Rockin’ It For Affordable Housing – Tickets – Mississippi Studios – Portland, OR – October 2nd, 2018

Rockin' It For Affordable Housing

Local musicians playing to encourage voters to say yes to Affordable Housing (Measures 102 & 26-199)

Rockin' It For Affordable Housing

Kyle Morton, Kasey Anderson, Casey Neill, Ashleigh Flynn, Tin Silver, Jared Mees, Mexican Gunfight

Tue, October 2, 2018

Doors: 6:00 pm / Show: 7:00 pm

$15 ADV/DOS

This event is 21 and over

Mostly Standing / Limited Balcony Seating

Rockin' It For Affordable Housing
Rockin' It For Affordable Housing
Local musicians are coming together to urge voters to say YES to Affordable Housing. Acts including Kyle Morton, Ashleigh Flynn, and The Goods will perform at Mississippi Studios, in a show that benefits the campaign supporting a regional affordable housing bond measure.

“Housing costs are skyrocketing in Multnomah, Washington and Clackamas counties. Wages haven’t kept up, and families are struggling to make ends meet. Many are being forced to move further away from their community, work and schools,” says Jim Brunberg, co-owner of Mississippi Studios. “If we don’t act now, we will risk losing what makes the Portland area so special. Portland’s music community cares deeply about our affordability crisis, and this show is one way we’re able to help.”

Musical guests include Kyle Morton of Typhoon, The Goods, Kasey Anderson, Mexican Gunfight, Casey Neil, Ashleigh Flynn, Tin Silver, and Jared Mees.

Commissioner Chloe Eudaly will emcee.
Business For A Better Portland
Business For A Better Portland
Sponsors
Thank you to the following sponsors:

Living Room Realty
Lever Architecture
Project PDX/Project^
Holland Partner Group
Think Real Estate
The Whole Bowl
Organizers Northwest
Holst Architecture
PDX Pipeline
Laura Kim LLC
Mesch Capital
Crowd Supply
Smith and Connors
Kyle Morton
Kyle Morton
Lead singer of Typhoon (8)
Lead singer of The Black Black Black
Lead singer of The Mopps
Kasey Anderson
Kasey Anderson
American singer, songwriter, guitarist and producer, born in 1980.
Casey Neill
Casey Neill
Casey Neill's career has always walked the line between lyrical song craft and ferocious live shows. He is a songwriter and bandleader from Portland, Oregon with a sound that explores haunting melodies, high octane folk-punk, and weather beaten narrative. Neill performs solo and with his band, The Norway Rats - a murderer’s row of Northwest music vets from acts such as Black Prairie, Eels, and The Minus 5. For over a decade he has toured throughout the US, Europe, and Japan. A new record titled 'All You Pretty Vandals' produced by Chris Funk of the Decemberists was released in November of 2013. It’s an anthemic, junkyard rock album Neill says he’s “spent a decade trying to get to - both in my own writing and the sound of the band.”

“Be it through raucous rockers, fragile acoustic ballads, passionate bursts of punk fury or soulful touches of Irish folk, Neill's narrative talent and concern for real people's struggles stand out. (Neill) evokes an epic feel that fits perfectly with the implicit grandiosity of this emotional material, delivered with a raspy, affectionate voice that recalls Life's Rich Pageant-era Michael Stipe. The results are so evocative, you'll be tempted to steep further in these memories, the better to share Casey Neill's particular blend of personal and historical experience.” — SPLENDID

"These are songs with stories well told. This is what it's all about" — STEVE EARLE

Casey is a frequent side player in power pop band The Minus Five along with Scott McCaughey and Peter Buck of R.E.M. He added vocals to tracks on ‘Scott the Hoople in the Dungeon of Horror’ - a 5 LP, 57 song collection of new Minus 5 music released this past Record Store Day. Hardcore bands, bluegrass acts, and other songwriters have performed and recorded Casey’s songs - most notably Irish supergroup Solas’ take on "Lowground" on their CD's "Waiting for an Echo" and "Reunion”. His career launched in 1997, after inking a three record deal with acoustic label Appleseed and contributing tracks to their Pete Seeger Tribute collection along with Bruce Springsteen, Billy Bragg, and Bonnie Raitt. A compilation of his material entitled 'Memory Against Forgetting' was released by Indigo Girl Amy Ray's Daemon imprint in 2005. Following a few years treading the boards in New York City, Casey moved back to Portland and it's thriving music community.

"Soul-searing songs “— UTNE READER “remarkably good songwriting” — NO DEPRESSION

In 2007, a far more electric Casey Neill record ’Brooklyn Bridge' was released and The Norway Rats were formed. 'Goodbye to the Rank and File' followed in 2010 and garnered rave reviews from online blogs, radio, and press. In 2011, Casey was hired by New York's Mabou Mines Theater Company to perform and compose for their new work 'Landscapes' at PS122. In the year since the release of All You Pretty Vandals, Casey and band have performed over 100 shows in 21 states including NPR’s prestigious Mountain Stage Radio show. The album is a series of character sketches, and two cities dear to him, Portland and New York. There are love songs to Patti Smith (“She Came Alive”) and the Lower East Side (“Sainted Streets”), hymns to the roadless Northwest wilderness (“The Dark Divide”), and “My Little Dark Rose”, featuring Langhorne Slim. The song is a snapshot of Portland in the 90s, when the city was “a much rougher place and the music was louder,” adds Neill.

Music critic Jay Horton described it best for Portland’s arts paper Willamette Week: “Casey Neill has been filtering post-hardcore energies through an Americana muse for tales of wry lamentation, and the barroom mythologizing wed to painstaking craft has never sounded so perfectly realized. He brings a certain empathetic grandeur to high-minded tales of resolutely low lives with crack musicianship and casual authenticity”.
Ashleigh Flynn
Ashleigh Flynn
Like the Ohio to muddy Ol’ Miss, Ashleigh Flynn follows her
troubadour heart. Flynn grew up in Kentucky and cut her teeth on
local bluegrass music and Motown. A prolific songwriter and
performer blessed with unbridled charisma, she has taken the
stage at Bonnaroo and Bumbershoot, Delfest, High Sierra and
Vancouver Folk Fest and toured with the likes of Todd Snider and
the Wood Brothers.
Thanks to two critically acclaimed independently released studio
albums and a live EP, Flynn is making a name for herself in
Americana music. She arrived on the scene in 2008 with the
release of American Dream, a poetic lament to the elusiveness of
that national ethos. A Million Stars followed in 2013 – a
rollicking journey celebrating the women pioneers of the
American West. Her most recent EP, The Low Arc of the Sun, 2016,
was recorded live on the winter solstice in Portland, Oregon as
an offering to the coming of the light.
With a fresh slate of songs in her arsenal, Flynn returned to
the studio in 2017 to develop a bold new project: Ashleigh Flynn
& the Riveters. In both name and spirit, this all-female band is
a nod to the “Rosie the Riveter” archetype and an homage to the
millions of American women who entered this country’s male dominated
workforce during World War II and kicked some serious
ass.
The record’s 11 tracks feature Flynn’s compelling brand of
storytelling and soulful vocals, amped-up and virtuously
enveloped by the electrified Riveters. Inspired in large part by
her new guitar player Nancy Luca’s style and skill, the album
hearkens back to early Stones and ‘70s psychedelic country rock,
yet the result feels simultaneously new and necessary.
Produced by Flynn’s longtime musical collaborator, Chris Funk of
the Decemberists, this highly anticipated LP was recorded and
mixed at Halfling Studios in Portland and supported by grants
from the Oregon Arts Commission and the Regional Arts and
Culture Council.
Tin Silver
Listen to Tin Silver and you will hear the beer halls and Baptist churches of Texas, sun-drenched California, and a little New York thump. You’ll hear soaring country soul, hill blues stomp boogie, and fiddle-centric folk music. You’ll hear a quartet with a deep understanding of roots music and the hard-won musical chops to prove it. Tin Silver serves up solos hot and often, never at the expense of the band’s diverse, smart songwriting.

Guitar/banjo/dobro player Alan Bowen brings fluent bluegrass licks and blues solos he learned over years of dedicated study. Paul Prato’s upright bass sound and punk-bred attack ground Tin Silver's sound in jazzy, upbeat rhythms and moving, soulful chords. Tricia Rojas, the band’s Lonestar State ex-pat, brings sweet violin and the aching, rafter-rattling vocals she developed singing in church choirs during her childhood. Matthew Higgins, the band's original drummer, rejoined the crew in 2015, bringing his explosive energy, dynamic performance style and flair, and keen arranging sensibility to the band.

Tin Silver formed in Portland, with a self-titled EP in fall of 2007. Since then, the band has been wowing audiences with their unique sound all across Oregon while fusing their creativity and experiences into the writing and arranging of original songs. The fruits of this labor will be revealed on their new album, Continuum, set to be released this November. The band mates are old friends and have played together in various incarnations over the years. The strength of that bond and the obvious joy they display while singing and playing together heighten the power of their live performances, drawing audiences in with their passion and talent. Tin Silver's creative approach to the deepest American musical traditions inspires both young and old to tap their toes and hit the dance floor!
Jared Mees
THE UNVEILING OF JARED MEES BY A CHILDHOOD FRIEND OF JARED MEES PLUS MORE.

Bereshith: I know Jared Mees. He is my childhood buddy. He lives in Portland but we grew up together in a small town in the Rocky Mountains. Jared recently asked me to write a short biography for him. Jared does not realize what a difficult and nuanced task this exploration of all that is he, may be. Nay. He has loosed me, naked and raving, into his Garden, with nary a suggestion, prohibition, thesis. It is a laxity he’ll soon regret. For already, problems arise. See:

Jared is releasing a music album. Thus, as in any exploration of the nature of things, we may begin with the axiomatic, the barest of facts.

Axiom 1:
The Portland-based musician Jared Mees is releasing an album of music called Life is Long.

Halt! Woe, brave expedition! Already, we have uttered falsity! I cannot accept even this seemingly simple statement, for it contains a fundamental untruth! I know better. And I’ll be damned if I keep quiet. Therefore: Let this short biography serve as my confession, and Jared’s unveiling.

Third paragraph. By this point, Jared surely wishes me to point out that he is a musician, a guitarist and a vocalist, and that he is releasing his fourth studio album this spring. The album is entitled Life is Long. Jared wrote all the songs and, recorded them with the stellar Paul Laxer (Typhoon) in a small cabin along Oregon’s mighty Santiam river. While supplying the vocals and compositions, Jared let members of Typhoon, Radiation City, The Domestics, New Move and Yeah Great Fine play the music. For many days, they all went about the cabin in pajamas and bathrobes, eating sandwiches and ingesting cannabis. After many days of this they came to call themselves The Comfy Boyz. et cetera. et cetera.

The album Life is Long contains ten songs, and I have already chosen four favorites. In the title track, “Life is Long,” Jared inverts an old cliche and invokes the wisdom of one of our mutual favorite authors, David Foster Wallace. The third song, “I Believe,” is about an adult making sense of the world after a religious upbringing, an upbringing Jared and I both shared in our small Rocky Mountain town. The positive anthem “This Is Your Year” is, frankly, much needed after 2016. And the final track, “Eyes Be Wide,” I have interpreted as Jared giving his daughter life advice. It is part sage primer and part reflection on what may constitute a meaningful life.

And by the way Jared Mees is no longer attached to The Grown Children by an ampersand or otherwise, there were many complications which brought this about.

But let’s stop there. The astute reader will here notice that I have committed one or two blatant biographical facts in the preceding paragraph. An error I hope to correct now. Jared Mees is a musician, blah blah blah… album names, song counts, references to supposed childhood experiences… you are beginning to feel how hollow, how whimsical these facts are. Facts like these could fill many pages, and yet do nothing to elucidate the actual state of affairs, the Truth. The last Truth you expected to hear in a musician’s short biography. Which is:

Jared Mees is no musician.

Nor is he any of those things we who know him would tell you, were you to ask. A father, a husband, a kind and generous friend. A small business owner, being with his wife Brianne the proprietor of the art store/record label Tender Loving Empire in Portland, Oregon. Again, these are all correct but they are correct in the merest denotative or statistical way. I repeat! Jared Mees is no musician!

Yes, he understands chord progressions and song structure. And he writes a damn fine hook. The music of Jared Mees, I submit, can even make you feel things. But this is not enough. These things can be learned by rote and credential, in garages or music schools… and are, often. Though there be plenty of technically accomplished musicians out there, I find myself wanting more. I demand Truth, and I demand it now.

By now, Jared will likely wish me to get to the point, gently reminding me that we have progressed already eight (nine?) paragraphs, having conveyed very little essential biographical information. This is, after all, only a short biography, and not a brave ontological or epistemological expedition, a commentary on the state of music, or anything else. But I don’t care! I still have a quote by an American president to fit in, as well as a fine Proof by Contradiction! No, I don’t care whether or not my material is appropriate for Jared’s biography. I don’t care because I want the world to know the Truth about Jared Mees. And Jared Mees is no musician.

No. He is much more. The Truth, at last:

Jared Mees is a Poet.

Evidence: Life is Long, Jared’s fourth album, employs many of the Poet’s traditional tools: metaphor and simile, alliteration and euphony, rhyme and aphorism, variation in voice and point of view. But these are only devices by which Jared the Poet treats his diverse subject matters: Loss of Faith, Love, Legacy, Suicide, to name a few contained in Life is Long. Indeed, over 10+ years and four albums (including 2007’s If You Wanna Swim w/ the Sharks You Gotta Concentrate, 2008’s Caffeine, Alcohol, Sunshine Money and 2011’s Only Good Thoughts Can Stay) , I’ve never known Jared to shy from serious themes. He has parsed the elation (“Excellent Time”) and transience (“Limber Hearts) of Youth; bound to rambling ballad the intoxicating agony of Young Love (“Loboito”); named all that is bittersweet in Growing Up (“Billy Bird”) and all that is paradoxical in Being Alive (“Hungry like a Tiger”); invoked the absurdities of Modern Life (“Working and Drinking”) and Modern Entertainment(“Cockleburs and Hay”); as well as given anthem to Fatherhood (“Signal Fire”), Mental Illness (“Shake”), Getting Old (“Juicy Fruit”), and Loss of Love (“Tiny Toy Piano”); and, finally, he has grappled with Poet’s fundamental Problem (the beautiful “Moonlight and Timing”; the bitter “Trampling Daisies”; the melancholic “It’s in the Way”), while, layered over it all, is Jared's frenzied invocation of all that is Life.

Impressive. Yet, even this register does not make Jared a Poet. Thus, we arrive at the heart of the matter: What is a Poet?

Here we follow the example of logicians, mathematicians, and John F. Kennedy, in formulating a Proof by Contradiction. Let us, as Kennedy did, assume the existence of an Anti-Poetry. I refer to his convocation at Amherst College, after the death Robert Frost. The day was October 26th, 1963:

“When power leads man toward arrogance, poetry reminds him of his limitations. When power narrows the area of man's concern, poetry reminds him of the richness and diversity of existence. When power corrupts, poetry cleanses.”

It is not hard, looking at our modern slice of the world today, to glimpse a certain arrogance, a corruption, a narrowing. In politics and business, in news forums and social media, in churches and in marketplaces, Anti-Poetry is everywhere. Chances are, you have spouted it. And I’d be a fool not to admit the same.

The difference is a subtle one, but one which, necessarily, makes all the difference. Where the Anti-Poet reduces, oversimplifies, seduces with panacean and bite-sized truth-morsels, the Poet dives headlong into the chaos, returning at length with perhaps no Truth at all. The Anti-Poet employs archetype and tautology; the Poet, imagery. The Anti-Poet is a persuader, a coercer, a prolix biographer, seeking to contain all life in a narrow frame, a dataset, and death as well… for the Anti-Poet fears death, insisting, “We die, we become nothing.” The Poet replies, “Listen to the wind in the trees.” (as Jared suggests we do in the sublime “I Believe” - track 3 on Life is Long) The Anti-Poet draws a line in the sand, demands we stand on one side or the other. The Poet sees only the sand, and reminds us that what we believe is not so important as how we arrive at there.

This is not to say that the Poet remains ambiguous. When the Poet chooses to take a stand, it is unequivocally that: a choosing. And I suppose this brings me to why I enjoy Jared’s music, and why he is a Poet. The twinkling nexus of short biography, or essay, or whatever this whole thing turns out to be… well…

Just don’t expect me to lay it out. You must complete the proof now. You see, I’ve finally taken a tip from Jared. Hop off the soapbox and into the bubble bath, as they say. No one says that. Better, the old creative saying: Show, don’t tell. I remember:

When Jared and I first discussed his new album, Life is Long, Jared related to me that in that winter-bound cabin he went about that cabin in a bathrobe, and when the time came to lay down vocal tracks he would approach the microphone, disrobe, and sing naked. We laughed about this story, then spoke no more of it.

Yet, I thought about it later. What did it mean? This was either a juvenile joke, or a thrust at some fundamental truth concerning the nature of Jared’s music, of Poetry itself. Of course, Jared hadn’t said anything like this. Like this short biography, The Poet hadn’t told me what to write, what to say or think. He simply told me the story, then let me divine what I would. Showing, not telling.

Thus it was from this simple story, that I recognized the Poet’s greatest gift: Myself. To see and interpret as I will. And that is a meaningful gift beyond compare.
Mexican Gunfight
Portland's Mexican Gunfight was formed in 2006 by four old friends and musical brothers in arms who had worked together in various combinations since around 1985. While definitely a rock band, the band's stylistic influences abound: blues grit, country lyricism, the soulfulness of gospel, a rare jam thrown in ... occasionally even tinges of Latin and jazz. Their decades of playing together in notable NW ensembles have honed these musicians' songwriting, chops, harmonies and dynamics into a unified, expressive and powerful whole.



Vocals, Bass / Dave Coey
Guitar, Vocals / Alan Toribio
Piano, Hammond Organ / Mike Walker
Drums, Vocals / Ned Failing