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Band Profiles 3 Blind Mics
myspace.com/3blindmics MEMBERS: Sly Guy of Trix, Cor One, Abducted, Joel Bouhey THEY SAW HOW THEY RAN IN: 2003 One thing that's peculiar about several hip hop groups, particularly in the underground, is the influence of music outside of their genre. 3 Blind Mics are, in a sense, blind to the boundaries and limitations their sound might normally have. Instead they craft beats out of anything they find that'll sound awesome. "We make samples with stuff of our own to keep it original," says Sly Guy. "Joel will play the guitar and then throw bass over it, and we'll make our own drum beats and put keys over that. It's fresh that way and we try to stay positive, but there is some stuff that's awkward and out there." The group has toured extensively instate and teamed up with several staple artists, DJs and groups here and in Portland such as Barfly of Portland clan OlDominion and others including Grayskul, Paul Biondi, DJ Mead, M.I.NLess, DJ C4, DJ Long Arm and more. They're currently planning a new album chock full of material they've been putting together for a while, but no release date is set. "When we first start recording, we get to hear what everyone else thought about," says Abducted, "so we work with either that, or we just collaborate back and forth, and it works." — Dan Hoyt
Ben Darwish Trio myspace.com/bendarwish MEMBERS: Ben Darwish (piano), Zach Wallmark (bass), Drew Shoals (drums) JAZZING AND FUNKING SINCE: 2005 Ben Darwish is one of those unreasonably talented young people who are becoming the standard these days. A pianist and composer, he is working his way through the UO by playing frequent solo gigs around town and with the Trio, which has a repertoire ranging from old school piano jazz to rock-edged funk. With the Trio named for him and as the lead melody maker and composer, Darwish is, of course, the most visible member. But his sidemen are no less accomplished. Zach Wallmark lays down some tasty bass lines while Drew Shoals, equally young, has nabbed reviews touting him as one of the best drummers in Portland. With Darwish's busy school schedule and the fact that Shoals lives in Portland, local shows are rare. If you get the chance, catch a show. — John Ginn
Don Latarski & Rue de Blues donlatarski.com MEMBERS: Don Latarski (guitar), Marilyn Keller (vocals), Mark Schneider (bass), Jason Palmer (drums), Devin Sanders (organ) FOUNDED: 1995 Built around the writing and playing of guitarist Don Latarski and the vocal dexterity of Marilyn Keller, this outfit has been a staple on the Eugene music scene since 1995. They've released two studio CDs, Deep Play and Rue 2, and Eden Hall Sessions, a live CD. Comprised of an all-star lineup of local talent, the band is acknowledged to be one of the best in the area. Their repertoire includes jazz-inflected blues, jump, swing, jungle boogie and slow blues ballads. Latarski is an adjunct instructor and head of guitar studies at the UO School of Music, where he teaches classes ranging from jazz, blues and funk guitar to MIDI for musicians. The members of Rue de Blues are no less accomplished, with dozens of years of experience between them. Several hold degrees in jazz studies from UO, and others have honed their chops through decades of constant gigging. — John Ginn
Eleven Eyes eleveneyes.org
MEMBERS: Tim McLaughlin (trumpet, effects), Matt Calkins (saxophones), JD Monroe, aka the Turntable Enabler (turntables, electronics), Mike Pardew (guitar), Dave Trenkel (bass, keys), Steve Weems (drums) UNDECUPLE VISION SINCE: 2003 Laptops and turntables are not standard equipment in jazz bands, but from the get-go Eleven Eyes makes sure you know their jazz is not standard. The six guys in the band have known each other 10 years or more and grew up together musically. Tim McLaughlin says those years are invaluable. "We learned intimately what we can do well and not well," he said. "Having that communication onstage and … constantly pushing each other to evolve it and change it to a new direction keeps us really interested." The audience stays interested too. Laptops play the role of thickening up the sound texture with programmed beats and percussion patterns. When McLaughlin isn't playing his trumpet he's manipulating the computer, which controls the keyboard sounds. Since the band doesn't rely on vocals — though they do have guys rapping once in a while — hundreds of different programmed samples create a certain mood for a song. Once, in Montana, stranded by a broken-down tour bus, they walked the sampler around town, beating on garbage cans and anything they found, recording the different sounds. "We put a lot of humor into our music," McLaughlin said. — Vanessa Salvia
Eugene Contemporary Chamber Ensemble musiquenouvelle.com/ECCE COMPOSER: Jerry Hui ORCHESTRATED IN: 2005 The UO School of Music has long been known for excellence in terms of letting students take control of their own destinies and create ensembles that match the scores they want to compose. Last year, master's student Jerry Hui pieced together a 12- to 14-piece vocal and orchestral ensemble and dubbed it the Eugene Contemporary Chamber Ensemble (ECCE). The group defies many of the traditional aspects of orchestra with its themes and instrumentation. "We explicitly do music from the 20th and 21st centuries," says Hui, "and every term we've been trying to create a program that includes one piece from existing, established composers and then pair those up with pieces composed by people at the U of O." Hui has his own score being performed soon: a tune called "Behold!" which involves a brass-heavy sound of trumpets, two trombones and percussion. "It's pretty loud for sure," says Hui, "but we also try to do a lot of chamber music that isn't a solo or duet." The group features a brassline of trumpets and trombones along with woodwinds, strings, keyboardists and singers (Hui is the baritone). With the promotion of new compositions and a lineup unlike most ensembles you might see, the ECCE could be poised for a large-scale tour soon to come. — Dan Hoyt
Forrestal's Fall myspace.com/forrestalsfallband MEMBERS: Floyd McCullough (vocals, bass), Zach Rowe (guitar, vocals), Steve Jarred (guitar, vocals), Chris Hansen (drums) NOW PLAYING SINCE: 2004
The Eugene rock and metal scene is in for a rampage this year, and these guys are the embodiment of that. Though they've only been around for two years, Forrestal's Fall has torn through the Northwest. They've opened for upcoming metal fiends 3 Inches of Blood and supported other local bands like Grynch and SYX so frequently that any week of the year the Corvallis quartet is guaranteed to be playing a show near you. "Our tastes are so diverse among the members," says guitarist Zach Rowe. "We've got a guy who loves bands like Silverchair and another who loves Slipknot. Personally, I go for Sevendust. But this diversity allows us to really break boundaries with our sound." The band plans to release their self-titled debut album soon, which contains several songs penned over the course of the two years they've been together. Their crunching metal-tinged sound, featuring Floyd McCullough's raw, emotional vocals backed by the hot-and-cold riffs coming from Rowe and Steve Jarred and Chris Hansen's rapid-fire drum beats, blends smoothly. "We had all these different ideas, and they all came together within the first three months of us jamming together," says Rowe. "Someone would come with one riff, and the next thing you know that riff doesn't even sound like the song anymore that the person came with, and it's a new amazing song." — Dan Hoyt
Gamelan Sari Pandhawa efn.org/~qehn MEMBERS: Qehn (kendhang, rebab, suling, bonang, gerong, dhalang, artistic director), Katie (saron, bonang, gerong), Pennie (slenthem), Diana (demung), Nora (gender, gambang, saron), Kumi (gong, kempul, peking), Dorothy (kenong, kempul, gong, gerong), Jamie (kendhang, pesindhen), Amy (bonang), Will (bonang, peking), Sharon (gender, gambang, kendhang), Nisha (peking, saron, gong), Mark (bonang, kendhang), Widiyanto (teacher, dhalang, artistic advisor) ENRICHING COMMUNITY SINCE: 1996 Whew! That exotic list of instruments combines beautifully to create the traditional music of Indonesia, known as gamelan. Gamelans are percussion orchestras, but Gamelan Sari Pandhawa bandleader Qehn (pronounced "Ken") says not to assume they have truckloads of drums. "It's primarily pitched bronze instruments, gongs and chime-like instruments, and it's a lot more melodious than people assume when they hear 'percussion orchestra,'" he says. Gamelan Sari Pandhawa focuses on the traditional music of central Java and also performs work by contemporary Javanese composers writing traditionally. Sung in their original language, the compositions often convey lyric poetry and are frequently performed in conjunction with wayang kulit, shadow puppet theater. Qehn said the puppet shows draw from the Ramayana, or epic book of Hindu mythology, even though the island of Java is primarily Muslim. In traditional Indonesian thinking, gamelan is revered as a sacred and almost supernatural entity. It's difficult to describe this music, but it is often lovely and always complex, with interlocking rhythms and unexpected sounds and structures. Gamelan Sari Pandhawa is a nonprofit organization dedicated to providing multicultural experiences for the Eugene community. The group teaches classes and performs on beautifully handcrafted bronze and wood instruments made in Java. — Vanessa Salvia
Grynch myspace.com/grynch MEMBERS: Jonny Hanson (vocals), Darrell "D" Jolliff (guitar), Kyle Neuberger (bass), Tobby Lugo (drums) HYPNOTIC SINCE: 2002 You've gotta love a band that doesn't mind when its fans are called a mob. Or, in Grynch's case, a "Mobb." Right from the start, the band pledges a performance of "hypnotic intensity" reminiscent of bands such as Tool, Deftones and even The Doors. "We're definitely going old school," says vocalist Jonny Hanson. "Everything's old school nowadays; you've got old school System of a Down, old school Korn and so on. We're also influenced by Creedence Clearwater Revival because back in the late '60s and early '70s, they really related to what people were feeling. And I don't mean to sound silly, but people are feeling this shit right now!" Hanson talks about the Vietnam War and the cry for societal change and says it's a huge part of his lyrical inspiration and the message of Grynch as a whole, which includes lots of references to the Iraq war. With an album probably coming out later this year from Central Node, the band hopes to take their politically-charged message to new heights. "A lot of people have been coming to us lately saying, 'Hey, I love that song "Toy Soldier" because my uncle or my brother or cousin is over there,'" says Hanson. "And when you've got 150,000 people in a country where people are dying constantly and someone can relate to the song, well, that's what we're trying to write about." — Dan Hoyt
The Koozies thekoozies.com MEMBERS: Tuan Koozie (vocals, electric mandolin, electric guitar), Jake Koozie (vocals, acoustic guitar), J Koozie (bass), Aaron Koozie (drummer)
GETTING DRUNK AND SINGING ABOUT GETTING DRUNK SINCE: 2001 True to what would later be form, the Koozies started the band by cashing in their unemployment checks, getting drunk and playing some songs together … not necessarily in that order. Aaron is the odd man out, the only band member who didn't grow up with all the others in Astoria. Tuan, Jake and J had a band back in high school but split up and eventually all found their way to Eugene and started playing together again. "Jake came down [to Eugene] with a 12-pack of these really cool singer/songwriter folk songs and said, 'Tuan, you gotta learn mando,'" said Tuan. "So I went out and bought a mandolin. When I figured out I was never going to be any good at it, I ran it through a distortion pedal." Growing up, they hung out with a group Tuan refers to as the "mullet-wearing freaks and skater punks who listened to a lot of DRI and 7 Seconds." In the same way that scene shaped them as people, it shaped their music. That and good old-fashioned country. "How can you listen to Johnny Cash and Willie Nelson and not fall in love?" Tuan said. "So that's where our music comes from … old-school punk and rebel highway outlaw country." Their latest album, Powderkeg, is fast and tight, and the boys never miss a beat. The gritty howling is still there, along with the crooning and enough country twang to make you feel like you've got some mud on your shoes. But even during the fastest, amped-up tracks, these songs have melody. Who knew Jake and Tuan could really sing? We're talking in-tune harmonies and lyrics as tasty as a shot of Jack. — Melissa Bearns
Los Mex Pistols del Norte losmexpistolsdelnorte.com MEMBERS: Bruce Hartnell (guitar, accordion, trumpet), John Clark (guitar, bajo sexto, soprano saxophone), Dave Clark (bass, guitarrone), Will Lindsay (keyboards, accordions), Jerimiah Harris (sousaphone, trumpet), Jordan Glenn (percussion, accordions), Jivan Valpey (drums) BRINGING SOUTH OF THE BORDER SUNSHINE SINCE: 1996 The lively Los Mex Pistols, surprisingly, were born out of boredom. In 1996, Bruce Hartnell was tired of watching four bands a night "play their version of the same song over and over again." He decided to start something different: a band with no lyrics, but big enough "to keep everyone's attention." The Pistols are plenty good at that. Over the years they've refined their blend of original songs, '50s guitar tunes, Morricone instrumentals, punk influence and traditional Latin elements, including paso dobles, which Hartnell explained are "traditional bullfight songs used to reward matadors at bullfights." The band has won battles of the bands, played Austin's South by Southwest festival, opened for Los Lobos, Ozomatli and the Neville Brothers, and found themselves playing a Cinco de Mayo show in Singapore in 2004. That show, which came about when a Pistols fan convinced his bosses at a microbrewery to hire the band, has had interesting repercussions. "The gig proved so profitable I told him that we could get a band together for any other drinking holiday," Hartnell said. "He asked if we had an Irish-style band, and we formed The Glenwood Rebel Rovers immediately." The multi-talented musicians are now working on Beowulf Tone Poem, an Oktoberfest band that plays only Black Sabbath covers. "We're also working on an Omerta band — Italian Mafioso ballads — for Columbus Day," Hartnell said. You've got a holiday? Hartnell's got a band. Or several. — Molly Templeton
Paul Biondi (saxophones, woodwinds) giftedchildmusic.com/pauljbiondi
SAXING IT UP SINCE: The mid 1970s "Sure, I can play two saxophones at the same," Paul Biondi says, "But I don't like to do it too much because people seem to think it is only a stunt." Hearing him say this, it still might sound like a stunt, until you see him actually do it. Alto sax in one hand, tenor sax in the other, he somehow manages to produce a solid sound out of each. Used properly, it provides an unearthly bass line to a standard blues riff. It's just another tool in this versatile jazz man's arsenal. In his 30-plus year career, Biondi has done studio sessions with Frank Sinatra, Mel Torme, Ella Fitzgerald and Ray Charles and toured with Smokey Robinson and Aretha Franklin. In other words, Biondi is a consummate professional who traded in the high-rolling life in exchange for a series of musically satisfying gigs in the area he fell in love with in 1992. — John Ginn
The Phormula myspace.com/philosophy MEMBERS: Philosophy, Examine, Alphamatic (MCs), DJ pHonics CHEMICALLY BALANCED IN: 2001 Hip hop's a lot like chemistry. You put together a fresh rapper or two, mix a funky beat, and if it balances, you've got the formula to success. All right, that was corny as hell. But for The Phormula, it's the code they live by. And 2006 is the year they're making it count. 2004's Sound Proof put them on the national stage with jazzy beats and lyrics that echoed like an anthem. Now they're putting out two albums in one year, starting with Smelling Salts, due to be released later this month, and What the pH?, slated for August. "From a lyrical standpoint, I'd say we're very influenced by Del Tha Funkee Homosapien, Aesop Rock, Bus Driver and other rappers who are really deep on their lyrics," says Philosophy. "We have a real appreciation of the West Coast rap scene and the underground coming up." The Del influence can be seen on the politically-charged "No Time 2 Waste" off Salts, which echoes his up-and-down rapping style laced with attacks on the government and a call for revolution. With the repertoire The Phormula's bound to have in store by the end of this year, I'd say they're due to lead it. — Dan Hoyt
Rebecca Oswald (piano, composer) rebeccaoswald.com SETTING IT TO MUSIC SINCE: 1980 A professional pianist from 1980 to 1995, Rebecca Oswald decided to move most of her energy into studying composition at Westminster Choir College and UO. She has no regrets. "One thing I love about composing is the variety," she says. "I thrive on it. Each commission or project presents unique challenges; each has a unique set of parameters. These enliven the creative process, and that's when amazing things can happen. I love being in that flow." In 2005, Oswald released October Wind, a self-produced CD of piano solo pieces that has been more than 20 years in the making with songs dating back as far as 1981. Currently, she has packed her things in storage and is traveling around visiting friends and family and accepting commissions. Her work ranges from orchestral works to video game soundtracks, but each has one thing in common: She sees music as a challenge, a puzzle waiting to be solved. Hear Rebecca Oswald May 27 at Tsunami Books. — John Ginn
Reeble Jar reeblejar.com
MEMBERS: Adam Bushey (drums), Josh Coffey (keyboard), James Green (saxophone), Joey Hepner (bass), Sean Ponder (guitar), Tyler Spencer (didgeridoo), Justus Williams (harmonica) GETTING DIDGI WITH IT SINCE: 2004 There are many ways to describe Reeble Jar, and "jam" isn't one of them. While they share some instrumentation with traditional jam bands, they quickly leave that label eating dust. "One way to describe it would be 'organic dance funk,'" said Tyler Spencer. "The harmonica and didgeridoo present an organic sound, an organic feel." Spencer has been playing didgeridoo about 13 years, and he can keep up with whatever the band lays down. He's spent time in Australia studying the instrument under Aboriginal elder Djalu Gurruwiwi, known as "the custodian of the yidaki." Didgeridoo is a westernized word, an onomatopoeia meaning "instrument," but whatever you call it, it's thrilling to hear a didgeridoo played well. The group creates space for each instrument to shine, and according to Spencer, the music lands on the side of "jazz, funk, dance and soul." Spencer snickered when asked to explain the name Reeble Jar. "It's top-secret information!" he said, laughing. But he did say that 'reeble' is a made-up word, "the wild card," and 'jar' is whatever you want a jar to be. "You can store things in a jar; food, goodness, whatever." Spencer issued one piece of advice: "If you come to our show, be prepared to dance!" — Vanessa Salvia
Skip Jones & The Spirit of New Orleans skipjones.com MEMBERS: Skip Jones (piano), Byron Case (bass), Tony Figoli (drums), Gus Russell (keyboards), Stan Welsh (guitar), RJ Herb (guitar) BOURBON STREET BOPPING SINCE: 2003 New Orleans might be in trouble right now, but its spirit will live on forever if Skip Jones and his band have anything to say about it. Jones, a piano player partial to roots, blues and barrelhouse piano, has made it his mission to keep the music alive for future generations. "As time marches on, the tendency is for music to splinter into many factions," Jones said. "But Eugene is quite rich with musicians who carry on traditions. I feel quite blessed and supported here." Like many musicians, Jones dabbles in a number of styles and flavors, but always returns to his favorites: Booker T. and the MGs, Doctor John, James Booker and Professor Longhair. "Our shows are like a blues travelogue, but we always return to New Orleans. New Orleans is our base camp." Jones can be seen each Monday with his trio at Jo Federigo's. You can catch the whole Spirit of New Orleans lineup on May 19 at Mac's at the Vet's Club. — John Ginn
Speedshift myspace.com/speedshift MEMBERS: Jason Johnson (vocals, guitar), Dan Liebersbach (drums), Ian (bass) HIT AUTOMATIC TRANSMISSION IN: 2002 The Foo Fighters' release The Colour and the Shape was a landmark for the rock scene back in the late '90s and an inspiration to up-and-coming rock groups everywhere. For Speedshift and frontman Jason Johnson, it was the start of something special. "To me, that was the staple for modern rock to become hard-hitting," he says. Speedshift has built upon this plus a foundation of classic, simple rock such as the Rolling Stones and Tom Petty and put together its first full-length album, The Story of Hope, which drops July 14, released by Central Node Productions. "The songs on the album all came from a time in my life filled with turmoil," says Johnson. "The basic principle behind it is all of these past transgressions give hope for the future. We're trying to get that polished rock-album sound. There's something to be said for a more raw sound, but we're trying to get a slick, hard-driving, clean-sounding album." This summer looks like the time that Speedshift finally breaks out into the spotlight in Eugene. It's been a long time coming. — Dan Hoyt
Swing Shift MEMBERS: Sean Flannery (sax), Clarke Morris (sax), Bob Ragan (sax), Richard Johnson (sax), Doug DuPriest (sax), Dana Heitman (trumpet), Warren Wellford (trumpet), Jim Josephson (trumpet), Chris Rowbotham (trumpet), Glenn Bonney (trombone), Emily Wagner (trombone), Paul Roth (trombone), Aaron Anderson (trombone, vocals), Andria Martin (piano), John Teising (bass), Jim Douglas (drums), Jim Olsen (music director) SWINGING SINCE: 1979 When you get a hankerin' for glamorous big band music, Swing Shift has got you covered. Music director Jim Olsen says the 16-piece group is in the big band tradition, drawing inspiration from Count Basie and Duke Ellington. But many of their influences are contemporary as well, conceived in the style of Mel Lewis, Buddy Rich and "all the big bands that are out there today." Even if you haven't heard Swing Shift, you might have heard some of the members already — many play in other hot Eugene bands. For example Heitman and Flannery also play in Cherry Poppin' Daddies, Caliente and Satin Love Orchestra; Johnson is in Scrambled Ape; Bonney is in Emerald City Jazz Kings; Rowbotham is a member of The Essentials; and Douglas is in Group Therapy. Olsen said Swing Shift's music is "incredibly exciting, very hard-swinging music." The band is famous for "Blues In Hoss' Flat," a Count Basie song. And when they don't open with it, people notice. Swing Shift doesn't often travel out of the area (you try packing an orchestra in the trunk of your car!), but they regularly share local stages with touring jazz artists and have performed at festivals and special events all over Lane County. Whether you're in the mood to cut a rug or just watch and listen, Swing Shift will satisfy. — Vanessa Salvia
Toby Koenigsberg Trio tobykoenigsberg.com MEMBERS: Toby Koenigsberg (piano), Tyler Abbott (bass), Jason Palmer (drums)
JAZZING AND GROOVING SINCE: 2002 If you like your jazz on the harder-edged side, Toby Koenigsberg and his audacious henchmen might be just the cup of java you're looking for. Sounding a bit like Vince Guaraldi in overdrive, Koenigsberg drives his band into frenzied experiments that keep the experience lively and surprising. It's easy to imagine them playing to a room full of nodding beatniks murmuring, "Yeah, man, yeah. You're on fire tonight, man. Go, cat, go." Formed in the spring of 2002, the trio debuted with a CD, Push, and has recently released a second CD, Sense, a combination of originals, uniquely treated standards and classics by jazz legends such as Bud Powell and Bill Evans. A pianist and composer whose career has taken him all over the world, Koenigsberg did his undergraduate studies at the UO, where he is now assistant professor of jazz piano. You can catch the trio on June 9 for a CD release party at Luna. — John Ginn
Uncle Stumbles unclestumbles.com MEMBERS: Mike Clark (drums, vocals), Anthony Forcellini (guitar, vocals), Ryan Galas (bass, vocals), Noel Madden (guitar, vocals) FOUNDED: 2003-ish with a variety of incarnations in the interim Sitting around on a porch seems like most natural place in the world to get to know the homespun rock 'n' roll outfit called Uncle Stumbles. This band's primary objective is to have fun and make sure the audience does too. "Everybody's got that favorite uncle who's the black sheep of the family," Galas explains, leaning back in his chair. "He's kind of a dirty old man but he's so much fun to hang out with. Everyone can relate to that guy." So that's where the name came from. Although the band shares a love for the Grateful Dead, they resist being pigeonholed as only a Dead cover band. They're an all-around rock band, playing Beatles, Stones and Talking Heads as well as original material primarily penned by Forcellini. "The Mullet," a tribute to butt-rock's favorite haircut, is an audience favorite. For Uncle Stumbles, a responsive crowd is the ultimate sign of success. "We like to feel out the crowd and adjust our set depending on who we're playing to," Madden says. "We like to think we could play to just about anybody." Uncle Stumbles plays regularly at Tiny Tavern and the Black Forest. — Adrienne van der Valk
Warning Broken Machine humanmonster.com MEMBER: Don Haugen (amplifiers, light-sensitive theremin, springs, sand, blocks, blood, contact mics, bones, etc.) FUSING ART AND NOISE SINCE: 1992 That noise you hear coming from the stage at a Warning Broken Machine concert isn't entertainment, and it's not really music either, at least according to Don Haugen, the man who is Warning Broken Machine. "People tend to think of music as entertainment. I try to make it more of an art form," he says. "It's the way you'd explain Jackson Pollock." Haugen's shows are short in length (three to eight minutes) but long on impact. Here's a short list of some of the "instruments" he uses to make his distinctive sounds: feedback, sand, bones, blood, piano guts, oil, cardboard, rocks, springs, a truck door, microphones and amplifiers. Right now, Haugen is utilizing a surprising tool to capture sound: the room he's performing in. "Each characteristic is different for each room. In a sense, each room is an instrument," he says. But all the blood and piano guts don't make Haugen some sort of loony artist. He's a graphic designer with a daughter, Dakota, who's following in Dad's noisy footsteps. "Well, she's into pop music," Haugen says. The Eugene Noisefest, produced by Haugen, takes place June 16 to June 18 at DIVA. — Tim O'Rourke
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Intro :: Death
Metal :: CD Reviews :: Raging
Family :: Band Profiles :: |
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