James Sasser. Portland musician,
entertainer, recording artist.
Alt Country Rock Americana
James Sasser

(e.g., "New York guitar player" or "Beatles influenced drummer")

Band - James Sasser

• Age 28 | Band | Portland, OR

In a city harboring misfits and castaways, Sasser finds his home of Portland, OR quite conducive to his eclectic, rootsy songwriting style. Portland first saw Sasser in 1999 with the cow-punk band Junco Parker. The four-piece was an underground favorite and established Sasser as a talent not to be ignored. His first solo cd, Southside of Sorrow, drew praise on euro-americana web casts and earned an honorable mention for best album for 2005 by Rootstime.be Francois Braeken.
Late 2006 saw the Oregon native return with a self-recorded release, The Melcliff. With his second cd, Sasser expanded beyond his debut with a spare, soulful and incisive recording that has more in common 1960's folk-rock than country music. Now gaining attention from press in the US (Performer Magazine, Miles of Music), The Melcliff allowed Sasser and his band to play shows from Seattle to San Francisco along side a variety of acts, from indie-rock to bluegrass.
Making up the band, the Giant Beat, are vocalists, Greg Sasser and Phoebe Osborn whose other contributions fill out the sound of barebones guitar, bass and percussion. Driving the beat is drummer Kevin Major, a mainstay on the Portland roots scene. Naturally a charismatic performer, Sasser brings his lo-fi recordings to the stage with an engaging style that separates him from the traditional folk standard.
Dip Your Beak, the latest from Sasser, is expected in early 2009, along with James & and the Giant Beat later in the year.

See more at www.jamessasser.com

• China Town
• Drugstore Blues
• Your Side of the Stone
• Practical Pistol
• Ivory
• Radio Cab
• Linda McCartney

Lead Vocals, Guitar, Bass Guitar, Drum Kit

Rock n Roll, Alternative, Singer/Songwriter, Country,
Acoustic

The V-Roys
The La's
Nick Lowe
Roger Miller
Chris Isaak

• Miles of Music Review for The Melcliff
  
  The Melcliff shimmers, vibrates and swirls as if it was recorded in the halcyon folk-rock days of Los Angeles in the 1960s, not Portland in 2006. Sasser combines a soft croon with minor chords, chiming acoustic guitars and a warm reverb. Think an Everly Brothers record without the harmonies or a Mamas and Papas record, with just one Papa. Sasser's engaging songwriting makes The Melcliff one of the terrific surprises of the year. Jeff Weiss (April 2007)
  
  West Coast Performer Magazine review of The Melcliff
  
  The title of this self-released CD is a reference to the apartment building where James Sasser lived and wrote most of the songs on the album. It's an apt title, as these warm, homespun country and folk tunes have the intimate feel of a small living room performance.
  What is immediately striking about this album is its simplicity. The playing and recording style of most of the material on it is free of any fancy fretwork or studio trickery. In fact, the lo-fi production sounds like it was actually put together at The Melcliff. This feature isn't a limitation, however, as it gives the songs the immediacy of eavesdropping on a conversation in the next room. The accompaniment (brother Greg Sasser on drums, Phoebe Osborn on bass) adheres to a "straight line" policy, as well, adding only the barest essentials to move the songs forward. This tendency is especially true of the percussion - Greg Sasser's drumming is wisely restrained, bolstered instead by a healthy dose of tambourine and shakers.
  It is actually the rare moment of indulgence that drags everything down. The most blatant example is the over-the-top Southern rock song, "Ouija Board With Linda McCartney." Unlike the rest of the album, this track features a crunchy guitar line reminiscent of Lynyrd Skynyrd and a more punchy vocal attack by Sasser. It seems so out of place alongside the pleasant, unadorned songs that precede it.
  Thankfully, it is the only blot on an otherwise spotless piece of work and something that can be easily avoided with the skip button on a CD player. Every other song can and should have the opposite effect, encouraging listeners to skip back and listen again to the inviting, invigorating songs by Sasser and his band. Bob Ham (March 2007)
  
  FensePost.com review of The Melcliff
  
  After a stint under the name Lostine, the James Sasser fronted group has resorted back to its original name: James Sasser. One listen to Sasser's croon in "Chinatown" and it is easily apparent how much he as a musician and they as a group have progressed since Southside of Sorrow - both in songwriting and performance. From the harmonic Wooos in the opener to the electric guitars and experimentations with space in "Your Side of the Stone," Sasser meshes his previous country-folk sound with one much more rock.
  In "Practical Pistol," Sasser enhances the song with slide guitar while the percussion shuffles lightly. Heavy tambourine and an ever-present shaker match the drums stride to stride. A wailing distorted guitar screams in "Get It On" as a harmonica blazes, creating a clashing mix of high pitched wails. "Ouijaboard with Lina McCartney" utilizes the tonal harmony vocals mentioned earlier and features Jeff Wood on a terrific guitar solo.
  The Melcliff blends many genres, from the psychedelic in "Ivory" and "Radio Cab," to the rock in "Give It Time," to "Drugsore Blues's" blues - all with Sasser's original love of country. It works well for the group, creating a depth within the album and keeping the mix of songs interesting. In some aspects Sasser comes out sounding similar to fellow Northwest folk-country artist Kasey Anderson. But where Anderson embraces the folk side of country, Sasser feins much of the quiet sound for one distinctly psychedelic and rockabilly. (January 2007)
  
  
  

• Smokes: Nope
  
• Drinks: Some
  
• Tolerates Smoking: Yes
  
• Tolerates Drinking: Yes