By Julion St Hill


The music and image of the legendary jazz icon Thelonious Monk will be jettisoned into the technological future through a collaboration with creative pioneer and visual artist Rah Crawford. Mr. Monk’s music will serve as the inspiration for Crawford’s trademarked portrait style that fuses words, shapes and line-form within figures. The collaboration between a legendary jazz musician and a contemporary visual artist will produce a completely new type of future forward art offering called an Audio Reactive NFT, which is an emerging form of crypto art available exclusively on the blockchain. 

‘Audio reactive’ is the combined elements of sound and sight imagery paired together to deliver a harmonious experience to the viewer. An NFT, or non-fungible token, is a special type of cryptographic token which represents something unique on the blockchain. Non-fungible tokens are used to create verifiable digital scarcity, as well as digital ownership.

Thelonious Monk is one of the greatest jazz musicians of all time and the father of modern jazz and bebop. Many of his compositions have become jazz standards, including "Well, You Needn't," "Blue Monk" and "Round Midnight."

ABC news stated that Rah Crawford “has arrived on the scene and is changing the face of contemporary art”. The New York Times has described his work as "Buoyant" "Exuberant" and "Optimistic".

This momentous collaboration was envisioned by art/tech consultants Universe Contemporary, alongside the Estate of Thelonious Monk, World Owned—Arts and Entertainment and Legacy Media. The team plans to make history by reigniting the cultural legacy of the iconic Thelonious Monk on the blockchain and documenting the creative journey as an art documentary.

The artwork will be auctioned exclusively on the SuperRare platform. SuperRare is a blockchain based marketplace to collect and trade unique, single-edition digital artworks.

Thelonious Monk x Rah Crawford

A Jazz Music Icon and Blockchain Art Collaboration




Weds. Feb 24th (9am PST / 12pm EST)
Clubhouse chat  

An open conversation with The Thelonious Monk Estate, Rah Crawford, Lady Phe (Universe Contemporary) and special guests.

Thurs. Feb 25th - Art auction on Superrare


Thelonious Monk Estate website

Artist Rah Crawford website






Guests can preview the artwork and VR exhibition here.

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Thelonious Monk Palo Alto HS Album Review

By Sierre Monk

Thelonious Monk Palo Alto HS Album Review


In today's tumultuous world, it's a welcome comfort that a treasure such as "Monk – Palo Alto" has been released on the Impulse label to all of us grateful, delighted fans! I won't discuss the background of this October 1968 concert in great length since it's well covered, but will only say that we're so fortunate that against the backdrop of terrible racial tensions, young Danny Scher persisted, arranging for Thelonious Monk and his group to perform at his high school. Added to this feat, the school janitor recorded the concert (decent sound and in stereo) so that over fifty years later we can experience even more of Monk's special brand of magic in one of the best live recordings I've heard!

The concert begins with "Ruby My Dear" which is played a bit more up-tempo than usual. There are some beautiful flourishes from the band behind tenor saxophonist Charlie Rouse as he solos, and Monk and bassist Larry Gales are perfectly synched up. Monk then takes a page from Rouse with his opening solo notes and its then classic Monk on one of my favorite and most endearing of his compositions. Next the band launches into "Well You Needn't" and if a better live version of this tune exists I have yet to hear it, the energy is unmatched! Perhaps the band, realizing they're at the end of their run together, felt inspired to reach greater heights in these waning moments. As usual, Rouse and Monk play as of one mind - Rouse seems to 'get' Monk better than any other saxophone player, even as much as I enjoy John Coltrane's and Sonny Rollins's collaborations with the pianist. The saxophonist possesses the most angular solo lines which create perfect geometrical shapes to bounce off anything Thelonious Sphere Monk conjures up. I've read that Monk wasn't a big fan of arco bass solos (bowed bass technique) and it's taken me some time to come around to them too, but Larry Gales' arco bass solo on "Well You Needn't" helped make me a believer. Ben Riley follows up Gales with an inspired drum solo complete with some dazzling snare work before the band returns to the melody. "Don’t Blame Me" is a treat with Monk playing solo, stride style on the left hand and with his signature cascades and runs of notes like rain, a 'pitter patter' for the ear drums! His only ‘accompanist’ is in fact a squeaky piano bench but it's all part of the charm of this live recording. "Blue Monk" is another personal favorite as it's one of the first jazz standards I ever learned and was, I was quite pleased to discover, also one of Monk's favorites. The band swings hard throughout and really stretches out over 14 mesmerizing minutes. "Epistrophy" delivers incredible solos by Rouse and Monk but behind them the whole time, building to a frenzy at the end, is Ben Riley’s blazing drums, wow! The magical night concludes with Monk again playing solo on “I Love You Sweetheart Of All My Dreams” and in his signature way he closes out the piece and the evening with a few, stark discordant notes as the high school crowd erupts into applause. It’s the perfect ending to a night of music that we’re so delighted exists for us on this fantastic recording - seek this one out right away, I promise that the album even exceeds sky-high expectations!  


 - Bob Heinrichs 


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Nobody But Monk

By Sierre Monk

Nobody But Monk



By Mize Negrao 

I slip away from my lover’s bed and run down the stone staircase, clinging to the 16th century guard rail, the haunting opening notes of Monk’s “Round Midnight” pursuing me like restless ghosts down the stairwell.


In my mind’s eye I see Thelonious' fingers running nimbly over the ivory and ebony keys, his typical, percussive phrasing, his harmonies and technique, so unique and inimitable, his beard flowing from his lower face, over his collar and suit front, as a plume of cigarette smoke pours slowly from his mouth, and rises to form a halo around his head, covered by a Dahomey skull cap. 


“Nobody plays Monk like Monk”, I think, fleeing the welling up of emotions within my tortured heart, lost in every single solitary note of this composition,  but the mellifluous melancholy of Petrucciani’s rendition of this tune, finds and possesses me so, that I have to lean against the dark yellow wall on the exterior of the building, to steady myself.  I close my eyes and sigh, wiggling my toes and feet into the stilettos, the worst kind of shoes for Milano’s old cobbled streets and sidewalks.  I attempt to walk away, pacing slowly, deliberately with every note of the song. as, its sweetness cascades from the open bedroom window above, pouring down onto the cobbled street below, swirling like sea water around my ankles, and I am riveted to the spot.  


Monk!  I’m caught in Monk’s Dream. 


I am captivated by Monk’s Mood.


Words attempt but fail to describe what one hears when attaining knowing, when reaching the understanding of the silence between notes, when the beauty aroused within the heart surmounts one's ability to describe what is perceived and what one hears beyond the ears.  Creation cannot be bound by ink or words.

I finally reach my vehicle. My soul emptied itself of me, of my every foible and folly.  I heave a deep sigh, close the door gently and pop on Straight No Chaser. 


Nobody plays Monk like Monk!


Mja (pronounced Maya) aka Mizé Negrão Principe is a "once upon a time" journalist, Human and Animal Rights Activist, Blues Singer and Corporate Internal Sales Manager in South Africa. Follow Mizé on Instagram @mjaprincipe

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Always more Monk!

By Sierre Monk

Always more Monk!


By DJ Pari


In a recent group chat among jazz vinyl collectors on Instagram (yes, that's where a lot of us hang out), we were discussing the release of Thelonious Monk's previously unheard Palo Alto album when someone casually asked, "do we really need more Monk?" 

What followed was a moment of awkward silence. Too outrageous was this question for anyone to even consider dignifying it with a response. Obviously only a heretic — I'm going to spare them the humiliation and won't name them here — would dare to speak such unspeakable words. Even if we treated this question as purely rhetorical, it allows for just one foregone conclusion: Yes, absolutely, we will always need more Monk. And Palo Alto, the latest nugget in the pianist's extensive discography (released by Impulse Records a few weeks ago), isn't just another collection of long-lost throwaway material that miraculously reemerged from someone's attic. With this recording, the Monk estate struck gold. 

It's not just that the tape of this 47-minute show from Oct. 27, 1968, had been sitting on a shelf for decades. Much has already been written about the bizarre circumstances of how this event came about: 16-year-old white Jewish schoolboy and jazz fan Danny Scheer is audacious enough to call Monk's agent and book the jazz legend to perform at his Bay Area high school. He ventures deep into the then-segregated black neighborhoods of East Palo Alto to hand out flyers and hang posters promoting his event. Defying all skeptics and naysayers, Scheer really pulls it off, Monk and his group arrive in the afternoon in an old station wagon with Sheer's older brother behind the wheel. The rest is history.

Most surprisingly, even the playing-the-same-old-tunes-at-a-high-school-auditorium-towards-the-end-of-his-recording-career era Monk is brimming with passion. The group, also comprising tenor saxophonist Charlie Rouse, bassist Larry Gales and drummer Ben Riley, really cooks, adding new life to Monk classics like "Ruby my Dear," "Well, you needn't" and "Blue Monk." Monk only wrote 87 original compositions in his lifetime, he is not judged for the depth of his catalog, but for the treatment of his material, which he changed consistently with each recording, and Palo Alto is no exception. 

This most unusual performance may have remained but a footnote in the pianist's complex biography, had it not been for the school's janitor, who captured it on his mono reel-to-reel machine. After the tape, which Scheer safeguarded for 52 years, went through a sonic jiggle-bath, a remarkably clean recording emerged that eventually was pressed into vinyl for the first time. And before you ask, yes, it was done right. 

It is my guess that the suits at Impulse Records considered complaints from Coltrane fans about the dull presentation of the saxophonist's previously lost Blue World album last year, because they gave Palo Alto a treatment worthy of Monk's standing as one of the most important composers and performers in jazz. The vinyl release comes in a gorgeous gatefold cover and includes a booklet with liner notes by Monk biographer Robin D.G. Kelley, plus, as a bonus, authentic reproductions of the concert's program and poster, making this set not just a must-have for any Monk fan, but a little treasure in every jazz collection. 

And in Monk's own words, you've got to dig it to dig it, you dig?    


Follow DJ Pari on Instagram - @djpari_

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Celebrating Monk in Unforeseen Times

By Sierre Monk

Celebrating Monk in Unforeseen Times


Fifty-two years ago, modern music giant Thelonious Monk performed a healing live concert in a high school auditorium. Its recent unearthing comes right on time.


Thelonious Monk, the iconic father of modern jazz, was known among those close to him as deeply philosophical; he likely coined as many sagacious terms as he wrote groundbreaking music compositions. Even time-tested postulations had a different impact and meaning when coming from Monk, who could sometimes be a man of few words, and captivated anyone within earshot when he did speak. So when Monk would say, “Timing is everything,” there was always a meaning beyond the immediately discernable.


While “timing” is certainly applied to the art of improvisation, Monk was a perspicacious observer of life and people. His example is rooted in his idea that daily life was full of lessons and revelations if you attune yourself to seeing it that way. When he says, “Timing is everything,” it’s so much more than a notion. This indication of fate couldn’t be truer when considering the recently unearthed and now, for the first time ever, globally released Palo Alto, a live recording of a concert performed 52 years ago, this month.


Released last month on the Impulse! label, Palo Alto documents a concert in Palo Alto, California, organized by a 15-year-old jazz enthusiast at a time when, to quote the great Ray Charles, “The world is in an uproar . . . the danger zone is everywhere.” It had been six months and 23 days since Dr. Martin Luther King, Jr. was assassinated, and as James Baldwin put it, “The atmosphere was black with a tension indescribable — as though something, perhaps the heavens, perhaps the earth, might crack.” Time stood still as the world’s symbol of the potential of America at her moral best was snatched from those who held on to the hope that the “land of the free” could actually come to be.


Only two days after Dr. King was struck down on a hotel balcony in Memphis, 17-year-old Black Panther Party member Bobby Hutton met the same violent fate in Oakland, California, at the hands of the Oakland Police Department. Forty-one years before the New Year’s Day murder of Oscar Grant III, a devoted father and retail worker, murdered by BART police while unarmed and restrained, would rock Oakland once again, Hutton’s short life marked the turn of significant historical events for the civil rights-era freedom struggle in the United States. Actor and activist Marlon Brando, who eulogized Hutton, forewarned his countrymen that America was a “ticking time bomb.” Indeed it was, and still is.


Forty minutes south of Oakland, Danny Scher, a white boy not much younger than Bobby Hutton, was organizing a concert event at Palo Alto High School, where he’d just entered his junior year, in the very segregated city of Palo Alto. A devotee of jazz, who had already impressively booked artists like Cal Tjader, Vince Guaraldi, and Jon Hendricks, Scher was determined to add his musical idol, Thelonious Monk, to his booking roster.


Monk was already in San Francisco for what would be an extended stay, including a three-week residency at The Jazz Workshop. The North Beach nightclub was known as a prime venue for recording live albums of jazz musicians, including Cannonball Adderley (1962), Barry Harris (1960), Ahmad Jamal (1964), Max Roach (1963), and Monk himself (1964). Unbeknownst to Scher at the time, he would soon be making recording history of his own (with the help of and thanks to a quick-thinking, black custodial worker at the high school whose brilliant idea to record the concert — and get the piano tuned in exchange for permission to do so — resulted in an essential missing piece of history now planted in its rightful space.)

In a promo for the Palo Alto release, Scher — who would go on to be a successful West Coast concert promoter and real estate agent — recounts getting in touch with Monk’s management and receiving a thumbs-up for the booking. As he promoted the event, he came up against every booking agent’s worst nightmare: slow and low ticket sales. Scher migrated his marketing efforts to East Palo Alto, which was economically disadvantaged, predominately black, and full of cultural pride. As suspicion of the validity of his event grew from the very community he desperately needed ticket sales from, he decided to make a call to ensure the deal was sealed, this time speaking to Monk himself.


Already booked in San Francisco for the night in question and having no transportation to commute to Palo Alto, and unaware of the entire situation, Monk expressed doubt about the event coming to fruition. Scher, determined as ever, offered solutions to both dilemmas (his school concert was at 2pm, and his older brother had a license to drive the family van), and Monk graciously obliged, moved by the young teen’s ambition and passion.


With Scher’s brother at the wheel, Monk and band members saxophonist Charlie Rouse, drummer Ben Riley, and bassist Larry Gales squeezed themselves into the van. As they pulled into the school’s parking lot on October 27, 1968, the neck of Gales’s bass sticking out of the van window, ticket sales subsequently rolled in. What the filled-to-capacity audience heard was an iteration of Monk’s touring quartet at the height of their powers on a Sunday afternoon in California’s Bay Area, a region throbbing with tension, grief, anger, and pain. A region whose stark decades-long division of East and West was a reminder of American society’s constructed and inculcated caste system.


And now, 52 years later, we find ourselves at another American impasse, where a culmination of violence has reenergized the country to take to the streets, as we battle two pandemics: both violent, both deadly, and both viral, with a target on the backs of Black people across the land. Thelonious Monk performing in Palo Alto with a country under familiar duress was a salve to the raw wounds that racial violence left in its wake.


The last five months have forced America to yet again grapple with herself. The murders of George Floyd and Breonna Taylor have become global symbols of America’s failures and illuminated the center of her centuries-old plague of racism, colonialism, and white supremacy. In consequence, numerous artists have answered the call of the times. The Colbert Show musical director, Jon Batiste, has led numerous marches in New York City in protest of police brutality and to galvanize potential voters in our upcoming presidential election. Producer, emcee, and DJ D-Nice, whose Instagram-grown Club Quarantine has created an online musical movement lauded by the likes of Michelle Obama, bridges generations and culture at a time when the world needs a safe space to exhale and carry on. Palo Alto surfacing amidst America’s next wave of the civil and human rights movement is a divine reminder that this fight stands on the shoulders of many, including the artists whose contributions have kept us sustained through the necessary expression of righteous anger and relentless resistance.


Monk and his quartet played some of Monk’s most popular and memorable repertoire, like “Well, You Needn’t” and “Ruby, My Dear,” for a mixed audience. The set list also included “I Love You Sweetheart of All My Dreams,” which he played as an encore of sorts as the desirous crowd was even more fired up after his signature benediction, “Epistrophy.” I would imagine seasoned listeners and fans being soothed by the familiar contents of Monk’s set, yet there is a fervency heard throughout that is particularly momentous, especially given that Monk had recently been seriously ill a few months before and was slowly but nonetheless steadily recovering at the time.


There’s so much heart heard here, and one can only imagine how much of Monk’s clear virtuosic fortitude was prompted by the moment. The result was an audience deeply fortified during a time of most certain uncertainty. Monk’s music an alleviator, a point of solace and maybe even hope. Just like it is right now for all of us who navigate crippling and unforeseen times.


“Timing is everything” and may the timing of this offering refuel us with the reminder that our ancestors — who were curators of calm within the storm then — are always with us, in the here and now.



Track listing:

Ruby My Dear

Well, You Needn’t

Don’t Blame Me

Blue Monk


I Love You Sweetheart of All My Dreams


By Angélika Beener. 


Angélika Beener is an award-winning freelance journalist. A South Bronx native and Brooklyn resident, she has written for various outlets and organizations including NPR, TIDAL, Huffington Post, Jazz at Lincoln Center and DownBeat. Beener is also a DJ and was a consulting producer for the acclaimed 2019 documentary Digging for Weldon Irvine. Follow Angélika on Instagram - @jellyjellybobelly @kulturedchild. 

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Palo Alto Release

By Julion St Hill

Palo Alto Release

In the fall of '68, a 16-yr old Jewish kid named Danny Scher had a dream to bring jazz icon Thelonious Monk and his quartet to play a benefit concert at his high school in Palo Alto, California. With the assassinations of both Martin Luther King and Robert F Kennedy Jr. in April and June of that year, 1968 was a time of great political and racial strife – echoing many of the same issues we are experiencing today. 

With racial strife both nationally and locally as the backdrop, Danny Scher succeeded in bringing one of the biggest Black acts in America to his predominantly white town - and temporarily united a divided city.

We're excited to announce that the previously-unissued Thelonious Monk performance from October 27, 1968 - at Palo Alto High School is officially available. It's a thrilling performance by Monk's classic quartet with Charlie Rouse, Larry Gales and Ben Riley, and has a fascinating backstory amidst the civil rights tensions of the late '60s.

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Making of Thelonious Monk Greatest Hits Playlist

By Julion St Hill

Making of Thelonious Monk Greatest Hits Playlist


by T. S. Monk 

When it comes to explaining my ‘Thelonious Monk Greatest Hits’ playlist, my job is inescapably threefold. I wear 3 hats. 

Number one, I am his son. Number two, I had the extraordinary privilege of performing with him. And number three, I am a fan - like millions of others. 

As his son, I tend to love everything he composed because I grew up listening to all the music, starting in my mom’s tummy. 

Instantly, I became familiar with the music, along with my sister, “Boo Boo” Barbara Monk. The entire Monk family, both nuclear and extended, became  indoctrinated with the music. As a drummer and fellow musician, performing with Monk and so many others, playing Monk’s music was and still is an absolute joy. Why? Because every tune is swinging. And all the tunes are intellectually challenging. They are instructive, both melodically and harmonically, and they are enlightening from a spiritual standpoint. 

Now from a fan’s perspective, so many of Thelonious Monk’s tunes have become what is called “standard repertoire”. Every composition is a masterpiece, and picking the one you like the most actually rotates and changes from day to day, and sometimes favorites shift moment to moment. I think this is a true conundrum for all of Monk’s fans.

Thelonious Monk is now the second most recorded composer in the history of jazz and his composition, “Round Midnight”, is the most recorded song in jazz history. He is second only to Duke Ellington, one of his mentors. The reason? Genius. Pure genius. “Monk’s Dream” is my personal favorite here. Especially his classic quartet recording on “It’s Monk’s Time” with Charlie Rouse, Frankie Dunlop, and Larry Gales. 

Thelonious Monk’s piano playing is still the most unique in all of jazz. Impossible to copy. Uncompromising, and incomparable. Thelonious Monk may be the most unique instrumentalist in the history of “western music” period. So give a listen, and enjoy The Greatest. 

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Jazz and the Love of Monk

By Sierre Monk

Jazz and the Love of Monk


Thelonious Monk was my first jazz love. In the past decade or so, I have found great joy in listening to a wide variety of jazz music, and I love the time I get to spend researching and exploring the records and the artists who recorded them, but it is all still thanks to the High Priest – Thelonious Monk.

As a high school student, I developed an interest in jazz with a few friends. Our ultimate goal was to have our own original punk rock band. All we knew of jazz was that it was complicated, so the idea was that if we could play jazz, we could play really cool punk music. But we ended up falling in love with jazz. Monk was the catalyst. We listened to Miles Davis’ “Four and More”. We took in early Dizzy Gillespie. A friend’s dad had a bunch of 70’s fusion records that we played repeatedly. But when we first heard Monk, we were hooked. It happened by accident, and it wasn’t even Monk playing…

In our junior year of high school, some of my friends and I decided to get together and try to jam like our heroes on the classic records of the fifties and sixties, and eventually found enough people to make a quintet of bari sax, trumpet, guitar (me), bass, and drums. We weren’t very well-versed in jazz tradition, so in deciding what to play, we all simply suggested tunes we had heard elsewhere, and sometimes we would randomly flip through a Real Book and try things that looked interesting. One of those chosen out of visual interest from the unique score was Thelonious Monk’s classic minor blues – “Blue Monk”. I was fascinated by the simple chromatic patterns. And when the melody broke away, it almost seemed like it was deliberately avoiding traditional chord tones. Yet, it was so infectiously hummable! It was constantly stuck in my head. How had this effect been achieved? How could this tune be ignoring everything I thought I knew about what made music ‘catchy’, and still be among the catchiest tunes I’d ever heard? What music theory had gone into this? Nothing I had learned in music theory books or classes up to that point could explain Monk’s music.

Over the years, I continued absorbing more and more jazz - free jazz, especially, and the music of the spiritual jazz and black power movements in the 1970’s (I know there are many opinions about the use of those terms. I use them as colloquial descriptors, and nothing more or less). I got heavy into the early music of Ornette Coleman, the late pseudo-religious work of John Coltrane, the high-art whimsy of Eric Dolphy, and the steam-bath aggressiveness of Albert Ayler. Pharoah Sanders’ long meditative tracks started to be a constant on my speakers. Don Cherry’s disjointed harmonic experiments, Hannibal Marvin Peterson’s Sunrise Orchestra, the infinite palette of four decades of Sun Ra, the brilliant artist-centered work spearheaded by Charles Tolliver and Stanley Cowell as the founders and main artists on the Strata-East – Archie Shepp, The Art Ensemble of Chicago, Cecil Taylor, Lloyd McNeil, Marion Brown … it was all-encompassing, and for whatever reason, a source of unbridled joy. It taught me to be calm in the face of frustration and to seek out the order in apparent chaos. 

Through these discoveries, Monk drifted from my periphery a bit. As I began to collect records, I also found great pleasure in reading about the musicians I was listening to. Several books on Charles Mingus, for example, made his music come to life for me like never before. Robin DG Kelley’s formidably-sized Monk biography was a project I took when I was supposed to be writing my master’s thesis in mathematics, but it soon became a fabulous escape. I finished the thesis, but the lasting experience of that part of my life was Kelley’s book. 

One of the most poignant parts of the book for me was Monk’s reaction to the “new thing”, specifically the earliest appearances on disc and in person in New York of Ornette Coleman. Paraphrasing, Monk essentially declared that while he liked the music of Ornette and his colleagues, he felt it wasn’t really so new, and that he had been doing similar things for almost 20 years. I didn’t agree with that at all at the time, but I had a few Monk records that I enjoyed, and I listened to a few of them (especially “Criss-Cross” and “The Thelonious Monk Orchestra at Town Hall”) while reading the book. All of the magic of Monk’s music from my younger days came flooding back during those sessions, and Monk started to once again become a central focus of my collecting and listening. He was right, of course. “Blue Monk”, as well as so many of his best melodies, especially the lurching ballad “’Round Midnight”, are basically the be-bop versions of free jazz. Non-chord tones, used as a bridge to an unconventional melodic end, dominate Monk’s music, as do huge interval leaps, tone clustering, etc. All of these elements would be amplified in the free jazz movement, but with hindsight firmly in my corner, I agree with Monk. He was their originator in a small ensemble playing.

Some years after my initial foray into jazz as a collector and listener, I began to seriously consider taking up the double bass, as I’d always wanted. Being a guitarist for so long, I’d played in my high school and college jazz ensembles, but never really felt satisfied with the role of my instrument. After likely getting sick of hearing me talk about it so much, my wife located a cheap used double bass for me. I began taking lessons, and thanks to my prior musical training, was able to play basic walking patterns quickly. My instructor suggested that I try my hand at live performance and mentioned that some of his students needed a bassist for an ensemble. He put me in contact with them, and at our first meeting they asked what I might like to play. Of course, I suggested “Blue Monk”. 

 by Greg Trout

Greg is a jazz fan and mathematician from the US Mid-Atlantic. In addition to collecting jazz vinyl, he enjoys playing the double bass and spending quality time with his wife and pug dog. Find Greg on Instagram @jazzpeasant

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