Links to reviews:
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"Breathtaking!" – Joel Benjamin, Theater SceneTheater Scene
Bob Baldori and Arthur Migliazza are two brilliant musicians with an overwhelming jones for Boogie Woogie music and its many artistic descendants. Their encyclopedic knowledge of popular musical forms over the last century is breathtaking, but their playing of and dedication to their chosen repertoire is even more amazing. Boogie Stomp! at the Chain Theatre takes the audience on a fascinating tour of more than a century of American music beginning with “Boogie Stomp” which was a classic of the form: steady, repeated bass line in the left hand under a varied melody played by the right. Strangely absent from the program was any representation of Ragtime, but, perhaps including Ragtime would have been too much of a good thing.
Bob, the older and more experienced of the two, was the congenial host and narrator of the evening, entertainingly revealing the lowdown origins of this music in bordellos, juke joints and street corners. He spoke of many of the Boogie and Blues legends, beginning with Earl Fatha Hines, Bob Seeley and slightly more contemporary artists like Fats Waller and Chuck Berry all of whom provided the chronological arc of the music these two played. Arthur’s “St. Louis Blues” took the tune from lowdown blues to thumping boogie. Bob played the harmonica and sang in a twangy voice on “Shake That Boogie” recalling the memory of Sonny Boy Williamson while Arthur tickled the ivories. The squeaks and squawks of the harmonica gave the tune a heft. Hersal Thomas’s “Suitcase Blues” came with a colorful story of the institution of rent parties while “Okemos Breakdown” celebrated Bob’s hometown (with photos of the young Bob projected onto the cutout screens of the backdrop). The first part ended with a rowdily improvised “Fourplay,” played four-hand on one piano leading to some hilarious choreography involving entwined arms and legs.
“Tennessee Waltz,” made famous by Patti Page, was given a refreshing interpretation by Bob, full of breathless hesitations and changes of tempo. Arthur’s “Bumble Boogie” was astounding, his hands a blur as the notes tumbled out in a torrent. Also brilliantly resuscitated was Benny Goodman’s “Sing Sing Sing” in a tribute to the Big Bands. The two guys caught the pounding of Gene Krupa and the whoop of Goodman’s clarinet. It was difficult to keep butts in seats!
Bob’s son happened to show him how an electric keyboard could sound like a human voice leading to “By Myself,” a bluesy, but lighthearted evocation of deeply felt emotions. Stirring up images of the trains that helped disseminate this music, “Honky Tonk Train”—backed up by appropriate show and tell on the screens—certainly caught the sounds of pistons churning and wheels pounding the tracks.
The finale, “Mojo” came with stories of the legendary Muddy Waters and the sad disappearance of the Boogie Woogie (except as it was absorbed into Rock & Roll). “Mojo,” which also included more energetic harmonica playing, was a fitting way to end the program with a bang.
-Joel Benjamin, Theater Scene, June 6th 2014
Bob, the older and more experienced of the two, was the congenial host and narrator of the evening, entertainingly revealing the lowdown origins of this music in bordellos, juke joints and street corners. He spoke of many of the Boogie and Blues legends, beginning with Earl Fatha Hines, Bob Seeley and slightly more contemporary artists like Fats Waller and Chuck Berry all of whom provided the chronological arc of the music these two played. Arthur’s “St. Louis Blues” took the tune from lowdown blues to thumping boogie. Bob played the harmonica and sang in a twangy voice on “Shake That Boogie” recalling the memory of Sonny Boy Williamson while Arthur tickled the ivories. The squeaks and squawks of the harmonica gave the tune a heft. Hersal Thomas’s “Suitcase Blues” came with a colorful story of the institution of rent parties while “Okemos Breakdown” celebrated Bob’s hometown (with photos of the young Bob projected onto the cutout screens of the backdrop). The first part ended with a rowdily improvised “Fourplay,” played four-hand on one piano leading to some hilarious choreography involving entwined arms and legs.
“Tennessee Waltz,” made famous by Patti Page, was given a refreshing interpretation by Bob, full of breathless hesitations and changes of tempo. Arthur’s “Bumble Boogie” was astounding, his hands a blur as the notes tumbled out in a torrent. Also brilliantly resuscitated was Benny Goodman’s “Sing Sing Sing” in a tribute to the Big Bands. The two guys caught the pounding of Gene Krupa and the whoop of Goodman’s clarinet. It was difficult to keep butts in seats!
Bob’s son happened to show him how an electric keyboard could sound like a human voice leading to “By Myself,” a bluesy, but lighthearted evocation of deeply felt emotions. Stirring up images of the trains that helped disseminate this music, “Honky Tonk Train”—backed up by appropriate show and tell on the screens—certainly caught the sounds of pistons churning and wheels pounding the tracks.
The finale, “Mojo” came with stories of the legendary Muddy Waters and the sad disappearance of the Boogie Woogie (except as it was absorbed into Rock & Roll). “Mojo,” which also included more energetic harmonica playing, was a fitting way to end the program with a bang.
-Joel Benjamin, Theater Scene, June 6th 2014
Gemma Lolos
When I first heard about Boogie Stomp!, playing at Long Island City’s Chain Theatre, the title grabbed me; it was unconventional and playful enough to motivate me to browse their website. The online description mentioned that the play told the “largely untold tale of boogie woogie and how it has shaped modern American music.” Uhhh….
As far as I was concerned, boogie woogie was nothing more than a few made up words. So I did enough research to know that the play consisted of mainly piano music, and I listened to a clip of the two stars jamming out. But I was careful not to look too closely into the show because I still wanted to leave an element of surprise.
I’ve always had a soft spot for Long Island City, but I was overwhelmed when my boyfriend and I got off the train at Court Square, coincidentally the same stop I had gotten off at for years to take voice lessons at the Long Island City Academy of Music. In my short absence, Long Island City had morphed into quite the chic area and many a yuppie had claimed it as their own. I was pleased, but not surprised, to find the Chain Theatre there as well.
The space was limited. Two beautiful pianos were in the center of the stage and nothing else. Because, ultimately, Boogie Stomp! wasn’t about production: it was about the music. And the gentlemen responsible for bringing this music to life? None other than Bob Baldori and Arthur Migliazza. These guys were clearly experts in their field and they oozed charisma. Together, they gave me a thorough education in all things boogie woogie. It was amazing to see first hand that many of the different genres of music that we are so familiar with have borrowed from or were influenced by boogie woogie.
I never would have imagined that I’d laugh so hard at an instrumental show (or even at all, for that matter), but between Bob Baldori and Arthur Migliazza‘s inappropriate jokes and hysterical anecdotes, it was difficult not to! At piano recitals I’ve attended in the past, rigid music snobs run rampant and you can’t so much as breathe too loudly or risk disturbing the performance. Boogie Stomp! had a more relaxed atmosphere where I knew that I didn’t need to suppress any urges to cheer or applaud in appreciation of the music. In fact, this sort of participation was encouraged.
It didn’t take long for me to grasp why the play was named what it was. I don’t think I can recall one moment in the show where the entire audience wasn’t stomping their feet to the beat, refusing to be passive because the music simply wouldn’t allow it. During the crowd favorite, “Back in the USA,” everyone started singing along with the chorus as if it was planned. And at one point, while Bob Baldori was treating us to an original song he wrote on the keyboard, Arthur Migliazza invited two women from the front row to dance with him! I was beyond tempted to leave my seat and take part in this mini dance party, and if I was seated any closer to the stage, I would have.
Prior to Boogie Stomp!, I was never a huge fan of instrumental blues and jazz music. As I singer, I had always gravitated to music where the main focus was the vocal line. But the moment those guys put their fingers to the keys, I knew that I could not continue through life without boogie woogie.
-Gemma Lolos, TDF Audience Experience, May 19th 2014
As far as I was concerned, boogie woogie was nothing more than a few made up words. So I did enough research to know that the play consisted of mainly piano music, and I listened to a clip of the two stars jamming out. But I was careful not to look too closely into the show because I still wanted to leave an element of surprise.
I’ve always had a soft spot for Long Island City, but I was overwhelmed when my boyfriend and I got off the train at Court Square, coincidentally the same stop I had gotten off at for years to take voice lessons at the Long Island City Academy of Music. In my short absence, Long Island City had morphed into quite the chic area and many a yuppie had claimed it as their own. I was pleased, but not surprised, to find the Chain Theatre there as well.
The space was limited. Two beautiful pianos were in the center of the stage and nothing else. Because, ultimately, Boogie Stomp! wasn’t about production: it was about the music. And the gentlemen responsible for bringing this music to life? None other than Bob Baldori and Arthur Migliazza. These guys were clearly experts in their field and they oozed charisma. Together, they gave me a thorough education in all things boogie woogie. It was amazing to see first hand that many of the different genres of music that we are so familiar with have borrowed from or were influenced by boogie woogie.
I never would have imagined that I’d laugh so hard at an instrumental show (or even at all, for that matter), but between Bob Baldori and Arthur Migliazza‘s inappropriate jokes and hysterical anecdotes, it was difficult not to! At piano recitals I’ve attended in the past, rigid music snobs run rampant and you can’t so much as breathe too loudly or risk disturbing the performance. Boogie Stomp! had a more relaxed atmosphere where I knew that I didn’t need to suppress any urges to cheer or applaud in appreciation of the music. In fact, this sort of participation was encouraged.
It didn’t take long for me to grasp why the play was named what it was. I don’t think I can recall one moment in the show where the entire audience wasn’t stomping their feet to the beat, refusing to be passive because the music simply wouldn’t allow it. During the crowd favorite, “Back in the USA,” everyone started singing along with the chorus as if it was planned. And at one point, while Bob Baldori was treating us to an original song he wrote on the keyboard, Arthur Migliazza invited two women from the front row to dance with him! I was beyond tempted to leave my seat and take part in this mini dance party, and if I was seated any closer to the stage, I would have.
Prior to Boogie Stomp!, I was never a huge fan of instrumental blues and jazz music. As I singer, I had always gravitated to music where the main focus was the vocal line. But the moment those guys put their fingers to the keys, I knew that I could not continue through life without boogie woogie.
-Gemma Lolos, TDF Audience Experience, May 19th 2014
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"Do not miss this gem of a production!" – Meg C, We Love L.I.C., Arts & CultureWe Love L.I.C.
Long Island City’s Chain Theatre’s latest production, Boogie Stomp!, recently opened and runs through the end of May. This production features two musicians—pianists Bob Baldori and Arthur Migliazza — with genuinely impressive resumes and the hot chops to match. You may also know Boogie Stomp!, as a critically acclaimed documentary that profiled the adventures and performances of Bob Baldori & Bob Seeley.
Baldori started out in his own band in Detroit in the 1960s and went on to perform with veritable legends such as Chuck Berry and Muddy Waters. Along the way he met the young phenom Arthur Migliazza, who started his professional career at the young age of 13, eventually performing the world over with music luminaries such as Buckwheat Zydeco and Robert Cray.
Their current production at the Chain Theatre is an intimate treat. On two baby grand pianos, Baldori and Migliazza perform an energetic conversation of boogie and blues classics (“Shake that Boogie,” “Tennessee Waltz”) as well as their own compositions (“By Myself), each answering the other’s musical prowess with flourishes and improvisations along the way. Interspersed between the songs are American roots music history lessons, including some shockingly funny personal anecdotes from the road. Against a backdrop of footage of performances by the artists they are honoring, Baldori accompanies Migliazza with the harmonica for some songs, singing along and even involving the audience in the music.
Music lovers, do not miss this gem of a production. Tickets to evening performances of Boogie Stomp! are available through www.boogiestomp.com for performances through May 31, 2014.
-Meg C, We Love L.I.C., May 17th 2014
Baldori started out in his own band in Detroit in the 1960s and went on to perform with veritable legends such as Chuck Berry and Muddy Waters. Along the way he met the young phenom Arthur Migliazza, who started his professional career at the young age of 13, eventually performing the world over with music luminaries such as Buckwheat Zydeco and Robert Cray.
Their current production at the Chain Theatre is an intimate treat. On two baby grand pianos, Baldori and Migliazza perform an energetic conversation of boogie and blues classics (“Shake that Boogie,” “Tennessee Waltz”) as well as their own compositions (“By Myself), each answering the other’s musical prowess with flourishes and improvisations along the way. Interspersed between the songs are American roots music history lessons, including some shockingly funny personal anecdotes from the road. Against a backdrop of footage of performances by the artists they are honoring, Baldori accompanies Migliazza with the harmonica for some songs, singing along and even involving the audience in the music.
Music lovers, do not miss this gem of a production. Tickets to evening performances of Boogie Stomp! are available through www.boogiestomp.com for performances through May 31, 2014.
-Meg C, We Love L.I.C., May 17th 2014
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"Sets the stage on fire!" – Paulanne Simmons, NY Theater PizzazzPaulanne Simmons
In Boogie Stomp!, pianists extraordinaire Bob Baldori and Arthur Migliazza define the blues as rhythms for dancing that were originally created by recently freed African-Americans. Not surprisingly, American piano music is all about rhythm, improvisation and syncopation over the blues
This music was based on an oral tradition and created by anonymous composers who passed down their ideas. It thrived in honky-tonks, bars and rent parties. And for two hours it is thrilling audiences at The Chain Theatre in Long Island City, where Baldori and Migliazza perform many of the classic songs made famous by legendary blues men and women.
Seated at separate baby grands Baldori and Migliazza play amazing duets of “Suitcase Blues,” “Okemos Breakdown” (a breakdown is a wild party) and the Chuck Berry classic, “Back in the USA.” Then for the last number of the first act, they sit at the same piano for “Fourplay,” an original and improvised work. Hands fly over each other at amazing speed, and at one point Migliazza actually sits behind Baldori as they continue on their roll, never missing a beat.
Migliazza does several astounding solos of “St. Louis Blues” and “Bumble Boogie;” and Baldori performs a bluesy version of “Tennessee Waltz” that might make Patti Page rise from her grave and applaud. Baldori also plays the harmonica on several numbers, including “Shake that Boogie” and Muddy Waters’ signature song, “Mojo.”
In “By Myself,” Baldori plays a synthesizer set on voice mode. As Baldori sings, it sounds as if he were backed by a doo-wop group.
While Baldori and Migliazza play, Guillermo Laporta’s projections show famous jazz musicians performing, grainy cityscapes of the great jazz era and images pertinent to the songs. It’s all very interesting – if you can take your eyes away from those flying fingers.
Boogie woogie disappeared as a force in music during the early 50s, but it survives in modern jazz and rock n’ roll. And it lives on in artists like Baldori, who has played with blues and rock legends from Bo Diddley to Chuck Berry during his 40 year-career, and Migliazza, a younger-generation musician who has learned from mentors such as Henry Butler, Ann Rabson and Mr. B. As long as these men can set the stage on fire, the music that is America’s greatest cultural contribution to the world will never die.
–Paulanne Simmons, Theater Pizzazz, New York Music Review, May 16th, 2014
This music was based on an oral tradition and created by anonymous composers who passed down their ideas. It thrived in honky-tonks, bars and rent parties. And for two hours it is thrilling audiences at The Chain Theatre in Long Island City, where Baldori and Migliazza perform many of the classic songs made famous by legendary blues men and women.
Seated at separate baby grands Baldori and Migliazza play amazing duets of “Suitcase Blues,” “Okemos Breakdown” (a breakdown is a wild party) and the Chuck Berry classic, “Back in the USA.” Then for the last number of the first act, they sit at the same piano for “Fourplay,” an original and improvised work. Hands fly over each other at amazing speed, and at one point Migliazza actually sits behind Baldori as they continue on their roll, never missing a beat.
Migliazza does several astounding solos of “St. Louis Blues” and “Bumble Boogie;” and Baldori performs a bluesy version of “Tennessee Waltz” that might make Patti Page rise from her grave and applaud. Baldori also plays the harmonica on several numbers, including “Shake that Boogie” and Muddy Waters’ signature song, “Mojo.”
In “By Myself,” Baldori plays a synthesizer set on voice mode. As Baldori sings, it sounds as if he were backed by a doo-wop group.
While Baldori and Migliazza play, Guillermo Laporta’s projections show famous jazz musicians performing, grainy cityscapes of the great jazz era and images pertinent to the songs. It’s all very interesting – if you can take your eyes away from those flying fingers.
Boogie woogie disappeared as a force in music during the early 50s, but it survives in modern jazz and rock n’ roll. And it lives on in artists like Baldori, who has played with blues and rock legends from Bo Diddley to Chuck Berry during his 40 year-career, and Migliazza, a younger-generation musician who has learned from mentors such as Henry Butler, Ann Rabson and Mr. B. As long as these men can set the stage on fire, the music that is America’s greatest cultural contribution to the world will never die.
–Paulanne Simmons, Theater Pizzazz, New York Music Review, May 16th, 2014
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"One of a kind! The audience was in tears!" – Anastasia Vinogradova, Independent ReviewAnastasia Vinogradova
On December the 7th, “Kings of Boogie-Woogie” played a one-of-a-kind jazz concert at the Tver Concert Hall. Three masters of fortepiano simultaneously performed many famous American melodies in the styles of boogie-woogie, jazz, blues, and rock and roll. Throughout the concert, Arthur was singing, Bob was playing the harmonica, all while Martin was telling jokes, thrilling the audience, which sang along, clapped, stomped, and danced along with the music. The American musicians were impressed by such warm support. Exclaimed Martin S. while Bob B. took out his phone, “You are the best audience in the whole world, that’s the truth! I want to take a picture with all of you.” Afterward, Bob B. promised to post the pictures on Facebook. The farewell was long, as both the audience and the performers were reluctant to leave. The end the magical evening, the musicians performed one last song, “Bye, Bye Baby”, which put the audience in tears. On their way out, the musicians promised that this would not be their last time in Tver.
-Anastasia Vinogradova, Independent Review, Tver, Russia, December 2013
-Anastasia Vinogradova, Independent Review, Tver, Russia, December 2013
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"They merit a standing ovation!" – Tom Helma, Lansing City PulseTom Helma
It's not a musical but it’s almost entirely musical — not even close to being an actual play, but clearly quite a dramatic performance. The B and S Railroad of boogie-woogie blues rocked and rolled its way into the station house of Stormfield Theatre, creating a spontaneous romp through the history of African-American music, from Muddy Waters to Chuck Berry, with a little Berry Gordy thrown in along the way. “Boogie Stomp!” is pure music and all heart, a perfect ending to the Stormfield Theatre season. Mixing historic commentary with solos and duets that demonstrate a flexibility of flying fingers, Bob Baldori and Bob Seeley demonstrate a rapid-fire virtuoso versatility, moving effortlessly from one form of boogie-woogie to another. The “St Louis Blues,” played by Seeley, progresses through various incarnations, then Baldori adds a cover of an early Chuck Berry tune.
As the music heats up, Baldori and Seeley compete wildly to see which of them can play the fastest. Audience foot-tapping becomes aggressive foot-stomping. Slower sad-sounding songs follow, evoking images and feelings of bars we’ve never been to, beers we’ve never drunk, blues we’ve never really felt. Eyes close, people begin to sway. Couples find themselves touching shoulders. It becomes an intimate evening. Women’s hearts melt as Baldori caresses his way through a sexy gospel blues rendition of “The Tennessee Waltz.” The duo turns comic, first with semi-lame jokes, then hamming it up, impressively with “Four-play,” in which both play the same piano simultaneously. Seeley shows off impressive complexities with a driving “Bumble Boogie” version of Rimsky-Korsakov’s “Flight of the Bumblebee.” The evening wraps us with — what else? — an audience sing-along. It is a coup that Stormfield was able to land this act. Some would say, paraphrasing the Holy Scriptures, that a musician is without honor in his own country. Not true in this instance. Baldori, and Seeley are a dynamic elder-duo that has toured Europe and played on stage with Elton John, Chuck Berry, Stevie Wonder and other legends. They merit a standing ovation.
–Tom Helma, Lansing City Pulse, April 2012
As the music heats up, Baldori and Seeley compete wildly to see which of them can play the fastest. Audience foot-tapping becomes aggressive foot-stomping. Slower sad-sounding songs follow, evoking images and feelings of bars we’ve never been to, beers we’ve never drunk, blues we’ve never really felt. Eyes close, people begin to sway. Couples find themselves touching shoulders. It becomes an intimate evening. Women’s hearts melt as Baldori caresses his way through a sexy gospel blues rendition of “The Tennessee Waltz.” The duo turns comic, first with semi-lame jokes, then hamming it up, impressively with “Four-play,” in which both play the same piano simultaneously. Seeley shows off impressive complexities with a driving “Bumble Boogie” version of Rimsky-Korsakov’s “Flight of the Bumblebee.” The evening wraps us with — what else? — an audience sing-along. It is a coup that Stormfield was able to land this act. Some would say, paraphrasing the Holy Scriptures, that a musician is without honor in his own country. Not true in this instance. Baldori, and Seeley are a dynamic elder-duo that has toured Europe and played on stage with Elton John, Chuck Berry, Stevie Wonder and other legends. They merit a standing ovation.
–Tom Helma, Lansing City Pulse, April 2012
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"Amazing what you'll do to watch someone hit a groove!" – John Freedman, The Moscow TimesJohn Freedman
I took in a cool concert at Moscow’s House of Composers last week — a show featuring the boogie woogie piano duet of Bob Baldori and Martin Schmitt. It got me thinking about all kinds of things, some even connected to what I usually do, which is write about Russian theater. There was the moment when Baldori played a lovely, laid-back version of “The Tennessee Waltz.” As he played, I was thinking, “This is a great interpretation of ‘Sittin’ on Top of the World.’” I would like to think my mistake was forgivable. As Baldori pointed out from the stage, “Tennessee Waltz” goes back to the blues and jazz and country traditions all at once. It’s one of those songs that have morphed into almost everything possible over the decades, including “Sittin’ on Top of the World.” Or is it the other way around? And then there was the moment when, with Schmitt playing some blistering piano, Baldori leaned meanly into his harmonica and began belting out “Help Me,” the old Sonny Boy Williamson barn burner. Bob Baldori on stage with Chuck Berry The first time I ever heard “Help Me” was when Van Morrison played it at a series of concerts I attended at the Troubador club and the Santa Monica Civic concert hall in the Los Angeles area in 1972. I was just a dumb teenager, sopping wet behind the ears, and I was thrilled to hear a new Van Morrison song I didn’t know. However, knowledge, if not wisdom, comes quickly enough if you’re open to it. And it wasn’t long before I learned that “Help Me” came out of the great Chicago blues and r&b stewpot.
Just as I came to know that other songs Van sang that night — “Ain’t Nothing You Can Do” and “I Believe to My Soul” among them — went back to the Bobby “Blue” Bland and Ray Charles songbooks, respectively. American music — even when interpreted by the Irish genius Van Morrison — sucked me in from my head to my toes. I am often asked how I, born and raised in the Mojave Desert, came to live in Russia and write about theater. Bob Baldori asked me that as we sat having post-concert drinks in the Forte Club just off of Pushkin Square. I told him what I always say: Theater in Russia is the equivalent of music in America. I grew up in the United States deeply distrustful of theater, but music — now that was something else.
I grew up loving all the various musical traditions that America threw at me every day and every hour, even if I had no idea where they were coming from. So, I’m sitting with Bob Baldori in a Moscow jazz club talking about my life in theater and his in music. You see, Bob Baldori has played piano with and for Chuck Berry since 1966. He played with Bo Diddley. He played with Muddy Waters. And Bob is telling me how you make music that is not just good but really good. It’s the beat. The backbeat. “You’ve got to hit that groove and hold it,” he said. Bo Diddley was especially good at teaching that, he said. And I’m thinking, “Yeah, Raikin and Dodin and Ginkas — they do that, too.” Amazing what you’ll do to watch someone hit a groove and hold it.
-John Freedman, The Moscow Times, March 2009
Just as I came to know that other songs Van sang that night — “Ain’t Nothing You Can Do” and “I Believe to My Soul” among them — went back to the Bobby “Blue” Bland and Ray Charles songbooks, respectively. American music — even when interpreted by the Irish genius Van Morrison — sucked me in from my head to my toes. I am often asked how I, born and raised in the Mojave Desert, came to live in Russia and write about theater. Bob Baldori asked me that as we sat having post-concert drinks in the Forte Club just off of Pushkin Square. I told him what I always say: Theater in Russia is the equivalent of music in America. I grew up in the United States deeply distrustful of theater, but music — now that was something else.
I grew up loving all the various musical traditions that America threw at me every day and every hour, even if I had no idea where they were coming from. So, I’m sitting with Bob Baldori in a Moscow jazz club talking about my life in theater and his in music. You see, Bob Baldori has played piano with and for Chuck Berry since 1966. He played with Bo Diddley. He played with Muddy Waters. And Bob is telling me how you make music that is not just good but really good. It’s the beat. The backbeat. “You’ve got to hit that groove and hold it,” he said. Bo Diddley was especially good at teaching that, he said. And I’m thinking, “Yeah, Raikin and Dodin and Ginkas — they do that, too.” Amazing what you’ll do to watch someone hit a groove and hold it.
-John Freedman, The Moscow Times, March 2009
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 Gem Theatre – Detroit, MI
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 Dennos Performing Arts Center – Traverse City, MI
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 Glenn Gould Theatre – Toronto, Canada
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 Williamston Theatre – Williamston, MI
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 Boarshead Theater – Lansing, MI
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 Stormfield Theatre, Lansing, MI
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 Chain Theater – Long Island City, NY
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