Ashley Cox
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Ashley Cox


Band Folk Singer/Songwriter


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"Karma Chameleon"

Syracuse New Times Net May 3 2006
Cover Story
Karma Chameleon
Perseverance and versatility have earmarked Ashley Cox's music career
By Julie Pinsonneault
As the car roars southward toward Manhattan, singer-songwriter Ashley Cox sings along to her own voice blaring through the speakers. Cox's new CD, Honey by the Pound, plays with a Natalie Merchant-meets-Portishead vibe most of the way between her Syracuse home and her gig at Fat Baby on the Lower East Side. "I never put my CD on until I'm on my way and I've gotten on {Interstate} 81," she says.

This familiar ritual carries her along the tree-lined highway, early-spring branches pointing at the sky like so many upraised fingers. As she relates tales from her early days in New York City, she occasionally looks out the passenger-side window to see the first green buds making a welcome return. It is spring and Cox's career is budding again.

"This is still practice for us," says Cox. "New York City is just like any city of its caliber that potentially holds people from all over the world with connections from all over the world."

She's taken this drive to the Big Apple innumerable times; however, her memories of New York more often involve stretch limos and jet planes. Nine years ago Cox was courted by Sony Music USA. Over a four-month period the company flew her down and introduced her to important industry contacts, including the lawyers who represent Sting. "They treated me like a rock star," she says. "I pretty much thought I was."

Cox never signed a deal with the label. Her producer, Russ Titelman (George Harrison, Eric Clapton, Paul Simon), wanted 50 percent of Cox's publishing rights and record deal guarantee. Cox's management at the time, Gamut Entertainment, discouraged her from doing what they saw as a desperate move on her part. They chose to wait it out for a better contract, but nothing surfaced.

"I couldn't even explain the ridiculous politics that go into a major-label record deal," she says. "I still have so much motivation to get my stuff out there and I know I don't need a major label."

After the hype from Sony died down, Cox returned home, created Lady Bug Records and started working with Simplified Entertainment of Skaneateles. In 2000 she released her first CD, As Above, So Below, and played various Northeast cities and college tours in support. (All previous recordings were distributed on cassette only.) After the attacks of Sept. 11, 2001, Cox retreated. "I was feeling very selfish about wanting to pursue my music career after the world as I knew it was going through a much more important deal," she says. "I didn't feel so good about doing what I was doing."

She substituted touring with writing and recording new songs in her Syracuse home. However, the comedown from major-label prospect to local celebrity eventually took its toll on Cox's confidence and she refused to distribute any new material. "I was very insecure to release them because they had these little mistakes and my voice was sometimes not the greatest," says Cox. "At the time I wasn't thinking these are going to be on an album. I was thinking, 'No one's going to get it.' I didn't want anyone to hear it because I was insecure."

A Taste of Honey
The release of Honey by the Pound this month on Cox's new independent label Receptive Records marks her return to the national scene. Cox credits engineer Elias Quinn, formerly of Subcat Studios in Cazenovia, with calming her self-doubt and polishing the inconsistencies in Honey's raw form. "He encouraged me not to compromise myself because of what people might think," says Cox.

Honey wraps Cox's emotions in category-defying structures. The 15-song LP delves into electronica, post-folk and adult alternative, among other styles. Cox layers multiple vocal lines and adds various sighs and breathy swells over self-accompanied guitar and keyboards. Cox attributes the freedom she expresses with the voice to Tori Amos' uninhibited vocal execution. Assorted tape loops contribute to the atmospheric quality of the record from start to finish.

Cox also incorporates rare tones by including electric viola da gamba player Victor Penniman. His instrument is a medieval invention transformed into a seven-string, amplified mood-setter renamed the Ruby da gamba after its contemporary creator, Ruby Instruments of the Netherlands. Only a handful of people have mastered either the traditional or electric version of the gamba.

Penniman attributes the low numbers of players to the relative novelty of the Ruby and the need to develop repertoire. He views his involvement with Cox as a way to publicize his instrument. "The very pleasant thing I've discovered after recording with Ashley is being called to play shows," says Penniman. "It's turning into a mutually beneficial relationship."

Cox varies her concerts from solo acoustic to what she calls her "electronica act" with fellow Central New York musician Jeremy Allen. - Syracuse New Times

"Move Over, Mister"

Every town contains dozens of people who play acoustic guitars and sing about relationships. They strum away at open mikes, confronting their inhibitions and expelling their innermost demons.

That or they deliver covers of Bob Dylan and the Grateful Dead that really should just be laid to rest. And most of us really don't give a damn at all about what they're saying. Ninety-nine times out of 100, a single person with a guitar is boring as hell.

Not so with Ashley Cox, who emotes a level of personality and class that many spend whole careers striving to achieve. After a three-year series of strong demo tapes, her first digitalized album, As Above, So Below (Ladybug Records), promises to expand her loyal legion of fans.

Cox's voice elevates her music above the mire of wanna-be folkies. It is a weapon of passion, a tool that exudes a desire laced with uncertainty, a grace fueled by compassion. It almost makes pointless whatever music she sings over; Cox could make DiFranco fans really love polka or Kate Bush worshipers dig punk rock. The pure emotion she releases on "In a Month," for example, could make even the most cynical listener yearn for more romantic days.

In addition, Cox projects a lyrical power that proves that a voice cannot be a respectable product in itself. A strong voice is a great asset, but if the voice is used to say absolutely nothing--i.e.: romantic cliches and generic tales of loss--the result is pointless and draining to the listener.

Cox's lyrics draw you into her world and emote a true sense of being open and in touch with her inner self. Cox is comfortable with her uneasiness and easily pulls off lines such as "Crinkled paper lined his floor there/ Even in the dark I still find my underwear" in "And We Waited."

One thing sorely missing from the album is more of Cox's skilled piano playing. Instead, she opts to lay out her songs written for acoustic guitar, only offering one song for piano, "Carolina." It's a pity she doesn't play more piano here, because she's goddamn good, as those who have witnessed her perform on the keys live can attest.

And the way the songs are presented seems somewhat forced. "As Above..." borders on overproduced and candy-coated. Lush as they are, her harmonies are almost too in-your-face on songs including the bongo-backed "East of Eden." On "Accidents Happen," a single cello may have been a better choice than the synthesized strings that make it sound like the soundtrack to a nature documentary.

All that aside, a strong crew of musicians helps this album sound more professional and focused than any of Cox's previous releases. Arty Lenin offers tasteful lead lines on "East of Eden" and "And We Waited." Ashley's father, Jimmy Cox, adds to the mix with perfect touches of keyboards and piano, while guitarist Nick Laverne of Sinker and Guardrail steps to the plate on "Bricks." Jim Simpson of the United Booty Foundation and Jay Fabbri of the Electric Chick Magnets add smooth, solid bass lines to several tracks. Saxophonist Paulie Cerra, guitar wizard Kris Heels and drummer Rodney Morrisey of Brace also grace the album.

As Above, So Below is the first launch from Cox's Ladybug Records label, and she plans to release works by other artists in the upcoming months, as well as material from her own vaults. The disc's design work alone should garner attention, as Elliott Mattice proves once again why he is among the top designers in the Syracuse area. Photos strewn throughout the CD's 12-panel inlay, all shot by Laura Brazak, speak for themselves. In a day when style sells more than substance, Cox has conquered both sides of the coin.

For more information, log onto; write to Ladybug Records, 8544 Caughdenoy Road, Clay 13041; or e-mail at
--Gregg Yeti

- Syracuse New Times

"Cox of the Walk"

Ashley Cox folks up Manhattan's Bitter End on recent live outing
By Nathan Turk


Greenwich Village's the Bitter End has seen everyone from Joan Baez to Stevie Wonder grace its stage in the past four decades. But local singer/songwriter Ashley Cox fell in love with it for another reason.

"The sound system there is the best," she enthuses. Even before she recorded the set that appears on her new disc, Live at the Bitter End, on July 20, "I knew I was going to leave with a live CD. It's a special place to me."

Captured at the height of her gig-hopping in Manhattan over the summer, the self-released disc culls from tunes both old and new, as well as from Stevie Nicks' catalog ("Stand Back"). Two tracks, "Siren" and the brooding "The Weather," make their first and probably only appearance in recorded form. "They're actually just fine as they are. I don't know, I like the way they sound when I play them live," she says. "I don't want to trap them on a CD."

The Big Apple crowd seemed to dig the set, as cheers and very real applause ("There was very little editing," she explains) seep in. "It was great, had a great turnout. There was probably more people at that show than I get at Syracuse," she says, recounting at least 50 heads. "And it's a small venue, so when you get 50 people there it's packed."

Switching up her folk-based guitar strumming with floaty piano trips, Cox is backed throughout by Syracuse comrade and collaborator Lisa Romano. A regular at Cox's live gigs, on stage or off, Romano's airy harmonies sound like they could be Cox's own overdubs. "It's almost like my voice is cloned and I can hear the harmonies. She's an extension of myself. Some people can't tell who's singing what."

Elsewhere, her licks get some percussive rubbing-up by another Salt City figure, Paul Falcone. Turns out they ran into each other on the subway at an opportune time. "He said, 'Wait, aren't you from Syracuse?' And I said, 'Yeah,' and he said, 'What you are doing?' and I said I needed a drummer," she remembers. "So my third day in I found a drummer."

Falcone's playing on the disc revolves around the cajon, commonly used in flamenco percussion. "It's shaped like a box, and depending on where he'd hit it, it would resonate different tones. It's very natural, it felt like the natural rhythms of the songs were coming out."

In fact, she says the performance is one of the best she's ever had. Her intention with the sinisterly melodic "Maybe," the Indigo Girls-esque "East of Eden" and the wispy "Stupid Newlyweds" wasn't to replicate how the songs sounded on her previous recordings, but the opposite. "Every disc I've ever put out has been me with a whole bunch of different stuff. I wanted to capture something you can't put on disc."

"Stupid Newlyweds," the fourth track, is one of Cox's most requested tunes live, but probably one of the most misunderstood. Penned in Vermont, it follows a spat between a couple she was chilling with. "I was just watching them and writing random things down, and as they were arguing it sounded like a song; the lyrics are the dialogue," she says, stressing that it's not about her. "It's about people in a relationship and how they think they're so in love and there's no trust, no basis for a healthy relationship."

The mid-paced "Happy Pill" is written from Cox's front-row seats with friends' battles with drugs. "Deliver me a high, it comes from knowing/ Bring me a peacefulness that is nothing," she sings, urging her friends to realize that the only true "high" is life itself. "Bring me a spark that comes from the dark, and I'll tell you how it feels." It was a tune she had to record to kind of "get over it. There are many people in my life, even right now, that are addicted, and it hurts to watch helplessly as they make all the wrong choices," she laments. "They don't understand that as they come down it gets 100 times worse, and they're farther {from happiness} than when they took the pill."

At times Cox's heavily affected voice comes across like Celine Dion's, but in a good way. But Tori Amos' fiery coo is a more direct line, and an influence she acknowledges. "{Amos} showed me that a woman could go out with one instrument and captivate a whole audience and bring them to their knees."

Guitar-wise, she mines a similar downstroke-heavy style as Ani DiFranco but both were playing that way "from the beginning." Instead, Cox names DiFranco as an inspiration toward starting her label Lady Bug, which she recently renamed Receptive Records. She also echoes DiFranco's activism, recently becoming the musical director of The Institute of Now Culture (ThINC), which promotes art locally. "I've always had a hard time promoting myself, {but} now being the music director I can put my energies toward things bigger than me; it gives me so much inspiration."

Her forthcoming studio disc ref - Syracuse New Times, Syracuse, NY

"House Music"

House Music
A new concert series builds on the themes of restoration and independence.
By Terri Lagerstedt
Westchester County Weekly
When Rick Rock purchased Hammond House, he never dreamed that it would become the home of a brewing musical community. He and his brother were simply interested in saving an historic landmark. "I wasn't looking to start something. I was just looking for a place to live," Rock recounted recently. "I guess we needed the house and the house needed us."

The main part of the house pre-dates the American Revolution. Local legend has it that Hammond House may have been a stop on the Underground Railroad. And now with the house in the process of being restored and refurbished, it is the site of a new concert series that also continues to build on the themes of restoration and independence.

The interior of the house is close to being fully restored and exudes a welcoming aura. The kitchen, which dates back to 1719, is a big room with a tremendous stone fireplace. The room hearkens back to bustling family mealtimes and by design still invites a gathering of family and newfound friends. It wasn't long before Rock was hosting impromptu get-togethers. Get-togethers turned into parties, and when your circle of friends includes a bunch of musicians, parties have a way of turning into hootenannies. The hootenannies started attracting more and more people, and soon they were preceded by potluck barbecues. The next logical progession, it seemed, was for these organically grown gatherings to continue to grow into a series of house concerts.

Over the kitchen fireplace hangs a sign that reads "Tribes Hill." Rock explains that sign is from the part of the Eerie Canal where Native Americans came together to work on the canal. "It goes with the principle of what we're trying to do here with the concerts," he explained. "Bringing all the people here to one meeting place."

The series' maiden voyage will take place on Mother's Day. The first show of the series is a showcase of independent singer/songwriters and is aptly titled "Mother Music." Syracuse artist Ashley Cox comes from a musical family. Her father is a noted jazz pianist in central New York and, serendipitously enough, her mother's maiden name is Music. Cox is, in effect, the mother and certainly the energy force behind the showcase. "When I started out [in Syracuse] I was just a girl with a guitar and no one else was doing what I was doing," she said.

Cox found that being different set her apart in a good way and her uniqueness made it easy for her to find gigs. "I got really good response," she added without an ounce of ego. Cox's straightforward and enthusiastic spirit took Syracuse by storm; she soon found fellow musicians to help along the way."It got to the point where the only way I got to see [another performer] was if we played together," she said. And out of her desire to open the way for other musicians, Cox created a networking community to aid emerging artists like herself. "I get e-mails from Australia now saying, 'I hear you help artists get gigs,' " she recounted.

With the Mother Music showcase at Hammond House, Cox is helping to breath life into the local music arena. The show, hosted by Cox, will feature a few surprise guests in addition to three contemporary singer/songwriters: former House of Red member AnnMarie Milazzo, Andrea Florian and Fairfield County native Cadence Carroll.

Carroll has been strumming and drumming her way around the folk circuit for the last several years and is beginning to get some of the recognition she deserves. When she's not flying solo through local coffeehouses and other folk-friendly venues, you're likely to find her thumping away on her djembe and singing back-up for the likes of Pete and Maura Kennedy or opening for Greg Greenway. Carroll's sweet, breathy soprano and penchant for harmony make her a delightful addition to whatever project she chooses. When she takes the stage alone, her demeanor is open and friendly. In true folk tradtion, she'll often enlist the aid of her listeners to jump in with a little audience participation. Her lyrics are intensely personal and her selections that are not strictly autobiographical still radiate the same degree of intimacy.

AnnMarie Milazzo recently parted ways with her band House of Red, and while the divergence of paths can be in many ways difficult, the upsets and the curve balls are often the things that make us stronger. Listening to Milazzo conjures aural hallucinations of a Patty Larkin-Kate Bush hybrid. On first listen, one is tempted to comment on her pop sensibilities, but interesting arrangements and a closer listen to her lyrics bring Milazzo back to a more down-to-earth plane. And while that voice of hers could kick some pop diva's ass, Milazzo's message takes a more spiritual and ethereal route without losing itself in the clouds.

Dropping in from her Canadian tour, Andrea Florian brings her own - Westchester County Weekly

"Stern Engagements"

"It was awful," singer-songwriter Ashley Cox admitted about one encounter during her recent trip to Las Vegas. Cox attended a taping of Howard Stern's morning-drive radio raunch, which hit the airwaves on cable's E! Entertainment Network. She ended up on stage with Stern and show regular Gary the Retard.

Cox was chosen, along with a couple of buxom beauties, to participate in a contest where the "winner" had to kiss Gary to earn $2,500. After acknowledging Gary as, well, a little scary, Cox said she was more than happy to lose the contest to avoid planting a wet one on him. Sadly, Cox forgot to plug her music and Web site ( during the broadcast, and the self-proclaimed "King of All Media" also failed to provide Cox with as much as a parting gift for playing along.
- Syracuse New Times, Syracuse, NY

"The Music Buzz"

...Singer-songwriter Ashley Cox helps raise funds for Vera House this Wednesday, Dec. 19, 9:30 p.m. at Armory High, 314 S. Franklin St. "My mother was gathering money and items from friends and family to donate to Vera House, and she inspired me to do this," Cox said of her efforts to help the shelter for battered women. "It feels good." Cox also enlisted the help of singers Lauren McMahon and Jessica Rudy, who round out the bill. Prerelease copies of Cox's forthcoming CD Ashley Cox Live (Ladybug), which she recorded at Armory High and New York City's Elbow Room, will be available. Admission is $5, with larger donations welcome. 472-2665.

- Syracuse New Times, Syracuse, New York

"Catch the WAVE"

Ladies rock the boat with the Women's Art Vibrates Everywhere showcase
By Erica S. Brath


In the past, female artists such as Camille Claudel or Lee Krasner have taken a back seat to their male counterparts, especially when it comes to gallery shows and exhibits. But that was then, and this is Central New York. And while most people think of New York City and the surrounding boroughs as the epicenter of creativity, Syracuse may actually have the creative advantage. Proving that art and estrogen do mix, the Women's Art Vibrates Everywhere (WAVE) creative extravaganza, the first annual juried contemporary arts showcase for females, washes into the Salt City on Thursday, Aug. 21.

Ashley Cox, who took up residency at the Big Apple for the summer, coordinated the music side of WAVE, presented by The Institution of a Now Culture (ThINC) local arts organization, and brings with her a new perspective on artists and the city. "There is so much in Manhattan, but the majority of it is lacking," the Central New York chanteuse explains. "It's more attention and hype because of the city it's in. But in a town like Syracuse, to get people out in this town, you have to be good. And usually, when you go out, the music and artists are top quality."

In fact, Cox didn't know anything about artists in Syracuse until she started spending her Monday nights at the open-mike scene at the Coffee Pavilion, 133 E. Water St. "I have only been close to the music community, and since that first open mike, I was introduced to so many artists and poets, it was great to meet everybody." The result, she says, is the coming together of "the best of the best of Syracuse's female performers." Expect to see local performers Peg Newell, Lisa Romano and Jessica Rudy at the opening reception, among others.

WAVE will take place on and off the walls of two downtown galleries: Company, One Lincoln Center, 110 W. Fayette St., and Great Artspectations, 321 Clinton St. Each space provides a different mood for the assortment of artwork that will occupy the space. The concept of holding the show in two separate venues was born before the WAVE showcase, according to Suzette Uhrig, owner of Great Artspectations.

"We're starting to gather all the galleries together and work on a multi-gallery brochure and advertising, just to get the word out," she explains. "They're promoting {the WAVE show} well and they really believe in what they're doing. It's a very good opportunity for the local artists and public to see what good art we have." Also in the works is an art trail, linking all the downtown galleries, which is scheduled to be set up in mid-October, while the aforementioned brochure that details all the area galleries should debut later that month.

Jennifer Acree, president of the board of directors for ThINC and chair of WAVE, is also impressed with the collaboration between the venues. "I went to the opening of {Uhrig's} first show at Great Artspectations, and saw what an incredible space she had," she says. "And because we had no clue how many submissions we were going to get, I wanted to make sure we had ample space to accommodate. As far as female art in general, there is a very real vibrancy and a real pocket of talent locally right here. But that talent goes unrecognized, in part because artists themselves struggle with how to make themselves a presence in their community."

Fifty-six Central New York artists submitted work for the fledgling show. Juried by Mary Giehl, a sculpture and fiber arts professor at Syracuse University, the final 52 pieces cover the range of mediums. "We really got a wide variety of what we'd consider to be contemporary art," says Acree, "anything from photos to digital work to sculpture to jewelry, although the majority were paintings."

Lizzie Hawley, a professional photographer and one of the WAVE artists, discovered the local arts community thanks to her involvement with ThINC: "For a long time, I didn't know that {an art scene} did exist. It's not underground, I just wasn't aware of it." Like most artists, Hawley works full time, earning a living at her parents' photography studio, but the Syracuse native has no plans to leave the area. "I love it here," she says. "It needs a little work culturally, but that's why I enjoy ThINC so much. They're trying so hard to bring out a new vibe in Syracuse. It's hard to work on because it's driven by a lot of the younger people. And it's hard to take younger people seriously, especially if they don't have money."

WAVE itself was a struggle when it inevitably came down to money, but a combination of planning and determination made it possible. "In the last year and a half I have been building relationships with potential donors," says Acree. "The committee drafted a sponsor letter with donor categories that went out to all area frame shops, galleries, architects - Syracuse New Times, Syracuse, NY


1995: "Sticks and Stones"
Recorded @ Penguin Studio's- Syracuse, NY
Produced by : Steve Feldman (released on cassette)

1997: "Ashley Cox" (self-titled)
Recorded @ Unique Studio's- New York,NY
Produced by : The Fun Lovin Criminals (released on cassette)

1998: "Tilted"
Recorded @ Braylower Studio's- Hartford, Connecticut
Produced by: Russ Titleman (released on cassette)

1998: "4 corners" Recorded @ Hobins Studio- Syracuse, NY
Produced by: Todd Hobin (released on cassette)

2000: "As Above, So Below"
Recorded @ The Oak Palace-Syracuse, NY
Produced by : Steve Schadd & Ashley Cox (released on CD and cassette)

2000: "Acoustic Ashley"
Recorded @ Happy Endings-Syracuse, NY
Produced by : Steve Schadd & Ashley Cox (to be released on CD and cassette)

"Abandoned Thoughts"-2002

"Live At The Bitter End NYC"-2004

"Honey by The Pound"- March 2006



Ashley Cox is a diminutive powder keg that explodes with positive energy. A multi-dimensional performer, singer, songwriter, and ultra talented musician who’s been composing innovative and wide-ranging material for the past 12 years, Ashley certifies her prominence with the release of her much anticipated sophomore album, Honey By The Pound (HBP).
Since 2000, Ashley has been touring coffee shops, clubs and festivals all over the eastern and mid-western United States in support of her much acclaimed debut album, As Above, So Below, and has most recently captivated the London underground. In addition to keeping a stable presence in the live music scene, she has been steadily at work writing, composing and producing Honey By The Pound, a bold spirited musical expression that is simultaneously an expansive and complete demonstration of Ashley’s quality.
Articulating her musical spirit through mindful verse, acoustic & electric guitar, piano, ethereal vocal symphonies and various electronica, Ashley has woven a tapestry of rhythm and emotion that takes the listener on a beautiful journey into the evocative world that intercedes Ashley’s real life experience and creative genius. HPB is an hour of phenomenal musicianship that travels to places vast and near, never stagnant or formulaic. As the name suggests, Honey By The Pound is simply abundant and delicious.
Ashley Cox has an intrinsic gift of verve, which delivers passionate music that flows at once like a raindrop and tidal wave, always immersing her listeners in absolute honesty and intensity. Her unique sound has led her to perform with the likes of MeShell Ndegeocello and The Fun Lovin Criminals, while sharing production time with Russ Titleman, who produced Eric Clapton's Grammy award winning Unplugged CD. She has also graced the stage with such budding talent as Dana Kurtz, Seth Horan, Peter Mulvey, Tru Mystic, Jane Siberry and Ember Swift.
Never one to gather dust, Ashley actively supports the Syracuse, NY music scene by developing new opportunities for emerging musicians and artists as an independent event producer, promotions diva and former musical Director for ThINC, a regional not for profit arts organization. She is also mentoring her beautiful daughter Chloe in the finer points of creative self-expression.
The writing was on the wall back in 1997 when she won the Syracuse Area Music Award (SAMMY) for Best New Artist. Nearly a decade of hard work later, her endearing spirit, sound and smile have given her access into people's hearts and souls; Honey By The Pound aims at taking her to the top. For booking and more information about Ashley:

Email: Rosa Strickland-
booking phone-315-406-2016

Venue Performances In New York City (interalia):
The Bitter End, NYC
CBGB's Galleria, NYC
Arlene's Grocery, NYC
The Baggot Inn, NYC
Shine, NYC
Blaggards Pub, NYC
Sidewalk Cafe, NYC
Life, NYC

Regional Venues outside New York State (interalia):
Bessie's,Wilmington, NC
Jukebox, Wilmington, NC
Borders,Wilmington, NC
The Exchange,Wilmington, NC
Whisper's, Charlotte, NC
Drew University, Madison, NJ
Props, Charlotte, NC
The Barking Spider, Cleveland OH
Kendall Cafe, Boston, MA
All Asia , Boson, MA
Regional Venues Inside New York State (interalia):
Electric Company, Utica NY
Cafe Lena, Saratoga Springs, NY
The Spectrum, Rochester, NY
Water Street, Rochester, NY
Java Junction, Brockport, NY
Mother Earth Cafe, Albany, NY
ABC Cafe, Ithaca, NY
Neitzches, Buffalo, NY
Rust Belt Books, Buffalo, NY
Old City Hall, Oswego, NY
Capt. Tripps, Utica, NY
Ozone Coffee House, Sidney, NY
The Oak, Ithaca, NY
King Arthur's Steak House & Pub, Oswego NY
Yesteryears Coffee House & Café, Auburn NY
Paper Mill Island, Baldwinsville NY

Local Venues (interalia):
Landmark Theatre,Syracuse, NY
The Stoop, Syracuse NY
Club 950, Syracuse NY
Company Gallery, Syracuse NY
Mezzanotte Cafe, Syracuse NY
Empire Brewing Company, Syracuse NY
Club Matrix, Syracuse NY
Daniel Jacks, Syracuse NY
Styleens, Syracuse, NY
Planet 505, Syracuse, NY
Happy Endings, Syracuse, NY
On Center, Syracuse, NY
Coffee Pavilion, Syracuse NY
Downtown Manhattans, Syracuse NY

Colleges (interalia):
Penn State-Pennsylvania
Shreveport University-Louisianna
Miami University- Oxford Ohio
Hamilton College-NY
Ogden University-Utah
Syracuse University-NY
Drew University-Madison, NJ
Gannon University-erie, Pa
Norwich University-Northfield, VT
Akron University-Akron, OH

Over Seas's performances-

Mau Mau Bar-LONDON, UK

Television Appearances (interalia):
Rythems Cable Access ch98, Syracuse, NY

Shared the stage with (interalia):
Richie Havens
The Wailers
John Popper
Jen Wertz of Rusted Root
Tom Stahl
Jen Wertz
Merl Saunders
Me'Shell Ndegeocello
Fun Lovin Criminals
Peter Mulvey
Melanie (Original Woodstock Performer)
Joules Graves

Events (inter