis), “Billie’s Bounce” (Charlie Parker), “Blue Trane” (John Coltrane), “Blues on the Corner” (McCoy Tyner), “Footprints” (Wayne Shorter), “Straight No Chaser “(Thelonius Monk), “Stolen Moments” (Oliver Nelson), “Things Ain’t What They Used to Be” (Duke Ellington), “Watermelon Man” (Herbie Hancock).

Pop-Culture Blues is a suite in 10 parts that presents the development of the blues within the jazz idiom by utilizing the changing compositional styles prevalent from the late 1950s to today. The goal of the composer is to present the most important

Each movement was written to reflect the compositional style (at least in spirit) of an influential jazz composer or band leader of that period.

variations of the form in both technical and stylistic terms, though there are certainly many more variations possible than the ones contained on this recording. The complete work presents a logical and inclusive progression from traditional to contemporary blues, in so far as the composer is inclined and his craft is capable.

1. One for Duke (inspired by the music of Duke Ellington)

7. Blues in Triplicate (inspired by the music of Herbie Hancock, Wayne Shorter, and the orchestrations of Gil Evans)

Pop-Culture Blues Suite6. Summer Blues (inspired by the music of John Coltrane and Oliver Nelson)

One for Duke is a 12-bar atonal blues, meaning the listener will have difficulty determining its key. Its atonality is actually created thru polytonal writing (the sounding of more than one key at the same time). The theme is presented throughout in 4 (or more) keys simultaneously using double diminished chord voicings which were a favorite of Ellington. The effect is compounded by the bass line which begins on the diminished 5th rather than the root of the written chord. The thematic material for the entire piece is derived from the 3 notes of the introduction. The soloists are Jim Ridl (piano), Jerry Bergonzi (tenor sax), and Ron Vincent (drums).

Summer Blues is an example of a composition with a non-standard form and harmonic progression, yet one that clearly evokes the feeling of the blues. The form is 14-bars and the harmonic structure is modal/minor in nature. The soloists are Jerry Bergonzi (tenor sax) and Freddie Hendrix (flugelhorn).

Blues in Triplicate is a modernistic blues in triple meter (¾ time) that is 24-bars in length. The chords throughout the progression are of a suspended variety (Sus4), as opposed to the use of standard dominant chords using the 3rd of the chord. The orchestration features the extensive use of woodwinds (flute, alto flute, and clarinets) in unison at times with the trumpets and the piano. The soloists are Ken Hitchcock (alto flute), Jerry Bergonzi (soprano), and Freddie Hendrix (trumpet).

3. Minor Blues (inspired by the music of Charles Mingus)

As the title suggests, Minor Blues is a 12-bar blues in a minor key. Its chord structure employs a number of secondary-dominant substitutions and chord extensions which heightens the piece’s harmonic color. The music transitions from soulful to risqué, and is, at times, suggestive of the style of jazz that was often played in houses of burlesque. The soloists are Michael Treni (trombone), Charles Blenzig (piano), and Chris Persad (trumpet).

Concurrent with the hot jazz being played in places like New York City, another school of playing emerged; the “cool school” sometimes called “west coast jazz”. The thematic and harmonic treatment of More Than 12 Blues reflects this cool approach. The piece gets its name from its 32-bar song form (AABA) which uses multiple 12-bar blues (A) with an 8 measure bridge (B). It is an example of a “major” 7th or Bop” blues which begins on a major 7th chord followed by minor 7th and diminished chords and utilizes descending II-V progressions during the latter half of each “A” section. The opening and closing melodic passages feature producer Roy Nicolosi on Baritone Saxophone with bassist Takashi Otsuka. The soloists are Takashi Otsuka (bass), and Sal Spicola (alto sax).

The title refers to the Brooklyn Queens Expressway where the melodic theme was conceived while driving between Brooklyn and Manhattan, New York. The lively shuffle-time feel (inspired by the bumps in the road) has a rhythm and blues quality about it, yet the ensemble writing is very much in the style of music performed by the Basie Band over the years. The form is 16-bars, the typical 12 bars blues configuration plus a 4 measure extension. The soloists are Frank Elmo (tenor sax), and Chris Persad (trumpet).

4. Bluesy Bossa (inspired by the music of Lee Morgan and other Blue Note artists of the 1960s)

2. BQE Blues (inspired by the music of the Basie band)

5. More Than 12 Blues (inspired by the music of Gerry Mulligan and the “cool school”)

Bluesy Bossa (not to be confused with Kenny Dorham’s “Blue Bossa”) is a 12-bar blues with a Latin feel, reminiscent of Lee Morgan’s “Sidewinder”. The opening theme is heard on flute, alto flute, and two clarinets. The soloists are Craig Yaremko (flute), Michael Treni (trombone), and Vinnie Cutro (trumpet).

3. Minor Blues (inspired by the music of Charles Mingus)

As the title suggests, Minor Blues is a 12-bar blues in a minor key. Its chord structure employs a number of secondary-dominant substitutions and chord extensions which heightens the piece’s harmonic color. The music transitions from soulful to risqué, and is, at times, suggestive of the style of jazz that was often played in houses of burlesque. The soloists are Michael Treni (trombone), Charles Blenzig (piano), and Chris Persad (trumpet).

Concurrent with the hot jazz being played in places like New York City, another school of playing emerged; the “cool school” sometimes called “west coast jazz”. The thematic and harmonic treatment of More Than 12 Blues reflects this cool approach. The piece gets its name from its 32-bar song form (AABA) which uses multiple 12-bar blues (A) with an 8 measure bridge (B). It is an example of a “major” 7th or Bop” blues which begins on a major 7th chord followed by minor 7th and diminished chords and utilizes descending II-V progressions during the latter half of each “A” section. The opening and closing melodic passages feature producer Roy Nicolosi on Baritone Saxophone with bassist Takashi Otsuka. The soloists are Takashi Otsuka (bass), and Sal Spicola (alto sax).

The title refers to the Brooklyn Queens Expressway where the melodic theme was conceived while driving between Brooklyn and Manhattan, New York. The lively shuffle-time feel (inspired by the bumps in the road) has a rhythm and blues quality about it, yet the ensemble writing is very much in the style of music performed by the Basie Band over the years. The form is 16-bars, the typical 12 bars blues configuration plus a 4 measure extension. The soloists are Frank Elmo (tenor sax), and Chris Persad (trumpet).

4. Bluesy Bossa (inspired by the music of Lee Morgan and other Blue Note artists of the 1960s)

2. BQE Blues (inspired by the music of the Basie band)

5. More Than 12 Blues (inspired by the music of Gerry Mulligan and the “cool school”)

Bluesy Bossa (not to be confused with Kenny Dorham’s “Blue Bossa”) is a 12-bar blues with a Latin feel, reminiscent of Lee Morgan’s “Sidewinder”. The opening theme is heard on flute, alto flute, and two clarinets. The soloists are Craig Yaremko (flute), Michael Treni (trombone), and Vinnie Cutro (trumpet).

1. One for Duke (inspired by the music of Duke Ellington)

7. Blues in Triplicate (inspired by the music of Herbie Hancock, Wayne Shorter, and the orchestrations of Gil Evans)

Pop-Culture Blues Suite6. Summer Blues (inspired by the music of John Coltrane and Oliver Nelson)

One for Duke is a 12-bar atonal blues, meaning the listener will have difficulty determining its key. Its atonality is actually created thru polytonal writing (the sounding of more than one key at the same time). The theme is presented throughout in 4 (or more) keys simultaneously using double diminished chord voicings which were a favorite of Ellington. The effect is compounded by the bass line which begins on the diminished 5th rather than the root of the written chord. The thematic material for the entire piece is derived from the 3 notes of the introduction. The soloists are Jim Ridl (piano), Jerry Bergonzi (tenor sax), and Ron Vincent (drums).

Summer Blues is an example of a composition with a non-standard form and harmonic progression, yet one that clearly evokes the feeling of the blues. The form is 14-bars and the harmonic structure is modal/minor in nature. The soloists are Jerry Bergonzi (tenor sax) and Freddie Hendrix (flugelhorn).

Blues in Triplicate is a modernistic blues in triple meter (¾ time) that is 24-bars in length. The chords throughout the progression are of a suspended variety (Sus4), as opposed to the use of standard dominant chords using the 3rd of the chord. The orchestration features the extensive use of woodwinds (flute, alto flute, and clarinets) in unison at times with the trumpets and the piano. The soloists are Ken Hitchcock (alto flute), Jerry Bergonzi (soprano), and Freddie Hendrix (trumpet).

9. Smokin’ Blues (inspired by the music of McCoy Tyner)

McCoy Tyner will forever be associated with John Coltrane, but even if he hadn’t played with Trane, Tyner would still have been a major force in his own right. Tyner’s pianistic style and harmonic innovations, the use of Pentatonic and modal scales, have influenced generations of young pianists and composers. Smokin’ is a 24-bar form with a harmonic framework based on minor pentatonic and augmented scales. The soloists are Jim Ridl (piano) and Jerry Bergonzi (tenor sax).

8. Mr. Funky Blues (inspired by the music of the Brecker Brothers)

Mr. Funky is a 12-bar blues based on the altered scale set against a dense harmonic palate. The soloists are Frank Elmo (tenor sax) and Bob Ferrel who plays the Buccin trombone during his solo. The Buccin is a type of trombone with a bell in the shape of a stylized serpent’s or dragon’s head, often with a protruding metal tongue. Sometimes called the “Serpent”, the Buccin was popularized by military bands in France in the late 18th century and was used primarily for parades. (Does its use here make it the first blues instrument?)

The blues is not only important to jazz players, it is important to jazz composers as well. Consider the following jazz blues compositions that have become an essential part of the jazz repertoire; “All Blues” (Miles Davis), “Billie’s Bounce” (Charlie Parker), “Blue Trane” (John Coltrane), “Blues on the Corner” (McCoy Tyner), “Footprints” (Wayne Shorter), “Straight No Chaser “(Thelonius Monk), “Stolen Moments” (Oliver Nelson), “Things Ain’t What They Used to Be” (Duke Ellington), “Watermelon Man” (Herbie Hancock).

Pop-Culture Blues is a suite in 10 parts that presents the development of the blues within the jazz idiom by utilizing the changing compositional styles prevalent from the late 1950s to today. The goal of the composer is to present the most important

Each movement was written to reflect the compositional style (at least in spirit) of an influential jazz composer or band leader of that period.

variations of the form in both technical and stylistic terms, though there are certainly many more variations possible than the ones contained on this recording. The complete work presents a logical and inclusive progression from traditional to contemporary blues, in so far as the composer is inclined and his craft is capable.

Other variations and combinations of the above are possible and even songs that use a non-standard form and harmonic structure can also be labeled a blues if it is evocative of the genre.

10. Pop-Culture Blues

16-bar blues24-bar bluesMinor blues

Major 7th (Bop) blues

(12 bar blues with a 4 bar turnaround extension) (usually written in 6/8 or 3/4 time) (blues based on a minor key)(with chromatically descending II-V progressions)

Given the stylistic arc of this recording the listener probably expects the closing track to be the most contemporary of the suite. The composer has chosen instead to finish off the album on a more relaxed note. Pop-Culture Blues incorporates a variety of stylistic elements that is both representative of contemporary practice yet also pays tribute to the past. The soloists are Ken Hitchcock (tenor sax), Vinnie Cutro (trumpet), Charles Blenzig (piano), and Ron Vincent (drums).

{That the blues has played and continues to play a central role in jazz is evident by its continued popularity over the course of jazz history. Go to any jam session and invariably at some point one of the performers will call a blues “head” (blues song). Blues heads are universally known among jazz musicians and most jazz players consider the blues the perfect vehicle with which to demonstrate their improvisatory skills.

What many players, even experienced players, fail to realize is that the blues can actually highlight the limitations of an improviser. It is much easier to master improvisation on a tune with many chord changes, such as “Giant Steps” (tempo aside), as there are fewer correct note choices and less time for thematic development. In the blues, there are many more scale and note choices available and more time to outline the harmony of the moment and develop thematic ideas. While this might seem easier to the uninformed, it is in fact more demanding of the improviser. The notion that there are “no wrong notes’ in the blues is somewhat of a fiction, for in the blues, there are always “better” notes with their implied harmonic substitutions available at any given time.

What then is the Pop-Culture Blues? Several interpretations are possible. Pop-Culture

Blues could refer to the importance of the blues within Pop-Culture. It could also describe the feeling that certain people get when they consider the influence that Pop-Culture has had on music, the arts, and society in general. It might even be that the music on this recording is a product of our Pop-Culture. Which meaning is correct? Perhaps it is all three.

Michael dedicates this CD to the memory of his mother, Theresa Jean Treni (1927-2012)

Michael TreniJanuary, 2013

One aspect of Pop-Culture is that in order to find consensual acceptance throughout the mainstream it has become fashionable to dismiss much of the traditions and standards of the past. In the arts, music, film, and literature there seem to be an attitude that previous forms and techniques are not only passé, but are to be avoided. This is especially true in music where musicians often say they must disavow the past in order to move the art form forward. Is this the reason, or is it because, in their rush to seek peer acceptance and celebrity status, many of today’s musicians feel it takes too much time and trouble to assimilate and master the prior art?

Roger Kimball, writing on the legacy of Hilton Kramer, one of the founders of the literary magazine, The New Criterion, observes that “Tradition is not the enemy, but the indispensable handmaiden of originality and lasting cultural achievement”.

Today, the embracing of tradition in popular music is rare, but when it comes to the blues, its practitioners understand the importance of preserving its legacy through their own work.

The same is true in jazz where musicians strive to preserve the genre’s heritage even as they seek to innovate. This is particularly apparent when it comes to the use of the blues in jazz. There have been many modifications to the blues form over the years contributed by players and composers alike.

The definition of the blues varies from source to source but there is a common thread throughout all.

Merriam-Webster defines the blues as “A song often of lamentation characterized by usually 12-bar phrases...”

According to the Harvard Dictionary of Music, the blues is “A standard rhythmic-harmonic structure in which the 12-bar progression…may be rendered literally…or radically altered, as in modern jazz improvisation. Secondary dominants and dominant substitutions are common in jazz styles, and the use of the lowered seventh degree in bar 4 (producing the dominant seventh of the IV of bar 5) is especially common.” The New Grove Dictionary of Music and Musicians states that the blues is “Melancholic music of black American folk origin, typically in a twelve-bar sequence… finding a wider audience

in the 1940s, as blacks migrated to the cities. This urban blues gave rise to rhythm and blues and rock and roll.”

Wikipedia says “Blues is the name given to both a musical form and a music genre that originated in African-American communities… from spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads. The blues form, ubiquitous in jazz, rhythm and blues, and rock and roll is characterized by specific chord progressions, of which the twelve-bar blues chord progression is the most common.”

The common thread in all these definitions is that the blues is most frequently found as a 12-bar form made up of Dominant 7th chords with the IV chord used in the 5th measure. Given the historical underpinnings of the blues, perhaps Pop-Culture and the blues aren’t as like-minded as people think.

The Michael Treni Big Band

WOODWINDSJerry Bergonzi, Frank Elmo

Ken Hitchcock, Roy Nicolosi Sal Spicola, Craig Yarmeko

TRUMPETS Bill Ash, Vinnie Cutro

Nathan EcklundFredidie Hendrix

Chris Persad

TROMBONES Bob Ferrel, Philip Jones

Joe Petrizzo, Michael Treni

Charles Blenzig, Jim Ridl PIANOTakashi Otsuka BASS

Joe LaBelle GUITAR Ron Vincent DRUMS

Rick DeKovessey PERCUSSION

(shown horizontally in list order)

One for Duke (6:41)

BQE Blues (5:50)

Minor Blues (8:50)

Bluesy Bossa (6:25)

More Than 12 Blues (5:03)

Summer Blues (7:51)

Blues in Triplicate (9:04)

Mr. Funky Blues (5:13)

Smokin’ Blues (7:59)

Pop-Culture Blues (4:20)

After all, Pop-Culture refers to what is popular in the cultural mainstream, and what could be more popular than the blues? Of all American music, the blues is perhaps the most widely known and admired around the world. The blues, which has its roots in the African American spiritual, plays a major role in most popular music forms including, gospel, jazz, rock and roll, and of course, rhythm and blues. Its influences can even be found in folk, pop and rap music.

Pop-Culture Blues

To most people, Pop- Culture and the

blues go together like baseball and peanuts.

Engineered by Bryan Smith

TheMichael TreniBig Band

Recorded October 21, and December 15, 2012 Nicolosi Studios, Montvale, New JerseyEngineered by Bryan SmithMixed at Nicolosi Studios, Montvale, New JerseyEngineered by Bryan SmithMastered at The Vault Mastering Studios, Phoenix, ArizonaEngineered by Nathan JamesPhotography by Christopher DrukkerGraphic Design by Ashley Treni

A suite in 10 parts

Pop-Culture Blues

© 2013 The Bell Production Company LLC, Ramsey, New Jersey All rights reserved. Unauthorized duplication is a violation of applicable laws.

www.bellproductionco.com

Music Composed and Arranged by Michael Treni

Produced by Roy S. Nicolosi