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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (Dec. 4, 2003)
Little Joe performs with the Cascade Colonels Friday at Sam Bond’s. BY VANESSA SALVIA Double Bluegrass Sam Bond’s hosts two string bands Friday. B luegrass fans will get a double treat on Friday, Dec. 5 as two bands from Eugene and Portland, Little Joe and the Cascade Colonels, share the stage at Sam Bond’s. Portland’s Little Joe performs original and traditional acoustic Americana music. Together since 2001, Little Joe has per- formed all over the Portland area, developing quite a following of fans who appreciate the fiery live shows and devotion to the roots and spirit of bluegrass. Little Joe’s mandolin, dobro and banjo player, Todd Osborne, has a notable blue- grass résumé that includes performing “a couple dozen” shows as a banjoist for Bill Monroe & The Bluegrass Boys. (Bill Monroe being, of course, one of the most influential and revered figures in the genre.) Osborne may also be familiar to you from his time with The Osborne Brothers and the Sony Records release Poet: A Tribute to Townes Van Zandt. Fiddle player Mike Hryekewicz brought his experience in the Texas-based Celtic band Lost Tribe. Naturally, the transition from Celtic to bluegrass was a snap. Bassist Chuck Masi’s name might be fa- miliar to followers of Portland roots music. Masi performed in Higher Ground, The Wags and Off the Rail before joining on with Little Joe. Masi contributes his distinctive vocals on many of the band’s songs and can be found performing in another Portland band, Trashcan Joe, in which Masi performs “jazz, blues and swing numbers on homemade in- struments.” Native Oregonian and guitarist Darian Santner has been a fan of bluegrass music since his teenage years. After graduating from high school, Santner relocated to New York City, where he led the band Spare Tire. Santner returned to Portland a few years ago, and united himself with the musicians in Little Joe. Eugene’s the Cascade Colonels have also been an entity since 2001. What began as a duo has morphed into a talented bluegrass quartet featuring guitarist and vocalist Morgan McNamara, mandolinist and vocalist Tyler Lynn, Mark Thomas on banjo and bassist and vocalist Chad Wright. The four- some performs traditional bluegrass and gospel, originals and inspiring instrumentals. The band was the winner of Detroit, Ore.’s 34 DECEMBER 4, 2003 2002 Music on the Mountain Bluegrass Festival contest and the 2003 Columbia Gorge Bluegrass Festival contest held in Stevenson, Wash. John Henry’s will host the Eric McFadden Trio on Tuesday night. McFadden, bassist James Whiton and drum- mer Jeff “The Commander” Anthony harness many elements of music to create an organic sound that effortlessly moves from metal riffs to funk, folk and jazz. The new recording, Diamonds to Coal, showcases McFadden’s and Whiton’s talents on their customized acoustic instruments played through ampli- fiers. fans…appreciate the fiery live shows McFadden brings show-stopping per- formances on nylon and steel string guitars, mandolin, banjatar, palmas and vocals. On Diamonds to Coal, the inventive group offers 13 originals, most penned by McFadden or the band. They tackle one cover, The Beatles’ “Hey Bulldog,” done funky-style with George Clinton providing vocals and Skerik (Critters Buggin’) providing “psycho-saxo- phone.” Following “Hey Bulldog” is the spooky “absurdist carnival funk” of “Clowns of the Deep” featuring Pete Sears‚ accordion and McFadden vocalizing in Waits-ian fash- ion. “Babydoll” has a deep, heavy bass line that could be the foundation for an incredible seventies-ish metal song. McFadden has shared the stage with rock luminaries Bo Diddley, Joe Strummer, The Reverend Horton Heat, Keb Mo’, Primus, and many others, and in 2000 he was re- cruited as a touring member of George Clinton’s P-Funk All Stars. Hailed by many as an innovative guitarist, McFadden honed his chops in such bands as Liar, Alien Lovestock, IZM and Eric McFadden Experience. Drummer Anthony spent a brief time in Portland, Ore. playing with various elec- tronic bands and later played on a recording session for Sheryl Crow’s 2002 mega-hit, C’mon C’mon. Whiton is a classically trained bassist who was “blindsided” by bebop, fu- sion jazz and Seventies prog-rock. If McFadden and his gang are new to you, avail yourself of this opportunity to hear a truly unique rock experience. ew
