PRESS
"In Dawn Avery’s recent album “Beloved,” her voice is strong and determined. Her songs are often slow and thoughtful. Her cello traces graceful circles around a guitar and a Persian tar ... Gentle waves wash over the listener... It is cyclical – it pulls listeners in and moves them into a meditative space... Performance as prayer. "
Dorothy Laird-Johnson, World Music Central, July 8, 2019 Read More
"THE MUSIC is based on Indigenous/Native American rhythms and themes... It is truly moving to experience the music and dancing of the show, performed by Indigenous/Native American people, sharing their passion for and continuation of the original traditions of North America.”
George Gensler, Adventures by Daddy, February 12, 2018 Read More
“To many in Indian country, GRAMMY and NAMA-nominated Mohawk musician Dawn Avery is an immutable force. Avery’s life ’s purpose is to connect Native individuals with their culture and Indigenous identity through music.”
Tony Enos, Indian Country Today, August 29, 2017 Read More
"Montgomery College music professor and Grammy nominee Dr. Dawn Avery is used to having a busy schedule. In addition to teaching classes, the cellist, vocalist, and composer organizes the College’s World Music Festival and travels around the country performing… Jazz trumpeter Alvin Trask, chair of the performing arts department, says, “Dawn is a gift to our students. She brings a fresh approach in introducing our students to music beyond their own personal cultures and backgrounds. In addition, as a performer/composer she is able to deliver a real-time perspective of the music industry.” Indeed, Dr. Avery’s productiveness is impressive. She has worked with musical luminaries Luciano Pavarotti, Sting, John Cale, John Cage, R. Carlos Nakai, and Phillip Glass. Each experience and performance informs her classroom teaching, including her work on this latest show.”
Fritzi Bodenheimer, @Montgomery College, Feature, March 2017 Read More
"What really added to the joy I felt during this production was the score written and performed by Montgomery College Professor/Composer Dawn Avery (on the violoncello and voice), and her band of excellent musicians…What a pleasure to hear this beautiful score played live with so much love."
Joel Markowitz, DC Metro Theater Arts, May 3, 2016 Read More
"Grammy nominated Kanienke’haka cellist, composer and educator Dawn Avery is all about frequency, soundscapes, vibrations, and re-calling the Indigenous language roots of her ancestry. Dawn has a vibrant presence, which translates through her music and performance. Ms. Avery’s approach to music also connects with placing Indigenous knowledge at its core."
Jamaias DaCosta, Muskrat Magazine, May 23, 2014 Read More
"Dawn Avery’s original compositions blend elements of classical, Native and world music. Avery’s music flows beautifully."
J. Poet, Native Peoples Magazine, November 2013 Read More
" As a globally known cellist, she’s sharing her dream of cultural memory through music with the world…She can make her cello sound like the cosmic spirituality of Jimi Hendrix, the classically infused fury of Metallica or the vocal falsetto of the indigenous peoples of the Turtle Island plains."
Jon Thompson, Kenora Daily Miner and News, Feb 29, 2012 Read More
"Cellist Dawn Avery, who has an extensive background in contemporary music of all genres, was indefatigable in drawing out a colorful menagerie of sounds. Like Tanya Anisimova and Maya Beiser, she is able to sing and play cello simultaneously, and keened to great effect in several of the pieces. Like Matt Haimovitz, she channeled Jimi Hendrix when imitating a distorted-feedback, electric guitar rendition of the national anthem . . . an evocative tapestry of history and sound."
Robert Battey, The Washington Post, November 8, 2007 Read More
"Avery gives classical music a world fusion beat."
Chris Slattery, The Gazette 2, December 3, 2003
"Ravishing is the word—the word that describes every aspect of Mimi Garrard Dance Theatre’s 35th anniversary performance…a premiered, danced to a savory, pulsating score performed live by its composer... (on) voice and cello."
Lisa Jo Sagolla, Back Stage, May 26, 2000 Read More
"She plucks, bows and sometimes sings in a strange language of her own. There’s a freshness to this work."
Suzanne Sloat, Attitude Magazine, 2000
"The company aims to make Shakespeare accessible to all with the poetry refreshed at intervals by (the composer's) enchanting xylophone melodies."
Francine Russo, Village Voice, July 13, 1999
"Throughout the Shakespeare Project’s production of A Midsummer’s Night Dream, original live music by the composer (who has worked with Phillip Glass, John Cale and Sting) perfectly evokes the feel of a shady forest, where lovers wander and sleep as fairies exploit their fate."
Lynne Polcino, Shout, Manhattan Entertainment, July 12, 1999
"ModernWorks! a dynamic new music ensemble."
The New York Times, 1999
"Magical, passionate, and virtuosic exploration of ethnic song and extended technique."
Kitty Brazelton, Real Music,1996
" ... score is a seamless piece of episodic work tailor-made for David Parker’s quirky, percussive dance, “White’s of Their Eyes”… with sumptuous vocalizing, a style we’ve come to associate with Meredith Monk, melded expertly with strings as well as footwork."
Linda Belans, The News & Observer, July 8, 1993
"Experimental sounds produced by Dawn's cello who often used her voice to produce chants strongly reminiscent of medieval song, in which the imagery brought to mind the Australian duet “Dead Can Dance,” nevertheless , the similarity was fleeting. The music interpreted by the cellist was more daring. At times, the sounds from her throat cut though one’s ears rather than taking us through peaceful territory; and in spite of her brief appearance, it was sufficient to show her quality."
Musicales Visuales, New Music Across America, November 6, 1992
"The composer dominated her instrumental ensemble, drawing weird sounds from her cello and singing forcefully."
Alex Ross, The New York Times, September 17, 1992
"The public was indifferent, a few were clapping, others were bored, the applause was sparse. Then a new dance piece was performed… accompanied by two musicians, one playing percussion and one who sings and plays cello. The artists succeeded in awakening the interest of the audience… At the end of the performance, the applause continued, but the public was enchanted by the cellist from whom they insisted on an encore. She reappeared performing an encore to the delight of the audience."
Cesar Delgado Martinez, Excelsior: El Periodic de la Vida Nacional, November 5, 1992