Playing percussion, singing a capella and leading a poem I wrote for four voices that includes audience participation! Cornelia Street Cafe, March 9, 2016    6-7:30pm   

Excited to honor & celebrate March 9 @corneliastcafe 6pm! #BKFischer #RuthHandel #DonnaBarkman #EJAntonioPoet #women pic.twitter.com/F6J34FWlTW

— Monique Avakian (@monava9) March 6, 2016

Live Performance: "Mirrored Vision" -- an original poem by Monique Avakian

Video link and words below (@Cafe Mozart Mamaroneck with Oscar Sanchez & Aaron DeMasi -- all part of Dorothy Saraceno's, Potpourri, Oct. 27, 2015)

https://www.facebook.com/Dorothy-Saraceno-411480092232147/?pnref=story

Mirrored Vision

            by Monique Avakian

the drunken thud of a hefty bumble bee

knocks once

lightly

against the threshold glass

limbs swollen with gold, s/he sinks and sets off simultaneously

how I envy that evolved creature

in my case, the heat is trapped outside

and I have removed myself from my own sweat

I don’t dare embrace the swollen starfire

for when I dream of Spirit’s voice

I become lost and filled with a brutal longing

so, I stay inside

trying to freeze dry away a desire I perceive as dangerous

somewhere else, though,

a solar disk spins forth

and the ancient mirrored vision of the message

drives into the THUD of the kick drum

snakes through the twining melody improv sung by reeds

rides forth through the crack and pop of black vinyl via the   

               old K cymbal sizzling:

                                   . . . say yes . . .

The Ghost Hungers Not, Here

      an original poem by Monique Avakian (inspired by *)

For the duration of the concert

a long, curvy, electric red LED sign

spoke in rivers of rhythmic code

running, running, running

above our heads

I have no idea what was said

only that as the night grew, my feeling intensified:

this was some kind of placental communiqué, charting the ebb

      and flow of the life-blood of the sounds streaming over us, through us, within us

The drummer’s wild, free hair surfaced

from time to time – like cresting tsunami ocean waves

held in paintings sent from that other, far-away floating world: ukiyo-e!

With Van Gogh’s heavy hand of longing

and like the changeable cloud patterns of childhood

the wash, wash, wash of his cymbals

invoked the Everyman expanse of blue to

move through us

over us

within us - echoing the riverrush

of the group’s subliminal intent

Enter: the long songs of whales

to join: the open arms of trees

in witness of: the elegant, firm spires bursting

up and into

pinnacles

made of rock

made of spirit

made

of endangered hopes and sunken dreams

Reflected in the window

of the off-air

ON AIR

studio

hundreds of cabs and people were shown to be stopping and rushing, rushing

and stopping

their antics held spellbound

in a kind of funky, visual ostinato accompaniment;

a telegraphed reminder of the bittersweet allure of those

big

city

lights

That evening, in the cauldron of the theatre,

every mitochondria available

was asked to dance

by those powerful, telescoped frequencies

pulled forth

from metal and wood

The sublime

conjured:

with sinew and bone

hewn

by dedicated and skilled human beings

who channeled

the knowledge of the spheres

the stories of the ancients, the world

as it is, as it was, as is ever

--Monique Avakian

6/28/2015

Pronunciation note: “you-KEE-ohweh”

* This original poem of mine was inspired by the concert held on June 26, 2015 at the Jerome L. Greene Performance Space

44 Charlton Street New York, NY 10014

The Subliminal and The Sublime featured a solo opening set by Garth Stevenson (original music), followed by the sextet of: 

Chris Dingman on vibraphone 
Loren Stillman on alto sax
Fabian Almazan on piano
Ryan Ferreira on guitar
Linda Oh on bass
Justin Brown on drums

The work entitled, The Subliminal and the Sublime, was composed by Mr. Dingman, sponsored by the Inner Arts initiative and commissioned by Chamber Music America with funding from the Doris Duke Foundation.

(CD artwork and design by Shoko Tagaya)

Original Poem Inspired by the First Annual RiverArts Tour (June 6, 2015)

June 6, 2015

this was a day

where all kinds of people

came together

kin

related by music

this was a day of reckoning

that beckoned our hearts to fill

a day

when skilled and intuitive elders

voiced the feet of the young into joyful dance

a day

when young cats synced familiar songs into neo-hip uncharted waters of sound

a day

when old met young met free met positive met the glorious radiance of

possibility

this

was a day of reckoning

that had nothing to do with the end of the world

or the latest shitty lie disguised as news

manufactured by thugs

to be repeated endlessly over superficial TV channels

created to frighten you

into isolation

and despair

this day had nothing to do with 21^st century depressive tactics of social control

this day

beckoned our hearts to fill

to rejoice, live and in person

to touch one another

alongside our river

here in our sweet little towns

held by the sun and the moon and the stars

our Mother’s patient harp thrummed with ease

--Monique Avakian   

(inspired by the first annual RiverArts Music Tour)  

In Google's "mind," the word CONTENT = APP or GAME; i.e., PRODUCT -- my video proves it: http://t.co/2HfH0vPy61 pic.twitter.com/Cjw823z18F
— Monique Avakian (@monava9) March 5, 2015

A Valentine for the whole world: Nina Simone

http://youtu.be/7jgHOcXTr50

How Does Virtue Meet Brute Force? -- Dr. Cornel West on the Black Prophetic Fire

CLICK HERE:
http://youtu.be/5LhmQ-DwLTU

BATMAN! My original poem, performed live as part of inHERvoice, held at The Art of Dressing in Mamaroneck, NY

Getting Props Ready for Neo-Surrealist Debut at "The Art of Dressing" Oct. 25, 2014

@Dpoeticone This is too much fun! Thanks for including me! pic.twitter.com/KP1HWuDe9r
— Monique Avakian (@monava9) October 18, 2014

The Older Child in my Dream was Rather Miffed at the Appearance of all the Babies.....

The older child must have been poetry, because poetry has been taking a back seat for quite awhile to music.

Now that I've put together a chapbook of my political poetry and am putting together the Neo-Surrealist Road Show for Oct. 25th 3-5pm at "The Art of Dressing" in Mamaroneck, NY, I've got the word as the worm, and I'm feeling pretty early! :)

Two great finds just now tweeting along...Let's see if I can teach myself how to "embed":

1) From Literacy, Inc.'s Twitter Feed:

The first day of October is the first day of BAT (Book Are Treats) month. Candy is a great occasional treat, but... http://t.co/68T7N9sRlq
— Literacy Inc. NYC (@LINCNYC) October 1, 2014

2) From Poets & Writers Twitter Feed:

P&W joins forces with @center4bookarts for its annual Poetry Chapbook Reading on Oct 17. Read more about the poets: http://t.co/EFzfcfGbzq
— Poets & Writers (@poetswritersinc) October 2, 2014

I hope you get this album because it is DYN-O-MITE!

Here's my review on Avant Music News:

http://avantmusicnews.com/2014/09/23/amn-reviews-apocryphal-in-new-york-sept-18-2014/

PHOTOGRAPH BY Michelle Arcila

http://www.michellearcila.net

Rivertowns Jazz Blog Captured by Robots!

Slowly but surely I am finding the Rivertowns Jazz Blog content I created. For now, I am just linking until I have time to re-do it all. I am thankful I am not completely DE-indexed from Google, but I am confused about the Patch and curious as to why the new owners have approached the situation this way.

I created something cool and involved that benefitted many people, including the Patch. To have it all just DISAPPEAR overnight like that...well, it is just confusing, to say the least.

I'm not sure people realize how many hours and hours and hours it takes to put something like this together....

Thank you for your patience. The links I've found so far are below. It doesn't look like any of the video carried over....

--Monique

INTERVIEW WITH DONTAE WINSLOW

http://patch.com/new-york/rivertowns/monique-interviews-musician-dontae-winslow--prefield-trip-content-as-we-get-ready-for-his-show-on-feb-18th-at-iridium-nyc#.VBQydlZVnKg


PEACE CIRCLES

http://patch.com/new-york/rivertowns/circles-of-peace-and-poems-that-make-soldiers-drop-their-weapons#.VBQzHVZVnKg


BLUES MOTHERS

http://patch.com/new-york/rivertowns/the-blues-mothers-and-womens-history-sunday#.VApxw1b5bKg


JULIUS RODRIGUEZ

http://patch.com/new-york/rivertowns/congratulations-julius-rodriguez--finalist-jazz-2014-youngarts#.VBQ-bVZVnKg

https://www.youtube.com/watch?feature=player_embedded&v=4hii5d7qPDc


DAVID JANEWAY

Hastings Jazz Collective

Review of Live Show at the Hastings Unitarian Society, April 27, 2013

by

Monique Avakian

You know, I got to go to church the other day in another way: through music. Specifically, jazz. Intentionally: Hastings.

I love Hastings. So many creative people live there. And the arts are really supported. You can go hear the Hastings Jazz Collective almost every Friday night at the Station Café for a donation. Plus, if you’re so inclined, these generous professionals open up the mic for improvisers to jam with them! Their generosity and good will are to be treasured!

Anyway, I wanted to write a little something about this particular show at the Unitarian Society because the musicians’ choices of tunes and arrangements were very thoughtful. Each song had a bluesy~gospel root and that made for a really enjoyable and threaded exploration. The standards and originals included Oscar Pettiford’s Laverne Walk, Kenny Wheeler’s Mark Time and Kenny Baron’s Voyage.

And this particular evening (part of the Common Ground Community Concerts series), each player took long, long solos. Each and every time. These cats got into it!

Ron Vincent on Drums:

If you’re ever in a bad mood and want to snap out of it, just imagine Ron’s face while he’s playing. He is so in touch with the joy of jazz, it is absolutely infectious. And as a player, he is constantly evolving.  He’s got the softest bass drum EVER and makes these Rock ‘Em Sock ‘Em hits INSIDE a smooth ride feel that is so clean and free. He’s not afraid to get involved with the toms either, and he has this arresting slight drop~out~of~time feel at choice moments that’s simply magnetic. His arrangement of “Pick Yourself Up” was intriguing, especially when he went into a sudden Latin feel and then traded 4’s with himself rhythmically! I never heard a drummer do that before – too cool!

David Janeway on Keys:

David is not afraid to experiment in the moment and has a range of technique that allows him to test the waters fearlessly. And even though he can be as avant as the next guy, he chooses to go there just slightly. This is really effective and wonderful for listeners, because you don’t get lost or confused or exhausted. Yet, you are encouraged to evolve in your understanding of the complexity that is so attractive about jazz. David, too, is constantly evolving, and I have never heard one player have so many different ways of texturizing with arpeggios, tremolos, little endearing Monk-like tinkles, and soulful and inventive chord voicings. Completely relaxed, yet with appropriate authority, Mr. Janeway very much embodies the phrase: “Yours Truly.”

Tim Armacost on Sax:

Though his solos can be sweet and lilting, Armacost always has a good slab of grease on it. He’s got awesome lung power and this subtle feel~great vibrato sound which he sometimes offers at the end of an excursion. Armacost’s tone is especially warm way down low, but the man covers a lot of interesting territory all the way up and down the register.

Frank Tate on Bass:

Solid. Relaxed. Accomplished. This is a player that can be relied upon to respond to anything. Tate’s lead on their version of Willow Weep for Me on this particular evening was especially grand and meditative.

Check them out! At the Station Café, The Hastings Jazz Collective is often joined by Jay Azzolina on guitar, various bass players and all kinds of special guests. It’s a great hang.

VIDEO TASTE:

http://youtu.be/r2lu8Kp2A70

Hastings Station Café:  914-693-3175

Hastings Jazz Collective: http://www.hastingsjazzcollective.com/index

Monique’s other site: http://5over4.blogspot.com/

Avant Jazz: http://www.freejazzblog.org/

Jazz Times: http://jazztimes.com/contributors/31232-monique-avakian

Common Ground Community Concerts: http://commongroundfusw.com/

Winged: New Writing on Bees

CLICK HERE FOR MY POEM INCANTO INCOGNITO plus:   Winged: New Writing on Bees

I am pleased to announce that Winged has posted my poem and prose explanation about how the improvised music of this trio lifted me into BEE consciousness ! :

Ellery Eskelin     tenor sax    http://home.earthlink.net/~eskelin/Site/Ellery%20Eskelin.html

Susan Alcorn     pedal steel guitar       http://www.susanalcorn.net

Michael Formanek    upright bass  http://www.amibotheringyou.com

Their CD is available here:    http://www.discogs.com/Ellery-Eskelin-Susan-Alcorn-Michael-Formanek-Mirage/release/5029698

http://winged175.rssing.com/browser.php?indx=26979958&item=33

Show less

Winged: New Writing on Bees

winged175.rssing.com

Greasers in Greece: "It's Wild! It's Out-O-Sight!"

Review
     

As the debt ceiling continues to crash into the Government Shutdown, one wonders, why, again, this game of chicken?

As with other questions involving the paradoxical Chicken with a capital C, there are no easy answers.

Throughout history, this urge to win while risking suicide has motivated and amused countless hordes of dim-wits hell-bent on passing the time counter-productively. One could argue that war in general falls into the same category, actually, leading the baffled individual contemplating the finer points of human history to stumble into rather uncomfortable terrain….

So, as in all pivotal moments within a narrative arc, one reaches for the smoke-bomb, eject button, vial of antidote, or any kind of non-descript device invented by a mad-scientist tortured by cross purposes and glasses too thick to actually see through. My personal diversion from the scene crumbling around me? The comics.

To wit: Greasers in Greece. This hilarious offering by publishers GryphonKnights Comics, just now hot off the press, reads like the comics I remember from earlier days. Complete with fan-art, pin-ups, and interesting bios written by the creators themselves, this book is a steal at $9.95.

Writer Dimitrios Fragiskatos and Illustrator Thomas J. Griffin (a dynamic duo eerily reminiscent of the creative team from Michael Chabon’s, The Amazing Adventures of Kavalier and Clay), both steer clear of the mundane while firmly embracing the familiar.

And maybe that’s why this story is so engaging: we know exactly what’s going to happen. As in Bill and Ted’s Excellent Adventure, and every episode of Lost in Space, Wayne’s World, or even Gilligan’s Island for that matter, the reader/viewer is enthralled by the comfort of paradox couched in the familiar brought to us by characters who make us laugh.

This comic is filled with visual puns, running jokes, socio-cultural asides and masterful allusions to all kinds of 20^th century archetypes and motifs. The lay-out is easy to read and the art is involving. Overall, Griffin’s style is quite kinetic. I especially love the cover, with the careening hot-rod and Roman Chariot animated by the Zombie-esque hand of a Devil-god emperor puppeteer (pulling invisible strings, of course).

Inside, my favorite visual moment rests with the three-panel page where the car is sent through time. We get to observe the inked observer aging and not-aging while the words and visuals break through the paper and literally into our hands. The effect is further echoed by the crazed chicken drawn in the bottom right-hand bottom corner, careening once more with a squawk into the lower levels of consciousness…

As for dealing with the usual paradoxes found in time-travel stories, for some reason, my brain is assuaged. Or perhaps massaged. Or, better yet, sealed in a warm bath of CO-Q10 and placed on a shelf to glow in perpetuity alongside Einstein’s.

How did Dimitrios pull this off? Usually, with time travel stories, you reach that moment where you’re like: ok: if the characters do X, then that changes history and then they wouldn’t exist and none of this would be happening anyway, and why did I just waste another 45 minutes of my one wild and precious life thinking along this frustrating and useless path of inquiry?

But this moment does not occur in Greasers in Greece. I am guessing it has to do with the motive and powers of the evil Devil-god emperor, but I won’t speak of it, as I don’t want to spoil the fun for you, dear Reader.

Short Video Interviews conducted at the book signing:

With Dimitrios Fragiskatos, Writer:

http://youtu.be/AJ9x4rZ4iXo

With Thomas J. Griffin, Artist:

http://youtu.be/I18jXsDtAtA

With Sean Griffin, Editor:

http://youtu.be/J4mejkDgcGI

Greasers in Greece. It’s wild! It’s out-o-sight!

Available now at Mid-Town Comics/Grand Central:

http://www.midtowncomics.com/info.asp?tour=grand-central

https://www.facebook.com/gryphonknights

* (this review is slated for publication at MacDuff NYC, but I am posting this until that transpires because this is really a great comic, and I thought you'd like to be in the know...)

The Larry Roland Trio -- Jazz and Poetry Review

Larry Roland of 

The Larry Roland Trio – Jazz and Poetry

            Live Show, Blue Door Gallery, Yonkers, October 19, 2013

            Review by Monique Avakian

It’s like a desert sometimes, this country and the lack of access to poetry. So when I find an oasis of sound play and thoughtful wondering, you better believe I am all over it. Apparently, a lot of people have a similar thirst, because every seat was taken!

On October 19th, listeners at Blue Door Gallery were treated to a spectacular evening of textural context quietly and powerfully forged. Through questions and musings posed by poetry and jazz, The Larry Roland Trio brought us metaphor, sound~play, analogies, improvisation, loving~kindness, socio-political awareness and intense groove. All the familiar jazz standards helped the listener absorb the novel words and experience of poetry and music combined. The group really carried this sub-genre to a deep, yet completely accessible level. The words truly functioned as another instrument within the group structure, and the musicians proved adept and responsive to one another in an authentic and enjoyable way. From the very beginning, the experience itself came to embody the poet’s quest--all of us “in search of hope” became part of the “continuous pursuit (that) manifests.”

Dwayne Cook Broadnax on drums had a very small ride cymbal on a very small kit—a thoughtful choice that fit the realities of the room. His style was very commanding, yet completely quiet. I would describe him as skilled at leading from the back, which is very hard to do when poetry is involved. Though the words are structured, Mr. Roland’s rhythms are always variable and completely live in the moment. Mr. Broadnax rose to the occasion, showing a quiet, restrained leadership while playing completely in-the-pocket throughout the evening.

Waldron Ricks, on trumpet, also complimented the group without dominating. Playing on a horn specially made by Dave Monette in Oregon, Mr. Rick’s sound was warm and embracing. His style enhanced the words and the music equally, and he was not afraid of space during solos. His horn was very vibrant even when still. The bell on this instrument seemed very unique; truly one-of-a-kind. I can’t get the look of the bell out of my mind! So symbolic of the quality of the evening, where the listener was drawn in and in and in…..

As for the poetry, sometimes spoken word is off-putting to some people as the “one-up-man-ship” involved in the competitive aspect takes away from the connection between poet and audience. None of that is part of Larry Roland’s universe, where generosity and gentleness embrace and engage the listener. The man is totally for real and seeks connection at all turns. The content of his poetry is direct, deep, serious and well-crafted. Mr. Roland often writes about family and friends, with themes situated within a socio-historical context as well as the larger philosophical questions germane to the human condition. I think Larry Roland is especially powerful precisely because he asks a lot of questions. He takes you on a thoughtful journey that leaves you in a place of reverence for life. Larry Roland (who also plays bass) is a philosopher for Every Man.

After the program, as the large crowd spilled into the street, I was struck by the vibe carried forth by the people, who were clearly buoyed and sustained by the experience. During the break, Mr. Roland had stated: “I’m just tryin’ to be a force for good, you know what I mean? That’s where I’m coming from.”

It was evident from the timbre of the listener’s voices, as well as from the word choice involved in their reactions, that The Larry Roland Trio had succeeded in transforming the people who had come to hear.

Next performance of poetry and jazz at Blue Door:

Nov. 22

7-9pm

The Jazz & Poetry Choir Collective

Michael TA Thompson (conductor)

Golda Solomon

E.J. Antonio

Will Connell, Jr.

Rosi Hertlein

Larry Roland

Physlisha Villanueva

Blue Door Gallery -- just a hop, skip and a jump down Warburton

http://bluedoorartcenter.org/gallery

Video by Ben Gerstein: Sunset, Bach chorale "O Große Lieb" (O Mighty Love), St. John Passion

The Sun Ra Arkestra - Angels and Demons

Greasers in Greece: Sean Griffin -- a Short Interview with Monique Avakian

Greasers in Greece Thomas J. Griffin - a Short Interview with Monique Av...

Greasers in Greece: Dimitrios Fragiskatos -- a Short Interview with Moni...

Red Baraat "Chaal Baby" live

Over at the Rivertowns Jazz Blog....Jazzy Field Trips for Writers

Check it out!

I'm not lying -- two friends have had similar experiences to mine:

We go listen to live jazz and the next thing we know, our writing skyrockets into new realms of delight!

Listening to CDs works, too, but it's not as visceral.

Highly recommended:  Cornelia Street Cafe in the Village. Any group you see there will likely inspire you!

Join us sometime, won't you?

(You don't even have to share what you write!)

http://rivertowns.patch.com/groups/rivertowns-jazz-blog-by-monique-avakian/p/jazz-field-trip-for-writers

David Ullmann Octet at I-Beam, Brooklyn

I started writing over here, too!

Check it out!

They like it short at MacDuff.

http://macduffnyc.com/listen-to-jazz-i-beam-brookyln/

Ellery Eskeling Trio New York II -- CD Review

Ellery Eskelin Trio New York II

            “A free approach to the Great American Songbook”

by Monique Avakian

If there is a band to check out in 2013, this is IT.

I’m tempted to stop right there, or at least toss in a spoiler alert. Half the grand delight of listening to this album is the process of discovery as you uncover the multi-layered subtlety of this group’s free, beyond~interpretative stance. Another tasty slice of major happiness derives from recovering your relationship with some kick-ass standards through this visceral free improv. The Ellery Eskelin New York Trio II embodies the ideal of the avant aesthetic: forward movement, deeply rooted, and set free with honest emotion.

Overall, I would describe this trio as precise, kinesthetically supple and incredibly feline. You may not know they’re in the room until you feel their whiskers, but they already know all about you and everything you dreamed of before breakfast.

On this album, you’ll be treated to three musicians who take their respective instruments each and together into the wild and unexpected.

http://youtu.be/3qAWabSGcuY

Gary Versace expresses feelings and thoughts with the Hammond B3 Organ in a way that is simply unprecedented. What a supercool style! During the first listen, I didn’t even know he was playing a B3; I thought he was playing multiple synthesizers and getting the sonic variety out of electronic dials and settings. In Versace’s words: (The organ is the) “first kind of real time synthesizer. You can change the sound as you’re playing, you can hold a note, there’s vibrato, there’s air moving through it…(and I can) change phrase lengths and chord lengths as I see fit.” (*)

Gerald Cleaver is one of those super highly evolved drummers who can play anything he needs to super soft. If you’ve ever been anywhere near a drum kit, you know how difficult that is. Cleaver takes this concept even further through his careful choices of not playing. Whoever heard of a drummer not playing ?!? Especially when you reach a technical level, like Cleaver, where you can pretty much play anything. You could learn a lot about musicianship by studying his choice of silence. In Cleaver’s words: “I try and swing and try to do the things that feel the best….the idea of swinging is one of connectedness and having a real affinity for the piece, whatever it is.” (*)

And Ellery Eskelin, ooooh! His work on the tenor sax (now playing a 1927 Conn.) is complex and experimental, yet completely engaging and intimate. Conceptually, he’s all about paradox and sparking wonder, and this is made all the more appealing due to his natural and relaxed fearlessness. Even though he can knock your socks off with rapid, inventive runs, he never runs all over you. His phrasing is intuitive and often subliminal. Ellery Eskelin brings you inside—DEEP into the living breath of sound.

As for playing live with the trio, in Eskelin’s words: “We know that there are probably six or eight tunes that we might incorporate in some way, without me prescribing any kind of a treatment or rules at all for how those may or may not happen. It’s simply a matter of real-time musical negotiation between us, listening very hard to each other.” (**)

 http://youtu.be/6jrd-cJXo4E

Standout Tunes:

    The Midnight Sun

Like sparkles on water, sun and moon dance through threaded ideas traded with echoes. Some kind of unity forms from duality, and I am feeling the blazing sun late at night.

This trio achieves a sonic representation of emotional metaphor so central to the tune that at first listen I literally felt the sun and moon simultaneously appear without knowing anything about this song, including not having read the title – (! ! !) – I’m not making this up! The emotive quality engendered by the trio’s take on this lovely standard is completely involving. Wait a minute….is that stardust on my sleeve?!?!

   We See

This take on We See is like having déjà vu while simultaneously hallucinating inside a parallel universe. This version is out, yet NOT closed-off inside some phony fortress with a thousand doors locking you out. The Eskelin Trio is so open and inviting, even when the swing is sonically invisible, you feel it. And the Be-Bop confidence and rhythmic forcefulness are there, too, yet reached through the opposing sensibility of exaggerated pianissimos and small, subtle crescendos. Case in point: Versace gives that B3 ZAP chord every once in awhile, but he does this 

* s * o * f * t * l * y * -- as if using volume itself to make a rhythmic statement (?!)

Live:   Friday & Saturday, July 26th & 27th, 2013

at Cornelia Street Café   (Reservations recommended)

http://corneliastreetcafe.com/Performances.asp?sdate=7/26/2013&from_cal=0

LINKS:

http://elleryeskelin.blogspot.com/2012/11/interviews.html

http://www.allmusic.com/artist/gerald-cleaver-mn0000945381

http://www.garyversace.com/