Initially the trip was undertaken with a jovial air, but as the reality of the situation presented itself, the fun seemed to be stripped from the assignment, weighed down like an ice-covered tree limb. This was supposed to be a fact-finding mission on one of the planet’s oldest mysteries: the legendary Bigfoot creature.

The story behind the story began well before that fateful journey. Editor-in-chief Michael Nasvadi received a tip about the sighting of the beast just south of Massillon in Strasburg. One of his sources presented him with photographic evidence (see picture above), captured by a deer cam, of an alleged Sasquatch.

Knowing the importance of the story, Mike instantly contacted his staff ace. Unfortunately, Seth Borgen was unavailable, so he called me.

History in the Hills
Strasburg is a village in northwestern Tuscarawas County with a population of 2,600, according to the U.S. Census Bureau. Rural without being destitute, suburban without being overbearing. About a 20-minute drive from Massillon, Strasbourg can best be described as quaint, the type of place to raise a family. It was in this quiet, yet not so out-of-the-way hamlet that we would be conducting our search for the unknown.

This is not as unusual as it might seem. Ohio ranks fourth in the U.S. for the number of Bigfoot sightings, according to Mark Maisel, investigator with the Bigfoot Field Research Organization (BFRO). In NEO, Portage County leads with the most reports, but all counties in the region have reports of sightings.

“From Ashtabula to Lorain, all the way down to the Coshocton area,” Maisel recounted during an interview conducted prior to our expedition. He said that Ohio has been receiving reports about Bigfoots, or “wild men,” since the 1830s.

Maisel explained that a majority of sightings occur around bodies of water, making the Cuyahoga River Valley a perfect habitat for Sasquatch. It might also explain the wide-ranging sightings in this part of Ohio, as the river flows for some 100 miles across the region.

On the Scene
We arrived an hour or two before dusk at the source’s home (our contact wished to remain anonymous), which lies on a winding road, surrounded by woods and sparsely located neighbors. The time of our arrival was planned to coincide with the activity of our subject: Maisel said Bigfoots are primarily active from dusk till dawn, though not exclusively nocturnal.

Our source invited us in to see the original photo sent to our editor as well as other photos of deer he caught on the camera, so we could get some perspective on the size of the beast.

In comparison, whatever was captured in the first photo was certainly not a deer, standing roughly six feet tall and with limbs too thick to be confused with the slender appendages of a Cervidae. From the photo, the creature appeared to walk upright, with arms swinging in a motion similar to that of a human. The source also showed photos of animals moving quickly across the camera, which only snaps pictures when it senses movement and heat. These photos gave us an idea of the type of blur trails the camera picks up during low light. It became clear that even a deer, standing upright and flailing its legs, would still not appear to have the mass of the animal caught in the photo.

He also explained to us the inability of the camera, in low-light situations, to pick up colors on subjects positioned close to it. While the photo appears to be picking up a white creature, that may not exactly be the case.

With an idea of the size and dimensions of the creature in the photo, we made our way to the location where it was shot.

Since this was in the far corner of the source’s property, it’s hard to imagine someone finding the place to conduct some sort of hoax. Our source also explained that the only people near him who knew his camera’s location were people he was with that night, celebrating New Year’s Eve.

As we approached the scene I let my keen journalist observational skills pick up on any of the clues Maisel told me about, including footprints, stick piles in unnatural places and Bigfoot’s signature odor.

“It is a sewer smell,” Maisel said. “A sewery, garbage smell, but not too overpowering.”

Of course, the snow that fell the night before would have covered any prints made during the days leading up to our arrival. With no physical evidence about, the source positioned the deer cam to focus on where it was when it took the photo.

We took a few photos with the deer cam to further establish size, all while keeping an eye out for other signs of Bigfoots: ape-like grunting sounds, knocking and rock-throwing.

BFRO’s Maisel explained that knocking, which is theorized to be Bigfoots pounding on trees to establish territory, announces positions and maybe even runs diversions for their flanking brethren. As odd as that sounds, it is believed that Sasquatches’ elusive nature was formed as a defense mechanism. This also explains rock-throwing, seen as a primate-like sign of dominance and perhaps a way to mark territory, as well. The search for stick formation also continued.

“You’re looking for something unusual,” Maisel said. “Like a buddy of mine found in West Virginia. This tree literally had two branches twisted around three different times, just twisted like a rope.”

He also told of stick formations taking on a more “Blair Witch” appearance, with branches stuck into the ground, sometimes even in familiar designs.
“Look for where the branch came from and the most logical conclusion of it,” he said, explaning how to confirm formations. “If you find a broken branch and it came from 100 feet away, then it’s unlikely that it blew all that way and landed in the ‘Y’ of a tree.”

These are seldom acts of aggression, Maisel explained, as, like most woodland inhabitants, Bigfoots’ actions are driven by fear, especially the fear of people.

“Man is the alpha predator on this planet, and to survive, species have to evolve,” he said. “Native Americans had bows, early settlers had flintlocks and muskets. For an animal to survive, it would have to develop a strategy to avoid direct competition for resources with humans.” He cites the once-low deer population in Ohio, a result of overhunting, as an example of poor survival planning.

This ability to remain largely unseen has led to a debate in the Bigfoot research and cryptozoology worlds as to exactly what this animal could be, and if it was really an “animal” at all.

“There are two groups of thought right now,” Maisel said. “Some think it could be an ancestor of Gigantic Pitasis, and the others think it might be a relative of Homo Erectus or Homo Ardipithecus, though no one knows for sure.”

Gigantic Pitasis was — or perhaps is — a land-dwelling ape of southeast Asia and China that is believed to have come over to North America on the Bering land bridge during the last Ice Age.

The other school of thought suggests that Bigfoot is an ancestor to humans.

Despite their aversion to people, Bigfoots sometimes venture into our communities. In fact, numerous reports have arisen of strange creatures eating pet food left outdoors, farm-animal feed, things found in trash bin and the occasional animal. Maisel said that BFRO has received reports of animal carcasses being found in the woods completely intact, save for a missing liver.

Sasquatches are known for being much neater in their manners than other woodland animals. For instance, when bears find animal feed or other sustenance, they characteristically tear things apart, leaving bits and pieces scattered in the area. Conversely, Bigfoot researchers find that the legendary creature is notorious for leaving little mess behind and sometimes just carrying off food sources as a whole, causing head-scratching in victims of their pilfering.

The Bigfoots’ elusiveness and utter lack of 100 percent verifiable evidence has played in the favor of skeptics, though Bigfoot researchers claim to have plausible explanations.

As Maisel explained, with some 16 million acres of forest in the United States and a minimum possible population of Sasquatches of approximately 2,000, finding one would be like looking for a needle in a haystack. With the inherent nature of the creature to hide, coupled with the dense and remote habitats they dwell in, it is not difficult to imagine the logistical problems with finding dead Bigfoots. Besides, how often do you find any animal remains in the woods, especially the heavily traversed trails most humans use?

Silence Sinks In as the Sun Sets
With daylight receding behind the hills of the valley, our source headed back inside, and we struck out off the beaten path. With the sun fading, I began looking for “eye shine,” as Bigfoots are thought to have luminous eyes that flash in darkness, like those of a cat.

We trounced through a low-lying marsh, ears pricked for any foreign sounds. Yet the only thing that seemed to stir up was the mooing of distant cows and the occasional far-off chainsaw, likely a farmer somewhere cutting firewood as a defense against the dropping temperature.

Darkness would soon surround us when we made the decision to start back toward our origin. We stopped to climb atop a large wooden tree stand to watch the final bits of sunlight cast its rays upon the valley below. With limited visibility, we would not be able to venture far, and with our investigation waning with no evidence, an ominous feeling set in — mixed with a sense of disappointment, a crushing of the hope that perhaps we’d be the first to find the unfindable, confirm the unconfirmable.

Maisel had warned me of this during our interview. He retold the stories of failed expeditions, set up by expectations that were too lofty.

Maybe I was too eager to trample through the underbrush. Did we miss something? These are the questions that haunted me as the night stretched on. Whatever it was the deer cam captured was still out there, perhaps no more than a stone’s throw away.
Story Photos: Jeremy Aronhalt

In a career that took flight in 1985 with immediate commercial and critical acclaim, guitar virtuoso Stanley Jordan has consistently displayed a chameleonic musical persona of openness, imagination, versatility, respect and maverick daring. Be it bold reinventions of classical masterpieces or soulful explorations through pop-rock hits, to blazing straight ahead jazz forays and ultramodern improvisational works—solo or with a group—Jordan can always be counted on to take listeners on breathless journeys into the unexpected.

On his latest Mack Avenue recording, Friends, Jordan takes the time-honored path of inviting a handpicked cadre of guests: guitarists Bucky Pizzarelli, Mike Stern, Russell Malone and Charlie Hunter; violinist Regina Carter; saxophonists Kenny Garrett and Ronnie Laws; trumpeter Nicholas Payton; bassists Christian McBride and Charnett Moffett; and drummer Kenwood Dennard. The results proved truly outstanding on numbers ranging from a Bela Bartok piece to a Katy Perry pop smash, a heady original blues and three jazz classics spanning swing, cool and modern. There’s a listener-friendly samba, an airy spirit song and an astounding nod to the atonal. Jordan even plays some serious piano on a couple of songs, revisiting his first instrument with newfound confidence and wonder.

Reflecting on the wealth of music inspired by collaborating with chosen peers on Friends, Stanley Jordan concludes, “I am so humbled and grateful to all of the wonderful musicians who graced this project. This collection truly speaks to my belief in the integrationist spirit of music. I’d like to move beyond ‘fusion’ and explore the concept of ‘integration.’ When you integrate styles, you combine them into something new while still remaining true to the original sources. The same principal holds for our friendships, which require mutual respect. Our friends are a mirror revealing the diversity within us, and at the same time they give us the courage to share our true selves with the world.”

For three years running, BRITE WINTER has gathered members of the Cleveland Arts community to create a glowing outdoor celebration of music, art, fire and light. The festival is free to the public, supported by in kind and cash donations from corporate sponsors, university student groups, and individuals who agree with the simple mission of celebrating winter. In 2012, the volunteer steering committee has chosen a new site in the Ohio City neighborhood, just west of downtown Cleveland. On Saturday, February 18, a portion of Bridge Avenue, between West 26th and West 25th street, will be closed and occupied with an outdoor stage, bonfires, participatory art projects, light art installations, quirky games, and food vendors. With the move to Ohio City, neighborhood businesses have contributed their time, talent, space, and creativity for BRITE WINTER to extend to 5 venues for temporary art installations, an additional 8 venues for free music performances, and 10 venues with offers or special programming for festival goers.

Music: BRITE WINTER features an outdoor stage where bands (Bad Veins, Tom Evanchuck & the Old Money, Black Taxi, Lighthouse & the Whaler, Bethesda) will play a block party style concert to attendees huddled around bonfires in the heart of the city from 5-10pm. There will simultaneously be 8 other venues (Joy Machines Bike Shop, Bon Bon Pastry & Cafe, Garage Bar, Touch Supper Club, Great Lakes Brewing Company, Market Avenue Wine Bar, Dragonfly Lounge, and Franklin Circle Christian Church) where over 30 more music performances will be held during the festival. All of the music programming has been curated and organized by the Brite Winter Steering Committee with assistance from Bad Racket Recording Studio, The Grog Shop and The Beachland Ballroom.

Art and Games: These things exist in a category together because BRITE WINTER features participatory art and games as well as visual displays. Art and games are temporary installations of fun, like a box truck light and sound extravaganza, the smashdown game, giant skee-ball, giant snowflake, and bring-your-own lamp light sculpture. Kasumi, our featured artist, will display her video art, “Mid-winter’s Stereopticon”. More than a dozen artists, engineers, and creative groups are working together with support from General Electric Lighting, the Cleveland Institute of Art, the Cleveland Museum of Art Department of Community Arts, IngenuityFest, and Vertical Sound to create these art/activity installations for public enjoyment.

Brite Winter Mugs and Ohio City Vouchers: Brite Winter Festival Mugs come with two Ohio City Vouchers and provide additional access to festival programming in the neighborhood. 14 venues will offer a discount between 10-20% during the festival, for simply holding a mug, and each Ohio City Vouchers can be redeemed for Beer, Coffee, Hot Chocolate, or a variety of other items at listed venues during the festival. A Mug and 2 Ohio City Vouchers can be purchased for $12 on kickstarter.com or $15 on the day of the event.

BRITE WINTER festival is run by a 100% volunteer steering committee, currently operated without grant funding, and is supported by in-kind donations and sponsorships from Cleveland businesses, organizations, and university student groups. Donations of all kinds are accepted through the Ohio City Inc. Development Corporation, the festival’s non-profit fiscal agent.

Photo: Lindsay Bruner

And, be sure to look, listen and stop everywhere including Evolution Art, the crime scene. It’s down the block from TRANSITIONS Gallery featuring a new exhibit, “Revisionist Histories,” while nearby spaces like ACME artists, Bliss, Creative Ohio Arts Guild and Buzzbin Magazine will be offering other art and some sweet deals just in time for Valentines Day. Second April Galerie has gone for a bit of a revamp, bringing in metal worker Matt Scofield and doing some space switching to keep things fresh and fun. John Boyett will be blowing (and hopefully selling) glass all evening at canton Glassworks, while Lynda Tuttle’s Art Center will be holding a valentine making demonstration and much more.

All downtown restaurants will be open for business, including the Canton Woman’s Club, Lucca and Pete’s Grille. And music will be everywhere, keeping you motivated to bust a move and solve the just-for-fun crime.

And if you need a hint in how it’s done, take a seat for Clue, the free movie showing at the Canton Palace Theatre @ 7:30 p.m.

Download more information, your game card and a map for February 3 Get a Clue! at www.cantonfirstfriday.com. First Friday is Stark County Community Foundation and presented by ArtsinStark with in cooperation the Special Improvement District.

Roughly one year ago, guitarist Cliff Hines brought together a cadre of New Orleans’ finest musicians to perform the music of David Bowie. Among those assembled was James Westfall, vibraphonist/composer and one third of The Wee Trio. This idea of performing Bowie’s music coincided with the groundwork for the band’s third album. What followed was the recording of Ashes To Ashes – A David Bowie Intraspective, a deep exploration into the eclectic icon’s music, and the band’s follow up to their first two critically acclaimed albums, Capitol Diner Vol. 1, and Capitol Diner Vol. 2 Animal Style.

After these two powerhouse albums, comprised of mostly original material (plus Nirvana’s “About a Girl”, Aphex Twin’s “Avril 14” and Sufjan Stevens’ “Flint”), it became clear that the band was eager to lace their many Wee Trio-isms into the works of an outside composer. With Westfall being no stranger to Bowie’s music, and bassist Dan Loomis and drummer Jared Schonig quickly realizing the treasure trove they had found in the thin white duke’s work, the trio dove headfirst into his vast, diverse repertoire to select six songs that span Bowie’s musical universe: “Battle For Britain”, “Queen Bitch”, “The Man Who Sold The Earth”, “Ashes to Ashes”, “1984”

“We went through long list of composers, and in the end, David Bowie represented the biggest range of musical possibilities. Going from folk to rock to glam to art soundscape to electronica, he has covered more aesthetic ground than perhaps any other pop artist. Jazz being the aesthetically voracious art form that it is (and one that is given to perpetual hybridizing of styles just as Bowie was), we saw that Bowie’s music gave us that best chance to represent all the sides of our sound as a band,” explained Loomis.

For David Bowie fans and jazz fans alike, Ashes To Ashes will exceed your expectations. The Wee Trio manages to reimagine Bowie’s music while staying true to its spirit and energy. They simultaneously show their talent as jazz musicians while performing the music from the perspective of true Bowie fans. The Wee Trio also managed to showcase the versatility of Bowie’s compositions and how amazingly well they transferred into a new medium. Simply put, they breathe new life into these timeless Bowie classics.

Bell attacks the cello, in a style that would make most Suzuki students cringe. Focusing less on the bow and more on turning it into a band, he squeezes every sound out of the instrument. Pounding drums, growling jazz bass-lines, nimble finger tapping and even a glass guitar slide for a couple dirty blues licks punctuate his diverse live show.

You can catch Christopher Bell at Annabell’s, 784 W Market Street in Akron on February 2nd at 8pm for Free.

Christopher Bell gained national acclaim for utilizing unique modes of transportation to tour, including canoeing the Erie Canal, biking from upstate New York to Chicago, and walking across Massachusetts. The prolific young artist currently resides in Jamestown, New York, where he runs Silent Home Records a recording studio and record label.

Based in Akron, ZOBAPAGO embodies dynamic entertainment and educational material that relate to topics of a child’s everyday life, with a focus on science, health and hygiene.

The audience will be transported to Zobapa-Dopolis where characters such as TaxiMan Zan and Quizzical Lizzy will entertain and educate them on a healthy way of life.

Zobapago will have one performance on January 29, 2012 at 2:30pm. Ticket prices for adults are $8 in advance and $10 at the door. Children 3–12 yrs are $5 and children under 2yrs are free. Tickets are available at the Akron Civic Theatre Box Office, by calling (330) 253-2488 or online at www.akroncivic.com, or TicketMaster (1-800-745-3000). Doors open 1 hour prior to event.

The full schedule is available at www.akroncivic.com. Additional events will be added throughout the season. Tickets and information are available in person at The Civic Box Office or by calling 330.253.2488.

Carrie Rodriguez
Love and family have always been sources of inspiration for critically acclaimed singer/songwriter/musician Carrie Rodriguez, but never have they featured so prominently than on her brand new release Love & Circumstance, a covers album that includes songs written by her father, and once performed by her great aunt.

Rodriguez’ journey from teenage violin student to touring the world with the likes of Chip Taylor (famed songwriter of “Wild Thing), Lucinda Williams and Alejandro Escovedo, has resulted in a prodigious output of recordings – eight albums in as many years – for the young musician; with the new album, Carrie relies on others to handle the songwriting duties, she provides the interpretations.

“In 2009, after a very busy few years, I felt like I should take a step back and assess the situation,” she says, during a quick stop between tours. “The idea of doing a covers record had been developing for a while, and had been prompted by requests I get at every show for a recording of some of the covers I play live, especially ‘La Punalada Trapera.’ I stated to wonder what kind of album I could make that would be a fit for that song.”

Rodriguez’ professional career was launched in 2001 after a show at South By Southwest introduced her to Taylor, with whom she has recorded four full albums and an EP. Her musical development started much earlier, however, and at the hands of an equally seasoned songwriting veteran, her father David Rodriquez. “My dad gave me a Leonard Cohen record for my ninth birthday! I hated it. But of course I rediscovered it at thirteen and loved it.” By fifteen Rodriguez and her dad were touring the Netherlands together; chops were being honed.

Rodriguez’ maternal side of the family also influenced her musical upbringing. Not only was her mother a fanatical opera enthusiast, her great-aunt, Eva Garza, was a popular Latin recording artist in the 50′s, and it was from Garza that Rodriguez first heard ‘La Punalada Trapera,’ which soon became a mainstay in her live set. Having family friends include Lyle Lovett, who invited Rodriguez to sit in with his band when she was at college, also helped her develop as a performer.

Those who have been following Carrie Rodriguez throughout her career will find Love & Circumstance an exciting addition to her oeuvre, new fans will get a glimpse of the rising star’s influences; both will revel in the sterling musicianship and heartfelt interpretations of new and classic songs.

“This is a really important record for me,’ says Rodriguez, ‘not just because it gave me the chance to go back to my roots, but also because it celebrates my family.”

Erin McKeown
At the age of 33, Erin McKeown has already had the career most people dream of, and she only continues to mature as a writer, multi-instrumentalist, and performer with no sign of stopping any time soon. Her first album, “Distillation”, arrived a decade ago to high praise and signaled the debut of singular talent. It has been followed by 7 full length albums, 3 EPs, an upcoming concert film, and a groundbreaking internet concert series. From elegant pop to balls-out rock, sweet electronics to witty swing, Erin has packed a ton of music into a substantial career.

For most of the last decade, Erin has spent an average of 200 nights a year onstage, building a loyal fan base across the United States and Europe. She has appeared on Later with Jools Holland, Late Night with Conan O’Brien, NPR, BBC, and has had numerous film, television, and commercial placements. She’s even written a song via text message with her friend Rachel Maddow.

In the last year, she’s taken more time off the road to teach, write poems and op-eds, and launch a successful side-career as a political activist, lobbying regularly on Capitol Hill about issues concerning musicians and technology.

Erin’s latest studio album is “F*ck That!”, an album of irreverent and inappropriate anti-holiday songs, with accompanying hymnal. McKeown is currently a fellow at Harvard’s Berkman Center, working on a book of poems, looking for ways to incorporate her love of sports into her career, and finishing her next studio project- due in early 2012. She is also available for co-writing and album production work.

Kelly Joe Phelps
A writer at the San Diego Troubadour described guitarist and songwriter Kelly Joe Phelps as, “The Phantom Monk Of Folk- Blues,” and rightly so. Over the past 17 years of recording and touring, Phelps has been talked about as much for his passionate, spirit-driven, lone musical ways as for the inventiveness of his playing and singing. A New York Times concert reviewer wrote: “…his airy playing conjuring a pocket of supernatural space. He manipulated his fretboard to create eerie harmonics as he slipped from a mumble to a falsetto, as if to follow the soul beyond the physical realm.”

Kelly Joe is an improviser within the world of folk music. He’ll likely use the same group of songs during one show that he used the previous night, sure enough, but the skew will have changed, the colors and shading moved around. Sometimes, it seems like the song might even be playing him, rather than the other way around. “I approach music this way,” he says, “to give it a chance to breathe, walk, or whisper. Improvising, even in small amounts, turns a piece of music into a conversation, in real time, with all of the unexpected twists and turns that any conversation is going to have, even if it’s with someone you talk to all the time. The emotional complexity of us, in any one moment, can be musically represented through improvisation as a moment in motion, like someone thinking, or worrying, perhaps, right this second, here and now. If there isn’t some part of the unknown or unexpected present, it seems like an important aspect of being human goes missing. That’s the beauty of spontaneity, even in the supposed confines of folk music. It allows a character, a note, or a chord some time to be alive, to look for themselves…if I’m doing my job well, that is.”

Photo credit: Mathew Sturtevant

Reuben Wilson
In the late 60s, organist Reuben Wilson began ascending to his current status as a “godfather” of acid-jazz with “On Broadway”, the first in a string of albums for Blue Note Records. With these recordings Wilson revealed a command of funk that helped redefine the soul jazz movement created by the likes of Jimmy Smith, Jimmy McGriff and Richard “Groove” Holmes. “I was impressed by the great players,” Wilson said in an interview with Carlo Wolff for The Plain Dealer, “but I thought the music could be well served by a pop feeling, I liked what drummers Bernard Purdie and Idris Muhammad were doing [Wilson has recorded with both drummers]. They were different from an Art Blakey or a Max Roach. Their appeal was to a younger crowd.”

Born April 9, 1935 in Mounds, Oklahoma, at age five Wilson moved with his family to Pasadena, California, where his schoolmates included bassist Herb Lewis and vibraphonist Bobby Hutcherson. He started playing professionally in Los Angeles, and in the mid 60s went to New York and worked with a range of artists from Sam Rivers to Grant Green, Roy Haynes to Willis “Gatortail” Jackson.

While some collectors believe his best work is represented on his five Blue Note releases, Wilson also laid down some trailblazing sides for the Groove Merchant and Chess/Cadet labels. During the ’80s, “Got To Get Your Own,” the title track to his 1974 Cadet album, caught on in dance clubs in England, “I was in Europe with the Fatback Band, when I heard about it,” recalls Wilson. “All of a sudden, the news people from the trades and all were interviewing me separately from the Fatback Band. “That’s when I found out I had this big record. Wilson’s influence was still evident in the ’90s thanks to such groups as US3, Tribe Called Quest and Nas sampling his compositions “Ronnie’s Bonnie” and “Were In Love,” along with his arrangement of “Inner City Blues.”

Reuben Wilson who helped usher in a new musical era over 30 years ago, continues to have a profound influence on the modern music scene. “Today, I’m playing to the children of my original audience”, Wilson noted. “I feel like I made a real contribution musically, and I feel very good about the fact that it’s actually given me legend status in Europe.” In 1997 Blue Note reissued two of his albums: “Love Bug” (1969), with trumpeter Lee Morgan, tenor saxophonist George Coleman, guitarist Grant Green and drummer ldris Muhammad (then known as Leo Morris); and “Blue Mode” (1969) with tenor saxophonist John Manning, guitarist Melvin Sparks and drummer Tommy Derrick.

Greg Bandy
Now based in New York City, drummer Greg Bandy is a perennial favorite in the Cleveland area and also enjoys an international reputation. Bandy has toured with several major jazz artists including Pharoah Sanders, Joe Henderson, Betty Carter, and Olu Dara. Additionally he has lead his own groups extensively. He has taken his groups far and wide, making appearances throughout North America, Europe, and in such far away destinations as Japan and Ghana, Africa.

A percussionist of distinction Greg takes inspiration from drummers like Art Blakey and Elvin Jones. In the past 30 years Greg has made toured the world extensively and recorded prolifically. During that time he has was based in NYC from 1977-97, back in Cleveland from 97-06, and has been in NYC again from 06-to the present.

Marvin Horn
Marvin’s stunning technical command and superb musicianship have earned him his long time association with such artists as Hamilton, Jones, and Freddie Hubbard, Stanley Turrentine, The Dells, Nancy Wilson, Billy Eckstine, James Spaulding, Sarah Dash and Jack McDuff. He has recorded with Chico Hamilton, Elvin Jones, Sarah Hummel, Nat Dixon, Kenny Kirkland, Pucho & The Latin Soul Bros and Chris White. Marvin has 3 movie soundtrack credits including “Color of Rage”; a Documentary, “Black Las Vegas – In Through the Back Door” and “Destination Unknown”. a television show – BET Jazz – “Pucho and the Latin Brothers”.

Currently, Marvin can be heard swinging at the Cotton Club on 125th Street with The Cotton Club all stars, where he plays regularly with two power packed bands, a 13 piece swing band, and a 7 piece Blues and Jazz Band. He is also the music director for the Cotton Club gospel choir. Marvin appears regularly on the NY jazz club circuit playing venues such as 55 Bar, Porters, Sugar Bar, Zinc Bar, Mobay, Kavehaz, Lenox Lounge, and Le Bar Bat. As guitarist and leader, Marvin appears with his own band which includes Ryan Weaver ..boards, Gerald Hayes on alto sax, Phil Young and Buddy Williams alternating on drums and Stanley Banks on bass. In addition to original compositions, the Marvin’s band plays Latin, Jazz, Blues and Gospel music. In the pocket groove, a relaxed yet masterful swing, harmonic expertise and lightening technical execution are an unmistakable and powerful facet of Marvin’s “style”, garnering notice from colleagues and jazz critics alike.

Beloved by children of all ages around the world, Elmo is an international icon. Few people know his creator, Kevin Clash, who dreamed of working with his idol, master puppeteer Jim Henson. Displaying his creativity and talent at a young age, Kevin ultimately found a home on Sesame Street. Narrated by Whoopi Goldberg, this documentary includes rare archival footage, interviews with Frank Oz, Rosie O’Donnell, Cheryl Henson, Joan Ganz Cooney and others and offers a behind-the-scenes look at Sesame Street and the Jim Henson Workshop.

Doors Open: 7:00pm
Showtime: 7:30pm
Run Time: 1 hours 16 minutes
Rated: Not Rated
Admission: $5