Hawks And Doves Album Release Party, Redray Frazier, Nathan Earle

Hawks And Doves Album Release Party, Redray Frazier, Nathan Earle

Fri, August 24, 2018

Doors: 8:30 pm / Show: 9:00 pm

$10 adv • $12 door

This event is 21 and over

Hawks And Doves - (Set time: 11:00 PM)
Hawks And Doves
I met Kasey Anderson in 2007, shortly after the release of his second full-length LP, The Reckoning. Within a few months of our first meeting we’d become close friends - close enough that when he ran off the rails it took months before I could listen to his voice. But once I did I remembered that in spite of Kasey’s well-publicized crime, and subsequent Bipolar I diagnosis and trips to rehab and prison, there was never anything bogus about Kasey’s music. The songs he had written - the songs that made fans and friends of the likes of Jason Isbell, Steve Earle, Counting Crows, and others - were honest and true, and still sounded as great as they ever had. When Kasey got out of prison and told me he was done with writing and performing I encouraged him to think again. After a few months of coaxing, he agreed to at least give it a try. I helped him get a show at Portland’s Skyline Tavern and offered a little assistance on keyboards. His songs rang true that night and as we played a handful of other shows over the next year or so, I watched Kasey slowly, carefully, find his feet again.

In March of 2016, Adam Duritz asked Kasey to contribute something to Fierce, a benefit compilation for a friend undergoing treatment for Stage 4 cancer, so Kasey reached out to longtime cohort and producer-engineer-guitarist Jordan Richter, many-handed musician Ben Landsverk and Jesse Moffat and asked if they’d be interested in donating a track. They convened at Richter’s newly constructed Room 13 Recording and cut a sizzling cover of Tender Mercies’ “Wiseblood” for the benefit. That session spawned a series of informal jams in the fall of 2016, with the four adopting the moniker Hawks and Doves and Richter rolling tape for posterity’s sake in case anyone happened upon an idea they wanted to chase around later. Soon Kasey started scratching out new songs of his own, building from scraps he’d compiled during his prison stint. The straight ahead rocker “Chasing the Sky” came first, followed by “Lithium Blues” and the wickedly insightful “Get Low.” When Kasey started passing around Richter’s recordings of the early Hawks and Doves rehearsals, he asked me and a few old friends - Eric Ambel, Chip Robinson and BJ Barham (American Aquarium) among them - “is there a record here?”

The answer was, yes. Hell yes.

Kasey remained hesitant but on the rare day when Richter’s studio wasn’t in use and everyone was free of other obligations, Hawks and Doves would convene at Room 13, and they’d spend a few hours laying down a basic track or adding layers to something they’d already started. The songs began to crystallize, and Kasey’s life was on the upswing, too. Already into his fifth year of sobriety, he began training to become a certified professional counselor for fellow sufferers of addiction and mental illness, and as the off-hours Hawks and Doves sessions picked up speed, Kasey and his girlfriend Caitlin got engaged.

And yet the road back is never smooth or straight: in the middle of one damp night in summer of 2017 Kasey suffered a grand mal seizure, a nearly fatal side effect of the lithium he’d been taking to control his bipolar disorder. The episode was scary, but corrected with smaller daily doses. The weeks Kasey spent recovering from the seizure yielded a new crop of songs including the swaggering, anthemic call-to-arms, “The Dangerous Ones,” the chiming tribute to Laura Jane Grace, “Bulletproof Hearts (For Laura Jane)," and the album’s keystone track, the unflinchingly confessional “From A White Hotel.”

As the tunes took shape more old friends started coming in to help. Former Honkies and Presidents of the United States of America lead guitarist Andrew McKeag sang and played on a couple of tunes. Letters to Cleo’s Kay Hanley added her dynamic voice to “The Dangerous Ones.” Kurt Bloch, late of the Fastbacks and Young Fresh Fellows, and now of the Pacific Northwest supergroup Filthy Friends, brought his guitar in for “Get Low” which also features Tom Waits’ renowned saxophonist Ralph Carney, performing on what would be one of the last songs he recorded before his untimely death at the end of 2017. Producer/singer-songwriter-guitarist extraordinaire Eric Ambel added his guitar to “Chasing the Sky,” while Blind Pilot’s Dave Jorgensen added trumpet and pump organ to “Every Once in a While” and “A Lover’s Waltz,” respectively, and Mercy Graves’ Marisa La Fata Mazur made her voice the finishing touch for “Every Once In a While.” Still, the thread that runs through the album is the sound of Hawks and Doves: Kasey’s searing vocals, Jordan Richter's intricately textured guitar work, the beautiful layers of organ, piano, viola and harmony vocals Ben Landsverk laid over the foundation built by Landsverk’s own bass playing and Jesse Moffat’s drums. Hawks and Doves delivers on the promise Kasey Anderson had hinted at in the past, but had never been able to stay out of his own way long enough to realize.

From a White Hotel is an album years in the making — some would say 38 years in the making — and so it makes sense that the new Kasey Anderson album, due July 27 on Jullian Records (just six days after Kasey and Caitlin will hold their wedding ceremony), won’t bear Kasey’s name on the cover. It’s not the next anything. It’s the first Hawks and Doves record; the work of a revived man with a restored creative vision, surrounded by the people who helped revive and restore him.

“I ain’t no Steve Earle,” Kasey sings in “Clothes Off My Back,” as the album’s penultimate track soars to a close, “but I feel alright.” From a White Hotel is an album shot through with honesty and wit, but those lines ring out clearly as an admission: the road ahead is long and challenging, and Kasey’s journey towards reconciliation and redemption nowhere near its end. The good news for the rest of us travelers is that we’ve got Kasey Anderson back among us.

- Peter Ames Carlin
Redray Frazier - (Set time: 10:00 PM)
Redray Frazier
[SOUL ROCK] Sitting on a stool, acoustic guitar in hand, Redray Frazier leans in close to the microphone, talking in a tone that would be little more than a whisper without the aid of Imbibe’s sound system: “I’m Redray Frazier,” he says. “Thanks for coming out and supporting local music.” And then Frazier does what he does best—delivers a soulful mix of rock, folk and blues, seamlessly flowing each style together into one unique sound that ignites the spirit.
With the release of his long-awaited solo debut, Follow Me, Frazier has finally immortalized the sound that’s made him one of Portland’s best-kept musical secrets for the better part of five years (ever since he relocated to Portland from NYC). Originally conceived as two individual EPs—one acoustic, the other electronic—Frazier instead opted to release a single disc that showcases the diversity that defines his live shows. Equally adept at performing mellow, spiritual sets with nothing more than an acoustic guitar and singing with the intensity of a gospel-touting revivalist in front of a full band, Frazier’s versatility shines through on Follow Me.
The ease with which he moves between an eclectic mix of styles can best be heard on the two versions of “Knockin’ on Your Door,” one of Frazier’s signature live numbers—and the only song on Follow Me to get both the acoustic and electronic treatment. A frustrated confession of desire, the acoustic version of the song stays close to its sweaty blues roots; Frazier plays his guitar with a furious intensity that recalls Richie Havens at Woodstock. By contrast, the electronic remix opts to frame Frazier’s desperation in a hypnotic, seductive rhythm: Over beats by Keith Schreiner (Auditory Sculpture, Dahlia, Suckapunch), Frazier admits, “When my soul’s in need of it/ It’s me knockin’ on your door.”
Frazier’s musical journey—from his youth spent in popular New York-based hip-hop/soul group Funky Poets to stints with the C+C Music Factory-produced Brat Pack and the critically acclaimed Mosaic—has lasted nearly 20 years and covered a lot of territory. But, with the release of Follow Me, the now-30-something singer-songwriter has truly come into his own. Communicating in a language perfected by such varying influences as Otis Redding, Nina Simone and John Lennon, Frazier possesses the innate ability to cut to the musical chase. Like an old friend standing at your side, hand firmly on your shoulder while whispering in your ear, Frazier’s music speaks clearly to the heart and soul.

Originally Published on May 9th, 2007 Willamette Week
Nathan Earle - (Set time: 9:00 PM)
Nathan Earle
A son of the Flint Hills of Eastern Kansas, Nathan Earle has now made a home in the Pacific Northwest for over a decade. Earle's ties to Midwestern folk and gospel traditions are interwoven with the soulful and verdant hues of the Northwest. His impassioned vocal delivery and introspective story-telling can break into the most well-guarded hearts without setting off the alarms. Catch him whenever you can riding solo or with the Northwestern Soul Americana outfit The Get Ahead.
Venue Information:
The Secret Society
116 NE Russell
Portland, OR, 97212
http://secretsociety.net/