Spirit of Central Oregon – 2022

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The Painted Hills: A PLACE OF NATURAL WONDER

By Ceili Gatley | Photos by Jarod Gatley

The Painted Hills are a place of striking natural beauty with ancient roots — one of the seven wonders of Oregon.

The hills offer spectators a look into the past, with layers of vibrant colors on rolling hills throughout the basin. The name comes from the colored soil that presents the look of a painting on the hills. The hills’ red, tan, and black layers of soil are the result of changes in the climate during a certain geographical era.

The layers were created over 35 million years ago, when the area was an ancient river floodplain.

“The layers were created by ash layers deposited by ancient eruptions when the area was a riverplain,” Amusing Planet notes.

During your visit to the Painted Hills, you can walk along trails that take you through areas of the fossil beds and hills showing different geographical time periods up close and personal. According to the National Park Service, there are many hiking trails you can take a stroll on or make it an extended loop hike through the unit.

• Painted Hills Overlook Trail (0.5 mile / 0.8 km roundtrip).

• Painted Cove Trail (0.25 mile / 0.4 km).

• Leaf Hill Trail (0.25 mile / 0.4 km).

• Red Scar Knoll Trail (0.25 mi / 0.4 km).

Another activity at the Painted Hills unit is visiting the Thomas Condon Paleontology Center. The center was opened to the public in 2005. It was named after the Oregon scientist who recognized the fossils in the area and how significant they are to the geology of Oregon. It is dedicated to the study of the paleontological resources of the John Day region.

They also have a new addition to the paleontology lab, a live webcam that you can view on the National Parks Service website.

Red Knoll Trail is called Red Hill on the road signs.) RVs and

“The Painted Hills Unit has a total of five trails, each with their own parking area. Directional signs along Bear Creek Road point the way to each trailhead. (Note: The Red Scar Knoll Trail is called Red Hill on the road signs.) RVs and other large vehicles are not recommended past the Painted Hills Overlook.”

• Carroll Rim Trail (1.6 mile / 2.6 km roundtrip).

“Our Paleontology Lab Cam allows you to watch our paleontologists remove rock from around fossils. Sometimes there are other tasks to do, but when they are working on other projects, they usually leave a fossil that they have been working on in the camera’s field of view. The lights usually come on at 9 a.m. and go out at 5 p.m.,” according to the Center’s webpage.

www.NuggetNews.com • 3 on they have been working on in the camera’s field of view. The lights usually come on at 9 a.m. and go out at 5 p.m.,”

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If you are looking for a day trip to the eastern part of the state, you can’t go wrong with visiting the John Day Fossil Beds and the Painted Hills, to witness geological history and a mysterious, colorful landscape.

For more information on the Painted Hills visit:

• https://www.nps.gov/joda/planyourvisit/tcpc.htm

• https://www.nps.gov/joda/planyourvisit/ptd-hills-unit.htm

• https://www.amusingplanet.com/2014/03/

• painted-hills-of-oregon.html=

Master Craftsmen SHARE THEIR GIFTS

By Katy Yoder

Dale Holub and Glen (Bub) Warren are master craftsmen working in different mediums. Both produce one-of-a-kind pieces that are collected, used, and cherished around the world.

Holub is a master woodworker and Warren a master saddle maker. Their mediums may be different, but their philosophies align. Both strive to achieve perfection, and, after decades in their craft, are able to get closer than many thought possible.

Dale Holub works out of a converted horse barn in the woods in Sisters Country. His home serves as his showroom for examples of the artistry he’s achieved in the design and building of fine furniture. Many of the pieces were built over the years for his wife, Elaine. Their finish and designs are timeless and their construction so precise it’s hard to tell if they were built last week or decades ago.

Warren has been a saddle maker for close to 50 years. He recently opened a store, Sweet Grass Leather, featuring his Franklin saddles, hand-tooled leather goods, as well as Western-style purses made by Terry Underhill. Raised on farms and ranches in the American West, Warren has firsthand knowledge of the importance of a well-fitting saddle and quality tools for the cowboy trade.

After trying his hand at carpentry, commercial fishing, and ranch work; a logging accident made Warren reassess how he could support his family. It took two years to heal from his injuries. During that time, he met a master saddle

maker from Spokane named Bill Long. Warren asked Long to teach him saddle making. Long agreed, beginning a fivemonth, paid apprenticeship that ended because Warren ran out of money.

“Bill told me I wasn’t ready to be on my own, but I had no choice. When I couldn’t learn from him anymore, I moved my family to Union, Oregon and opened a saddle shop,” said Warren.

While in the shop, Jerry Franklin of the legendary Franklin Saddle Company paid him a visit. Franklin saw one of Warren’s saddles, and hired him to make saddles for him.

“I bought Franklin Saddle Company in 1976 and ran the shop in Union for eight years,” Warren recalled.

Years later, when Bill Long came by and saw the saddle Warren was making, he said, “I guess you were ready.”

Eventually, Warren moved his family back to Oklahoma, where he was born. Oklahoma was having a centennial celebration called the Oklahoma Diamond Jubilee.

“I decided to make a saddle to commemorate the occasion,” he said. “That saddle got me into the Smithsonian Institute of Folk Life Festival. Then in 1982, Mort Fleischer,

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Dale Holub creates masterpieces in wood at his shop in Sisters.

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who owns the largest collection of Western memorabilia in the country, bought the saddle for $40,000 and took it back to his home in Arizona.”

The saddle has carving and silver reflecting Oklahoma’s past, like an oil derrick, cowboys, and even a one-carat diamond in the horn.

Holub began his woodworking career as a student in the Industrial Arts program at San Francisco State College in 1970. While the program was directed more toward teaching, there was enough hands-on technical training to excite him with the possibilities of designing and building furniture. Two of the instructors were leading experts in the field of furniture design — John Kassay, a master of Shaker furniture, and Art Espenet Carpenter, a legendary pioneer in the popular movement of contemporary hardwood furniture.

“I was greatly inspired studying under these men. I gradually began acquiring tools and equipment, and took on commissions for custom furniture pieces,” said Holub. In his early years, he also worked in commercial shops, which furthered his appreciation and respect for quality craftsmanship. In 1975, Holub was admitted to the Baulines Crafts Guild as a Master of Furniture Making - inspiring him even further. “Being exposed to other gifted artists – I began taking on apprentices of my own while developing my skills as a woodworker,” said Holub.

In his early years, Holub saw two of his desk designs chosen to be exhibited at the California Design Show at the Pasadena Art Museum. That included his work being published in the hardcover edition of the California Design 76 and the subsequent release of the book “Craftsman Lifestyle – The Gentle Revolution” another California Design publication.

Recognition for being an outstanding craftsman in the state spawned many subsequent showings in the Marin County Civic Center and many achievement awards. His work was featured in two separate shows in the Following Sea Gallery in Honolulu and Maui. That exposure led to commissions from clients around the world.

“To this day, I receive calls and emails from past clients who never stopped appreciating the work I created for them,” said Holub.

Warren’s customers share that deep appreciation for his workmanship and have come back many times to order another custom saddle. When Warren started out in the 1970s his saddles started at around $200 each. Now his museum-quality saddles begin at $4,800 with an average saddle going for up to $7,000. Some go much higher.

“For a buckaroo that’s about three months’ salary,” Warren said.

First, the saddle has to be comfortable for the person

who’s going to ride it for hours every day. Then the tree (foundation of the saddle) has to fit his string of horses. Warren says the buckaroos prefer a rangier horse than modern day quarter horses, one that looks more like a thoroughbred and can work for long distances.

“We use a tree that fits that sweet spot to keep them all comfortable,” said Warren.

After building more than 1,300 saddles, Warren is ready to retire. He’s willing to teach someone how to run the business and carry on the Franklin Saddle Company name.

“It would be nice to see it continue for another 60 years,” he said. “When I bought out Franklin Saddle Company it wasn’t about me, it was about carrying on the name.”

Warren won’t go far after he finally pulls the shade on his shop for the last time. He’ll stay local, close to his daughters and grandchildren who live in Central Oregon. He hopes some ambitious person will come along and want to soak in some of the decades-long knowledge and keep the Franklin Saddle Company name going strong.

Holub isn’t ready to hang up the tools.

“It’s been refreshing getting my hands back on the work after directing employees for so many years,” he said.”I’m enjoying getting back to furniture making that characterizes most of my early years in the business. It gives me the best opportunity to showcase my skills as a woodworker and designer.”

Holub’s current projects include building two sliding barn doors.

“I’ve created lots of entry doors, because it’s a place that makes a strong statement,” he said.

He’s also finishing up a living room table that includes his seamless, strong

angular design with an infinity edge.

Holub is ready for his next project, whether a customer is looking for an heirloom-quality piece for an office desk, or entertainment furniture. He has a knack for helping clients design an empty space that incorporates cabinetry and a comfortable layout. Whatever he designs and builds next, he’s keen to create a unique piece with meticulous appointments, trim detailing, and an overall result that makes furniture silky to the touch. He has a career’s worth of exotic hardwoods including walnut, cherry, olive, black locust, and rosewood, all ready to be transformed into something beautiful and timeless.

Warren and Holub share an ability to create beautiful, functional, lasting pieces that are pleasing to the eye and useful for lifetimes to come. Their decades of knowledge are valuable treasures that they hope will be passed on to a future aspiring masters of their trades.

Sweet Grass Leather is located at 183 E. Hood Ave. in Sisters. Dale Holub can be reached at 541-719-0109 for information about commissioning a piece.

Honoring culture,tradition, and art

AT WARM SPRINGS

Story and photos by Bill Bartlett

Culture and history of the Confederated Tribes of Warm Springs is showcased and honored at the Museum at Warm Springs — a place that should be visited by every resident and visitor to Central Oregon.

During the summer weekends, you can witness live demonstrations by tribal members of the arts, history, and culture. The gift shop offers an impressive array of locally made beadwork and arts, Pendleton products, huckleberry products, jewelry, books, and traditional and contemporary Native American music.

The curation has one of the largest and most complete artifact collections of any Native American museum, including one of the most exquisite collections of Plateau Native American artifacts in the country.

“Technically one of the best unified exhibition plans in any museum in America,” is the assessment of James Nason, curator of New World Ethnology, Burke Museum, University of Washington, commenting on the

permanent exhibit gallery.

The Museum at Warm Springs, Oregon’s first tribal museum, is located just off Highway 26 on the Confederated Tribes of Warm Springs Reservation.

It details the culture and history of the three tribes that make up the Confederated Tribes of Warm Springs, allowing visitors, as its website notes, “to experience firsthand the sounds of ancient songs and languages, the mastery of traditional craftsmen, and the sights of the rich and colorful cultures.”

A striking piece of architecture, the 25,000-square-foot structure also features live demonstrations on summer weekends by tribal members of the arts, history, and culture.

The National Parks Service recounts that “the arrival of Meriwether Lewis and William Clark was a defining moment in the tribal histories of the Wasco and Warm Springs people. For Lewis and Clark and the Corps of Discovery, their experiences with the Warm Springs Tribe was at times

cordial and friendly, but other times distrustful and hostile.”

The Celilo Falls and The Dalles sites on the Columbia River were considered one of the most important fishing and trading centers of the northwest region. The importance of this area and the people who lived there were overlooked by the Expedition.

Today, the Museum at Warm Springs provides visitors the opportunity to learn about this bountiful land, and its indigenous peoples: the Confederated Tribes of Warm Springs, which now represents the Wasco, Warm Springs, and Paiute peoples. The Paiutes were moved to the reservation in the late 1870s following the Bannock War.

Entering the museum begins with a walk next to a live stream, then into a circular stone drum, and up to an exquisite door with handles shaped like a bustle.

Museum materials explain that “the exterior (is) designed to resemble a

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traditional encampment among beautiful cottonwood trees.”

The splendid museum entry is the first glimpse into a rich, unique culture.

The museum’s mission includes educating the public as well as preserving the history, culture, and traditions of the Confederated Tribes of Warm Springs.

“We wanted the museum to tell the story of our people,” said Delbert Frank, Sr., president of the museum’s board of directors in 1993, and an influential member of the Tribal Council. “We wanted it to tell the truth. To educate both the public and our own children. To tell them who we are.”

Across the street from the Museum is a gallery, just opened in September, representing the works of a collective of tribal artists. Tananáwit is a community-based organization whose mission is to provide educational and economic development opportunities by empowering its people and building knowledge and understanding of traditional and contemporary Native art of the Columbia River Plateau.

Tananáwit is known for traditional and contemporary Columbia River Plateau-inspired designs and serves as a model for other arts organizations. Its mission and vision statement asserts that “artists use branding effectively and have many opportunities to sell art online. Buying authentic Native American arts and crafts in Warm Springs is highly desired.”

Warm Springs is a vibrant and sustainable community

Deb Stacona displays a painting by artist John Howe.

grated into the culwell-attended art shows that rary artists. The artists have ready access to all tools, sup-

and Tananáwit artists prosper from their art. Artists have a workspace to make, collaborate, and sell their art locally, and they are integrated into the cultural tourism community. There are regular, well-attended art shows that feature traditional and contemporary artists. The artists have ready access to all tools, supplies, and transportation they need to create quality art… Tananáwit artists reflect the strongly held values of family, creativity, and culture in Warm Springs with their deep commitment to sharing intergenerational knowledge through teaching and passing down of cultural art styles to future generations.”

“About 250 to 300 of the 6,000 people living on the Warm Springs Indian Reservation are artists,” said Deb Stacona, the gallery’s executive director. “Tananáwit’s purpose is to create opportunities where these artists can leverage their talents to generate income streams.”

She also explained that with many Native American

piece of artwork is to help whoever purchases or sees it to connect to who they are inside and feel what that piece is offering. That connects them to themselves. It’s an honoring of everybody.”

Becker invites people to text her at 541-788-7899 to see her work in her studio.

Susie Zeitner of Z Glass Act mastered her glass skills over 22 years of hard work, creativity, and experimentation. She’s widelyknown forher work in the commercial lighting genre. Her work can be seen in homes, hotels, and other commercial high-end buildings.

Collectors are also enjoying herwork in mosaic tileglass totems, and fusible glass paintings. The fusing technique requires a kiln.

“You fire glass powder paint made out of an emulsion of glass powder. I create an image like a watercolor technique and paintable glass technique,” she said.

THE MUSEUM AT WARM SPRINGS features a rotating exhibit gallery, library and archives, education room with cooking facilities, conference/ board room, artifact collection space and office, and an administrative area. Performances, demonstrations, and other public events are held at a small outside amphitheater.

Zeitner is focusing on wildlife and Native American imagery for her glass paintings.

In addition to special exhibits, annual events at the museum include the Warm Springs Tribal Member Art Exhibits in October, and the Annual Warm Springs Tribal Youth Art Exhibit in January.

Hours are Tuesdays through Saturday, 9 a.m. to noon and 1 to 5 p.m.

TANANÁWIT’S hours are daily, 10 a.m. to 6 p.m.

The totems are made from fusible kiln glass. She assembles materials made in her studio then fractures and refires them to become tiles on the totems. She rotates between the totems, paintings, and commercial lighting and is really enjoying the fine art realm. The totems are sold at Hood Avenue Art, in her studio, Z Glass Act in Sisters, and at Pottery House in Tumalo.

To make an appointment, contact her via phone at 541-556-9068 or email her at susiezeitner@gmail.com.

words there is no easy translation into English. Tananáwit is one such word. It can be best thought of as a feeling and not a person, place, or thing.

Over 1,200 quilts on display from quilters of all ages and skill levels.

“Everybody who lives here know it’s meaning,” Stacona said.

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Many of the artists do not sign their works, as humility is a key virtue among tribal members. Upon its opening, nine artists were exhibited with works ranging from paint-

A website history of the project notes that “in the beginning, a group of Warm Springs tribal members met to consider the idea of forming a cooperative. Very quickly, the group decided that an arts cooperative was the best idea. The group, mostly comprised of artists, formed a steering committee to guide the process. In 2015 and 2016, the group began working with the Warm Springs Community Action Team (WSCAT) and Oregon Native American Business Entrepreneurial Network (ONABEN). They hosted workshops in marketing, merchandising products, and developing a website. WSCAT helped Tananáwit gain

Tananáwit and the Museum at Warm Springs have both received grant support from The Roundhouse Foundation.

Amidst a festival atmosphere, 10,000+ visitors from all over the U.S. and multiple countries come to celebr ate the creativity, skill, and heritage of quilting ar ts. Save the date...

Sisters Out doo r Quilt Show™

July 8, 2023 Open to the public at no cha rge!

www.soqs.org

PHOTO BY STU CURTIS

Sisters Outdoor Quilt Show, always held the second Saturday in July, is renowned as the largest outdoor quilt show in the world.

SERVICE AND sacrifice

In the year 1965, the world was heating up. The United States and Vietnam were at war, in a conflict that would eventually span four presidencies while driving a wedge into the American social fabric. Mandatory drafts were escalating.

For 19-year-old Pat Bowe, involvement in the maelstrom was inevitable, either by choice or political demand. He was born and raised in Beaverton and came from a military family that infused him with a sense of duty to his country. His father, a World War II veteran, had served in the Pacific and European theaters and fought in the legendary Battle of the Bulge. He says his father’s service played a major role in his desire to join the service. He enlisted in the Army in 1965 and after basic training volunteered for Army Airborne jump school in Fort Benning, Georgia.

The training was rigorous.

“We ran everywhere,” he said.

Army Airborne jump school was designed to make elite soldiers for special combat operations who specialized in parachuting into enemy territory. The training had many phases, each leading up to the ultimate test — leaping from a moving plane at altitude. Two sticks — military parlance for a line of 15 to 18 men — would jump out opposing doors of the aircraft. Jumpmasters motioned the recruits out the door into the wind-blasted air. Jumpers came out of the door in a tight, tucked position waiting for the jerk of their chute deploying and praying they hit the landing zone.

enemy of the aircraft. Jumpmasters motioned the recruits out the

The blast of wind and jerk of an inflated chute was exhilarating, but Bowe knew the training was ultimately meant for combat in Vietnam. Eventually his number would be called, and in April 1966, it was.

Bowe was deployed to Vietnam, where he would join a large number of Americans in the early war effort. By 1967, half a million Americans occupied the area of Vietnam and the casualties began to climb. He landed in Saigon and was immediately taken aback by the stifling heat and wretched smell of the country. He was assigned to the 173rd Airborne Brigade. The unit, established in 1917, had seen service in World War II but gained notoriety during its tenure in the Vietnam War. Bowe’s involvement with them would be the first major ground formation in the unit’s history, and played

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Story and photos by Cody Rheault

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a vital role in many major operations.

Bowe quickly realized that his involvement with the 173rd could become a violent experience.

His suspicions were confirmed when he was assigned to an infantry reconnaissance platoon. His platoon had the sole mission to find and kill the enemy.

“As blunt as it sounds, it was kill or be killed. It was that simple,” he says. “Your job is to take the enemy out any way you can.”

His platoon worked in small numbers, seven to eight men at a time. Their work was deep in the jungle, and dangerously exposed to the enemy, but the small unit meant the team was close, a valuable asset when enduring the many firefights with the enemy. Patrols were long and rugged. The enemy was hardened and experienced, and the jungle made the task of winning even more challenging.

“If the enemy wasn’t trying to kill you the environment was,” he said.

In February of 1967, Bowe’s unit made history. The American Army Airborne “Sky Soldiers” of the 173rd would make the first and only combat jump into Vietnam. The offensive was called Operation Junction City, an 82-day effort to cut a large unit of NVA (North Vietnamese Army) out of a region on the Cambodian border.

Bowe was one of 700 men to jump that Wednesday, in an iconic effort to oust the enemy of its stronghold. The operation would garner wide media attention and land a grainy blackand-white photo on the cover of Life magazine.

But Bowe’s jump missed the landing zone.

“It was organized chaos,” he recalls. “It would have made things much simpler if I had hit the landing zone.”

Bowe was on his own miles from where he should be, but his unit regrouped and carried on the mission.

Oregon

However, the operation ultimately failed to find and eliminate the large enemy unit. Smaller units were engaged, and, militarily, Bowe says the operation was a success, but not a win to match all the fanfare. His missions continued through the summer and into the fall of 1967. Bowe’s unit would continue operating on the frontlines, searching and destroying enemy caches.

“Anything from food, ammo, or supplies was destroyed,” he said.

Bowe would ultimately sustain two injuries throughout his deployment. An enemy grenade explosion pierced his body with shrapnel. A medic quickly treated him, patching his many bleeding wounds, but Bowe grabbed the medic’s weapon to finish the firefight.

In October of 1967, Bowe sustained the most severe wound of his time in the service.

During a patrol when he was on point, a highly exposed position at the front of his platoon, a shot rang out and pierced his abdomen. A firefight ensued and Bowe, only 20 years old at the time, lay in the dirt wondering if he’d make it home.

“I thought that was it. I was just a kid, I haven’t even lived yet and I

wondered, ‘Will I even survive this?’” he recalls.

The bullet ripped through his lung, liver, and stomach, and took a rib from his back. Bowe became another name on the long list of casualties the Vietnam War was racking up, and he would be eight months healing.

Of the 6,000 Purple Hearts awarded to soldiers of the 173rd Airborne throughout the Vietnam War, Bowe would eventually receive two, along with a Bronze Star with a V for valor.

“We had seven to eight people in my squad at any one time and we had 11 Purple Hearts between us. So we were all shot up at least once or twice,” he said.

The Vietnam War would eventually claim 58,220 American lives, with scores more wounded physically and mentally. Bowe recovered and the war become a painful memory, distant with time. But he says his time in Vietnam made memories and experiences you never truly forget. He has 13 pieces of shrapnel from the grenade that still haunt his body like the memories of lost friends.

Back in Oregon, his service to country continued in a new way. He served as a sheriff’s deputy in Marion County and would later retire from the Keizer Police Department after 33 years in law enforcement. He’s involved with the local American Legion and frequents military memorial events, hosting Memorial Day services in Sisters, where he now resides. He enjoys the quiet, humble life in the small mountain town.

Vietnam is now a memory on paper, in images, and in the few friends he has left from that war over 50 years ago. But despite age and the troubling memories, Bowe remains resolved in duty to country.

“Even knowing what I know now I wouldn’t hesitate to do it again,” he says proudly. “You wouldn’t have a country like this if you didn’t have people who were willing to step up.”

MYSTERY

AUTHORS EXPLORE ‘spirits’ of Central Oregon

By Jim Cornelius

When Jools Sinclair and Meg Kehoe delve into the spirit of Central Oregon, they are doing it literally. Or, perhaps, spectrally.

The mother-daughter duo — both successful indie mystery writers — lead Bend Ghost Tours, exploring the haunted history of Bend.

The tour grew out of the women’s passion for storytelling and an interest in the supernatural and paranormal. Sinclair is the bestselling author of the “Forty-Four” paranormal mystery series which has had nearly one million downloads internationally, and takes place entirely in Bend. She notes that indie publishing hit at just the right time for her, giving her a direct outlet for her storytelling drive.

Kehoe was a reporter for The Bulletin for five years before she turned to writing cozy mysteries set in a town that resembles Sisters under the pen name Meg Muldoon. She shares her mother’s interest in the paranormal.

While they have both built successful careers with the pen, writing can be an isolating way of life. Recent times found them craving a different kind of storytelling.

“Coming out of COVID, I wanted to have more interactive (storytelling), more storytelling with people. So we started Bend Ghost Tours,” Sinclair said.

So tours booking out quickly — especially as

The tours have proven a big hit, with tours booking out quickly — especially as

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the seasons change and Bend grows dark.

While Sinclair and Kehoe are lively and full of humor, the tours are not tongue-in-cheek. The events they explore are historically based, and they treat that often-dark history seriously.

“I do think that Bend has a dark undercurrent that people aren’t aware of,” Sinclair said. “It could be a turbulent place.”

Kehoe explained, “We love the storytelling aspect of it, but we want to tell the stories as they actually happened. We’re not embellishing too much. We’re not making up stories here.”

They cite a terrible tale from the 1920s in which an ax murder was perpetrated in Bend — and never solved. Four arrests were made, but no one was ever brought to trial. Kehoe notes that one of the suspects was convinced that the lumber mill where he worked was haunted and that his fellow workers were possessed by evil spirits. Whatever the source of the millworker’s conviction that he lived in a haunted Bend, it’s not a made-up tale. His fears were reported in The Bulletin at the time.

That kind of historicity is woven into the Bend Ghost Tours approach. In many of their cases, it’s clear that something unexplained and uncanny has affected people over many years.

“Everybody who has a ghost story, it’s a legit ghost story for them,” Kehoe asserts. “The Pine Tavern is a great example, because people for (decades) have been having experiences there.”

Pine Tavern is believed to be haunted by a ghost people have taken to calling Gretchen, though the basis for that name is lost to time.

Sinclair is quick to note that, while there is a historical basis for the sites they cover, “it’s not a straight history tour of Bend with a few ghost stories — it’s the other way around.”

Bend Ghost Tours is focused on downtown Bend, but Kehoe and Sinclair recognize that hauntings are not confined to the old core of the city. They have tales from the Old Mill and from the Galveston Avenue area.

“We’re in the process of writing a book to cover some of those areas,” Sinclair said.

Writing remains at the center of the duo’s creative life.

“I’ve always been a writer, since I was a kid,” Sinclair said.

She moved from Los Angeles to Oregon 30 years ago, and has lived in Bend for many years. Bend is virtually a character in her stories. The first book in her “Forty-Four” series came after she heard a young woman’s voice distinctly uttering what would become the opening line:

“I know I’m lucky.”

The woman had a near-death experience, drowning in a Central Oregon lake. Revived, she could see ghosts. The arc of the series involves her figuring out how to use this fraught gift for the good.

Sinclair notes that all of the locations in her novels are real Central Oregon locations — except for that first lake. With a storyteller’s knack for enticement, she says with a grin, “There’s reasons for that.”

Kehoe graduated from the University of Oregon School of Journalism and worked as a reporter for her hometown newspaper — but her true passion was for creative writing.

“My dream was always to be a fiction writer,” she said. “Mysteries are my favorite genre.”

While she writes “cozy mysteries” — defined as being light and comforting, with sex and violence kept to a minimum and occurring off-stage — her tastes range widely, including much more hard-boiled tales.

Hard-boiled or cozy, Kehoe thinks that what draws both writers and readers into mystery stories is the opportunity to enter a fully realized world. In a series, in particular, readers can come to feel that they truly know the characters.

“People love to be in these worlds,” she said.

Bend Ghost Tours is really just another way to lead folks into a world — this one being a little spooky, and often tragic. The duo notes that they start the tour with a 1928 incident that occurred along the Deschutes River right in the heart of town. It’s an incident that can feel very emotional.

This October, they’re adding a kids’ tour. This one’s not so heavy — they say it’s “light on fright.”

Tours book quickly, especially in the Halloween season. For more information, visit www.bendghosttours.com.

IMMORTALIZING THE BEAUTY OF

The landscapes of Central Oregon are a spectacle worthy of immortalization. For thousands of visitors and the community, it defines beauty. The allure leaves a lasting appreciation for the land. The Central Oregon region is one of the most diverse landscapes in the state of Oregon, and its beauty abounds on epic display on every horizon.

For artists Karen Eland and Katie Daisy, that beauty is more than an attribute to observe, it’s one to share through art. In 2021, Visit Central Oregon commissioned them with the task of representing towns in Deschutes, Crook, and Jefferson counties in vibrant public murals.

The project was titled “The Central Oregon Mural Trail” with the hopes of alluring visitors on a journey of arts and culture, inspiring a new way to appreciate the land we inhabit. Every mural is in an easily accessible location for people to enjoy. Eland and Daisy began pursuing the idea of what it meant to define a town through art.

Frequent scout trips to their respective regions were the first source of inspiration. A keen eye for flora and fauna, wildlife, and the colors in the terrain sparked ideas, artistically influencing their decision-making — flowers would go there, the mountains in that letter, a hummingbird over here.

Story and photos by Cody Rheault

Sketching a rough idea onto a blank piece of paper, Eland and Daisy began to assimilate the visual language by which they would define a town.

In the dynamic country of Central Oregon they found inspiration everywhere they looked. For the Maupin mural, Eland was inspired by the vivid blues of the Deschutes River that weave through the town like an elegant brush stroke; Daisy was stirred to replicate the yellow wildflowers adorning the lofty hillsides. In Sisters, Eland lost herself in the details of the earthy brown bark of a ponderosa pine tree, and Daisy fell in love with the vibrant, yet challenging, design of a purple broad-leaf lupine.

Daisy was inspired by the pleasant orange glow of an evening sunset in Redmond, and it guided her color palette, laden with oranges and yellows; Eland studied the horses in Sunriver, the way their coats reflected the midday sun and how they graced the pastures, and she painted two grazing as an homage to Sunriver’s wildlife and agriculture.

Every mural has a common theme, drawn from the traditional “Greetings From” postcards of the 1930s to 1950s. The three-dimensional typeface is a character that Eland and Daisy use to frame the landscapes they portray. The

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broad font allows them to infuse elements of a region. Eland inlays mountains, bridges, or, for example, the smoke stacks of Bend’s Old Mill District, into the lettering. Daisy uses her finesse and whimsical floral designs to complement the wording — like garnish on a fancy dish.

“There’s so much beauty to put into this world, and I feel sometimes we overlook how a wall of a building could be a portal into a whole other world,” said Eland.

The process of painting a mural is a team effort. They have 75 years of artistic experience between them, both painting since early childhood. Yet, it’s their individual strengths and weaknesses that make the murals unique. Daisy has a rich history of incorporating floral designs and arrangements. She uses her upbringing in rural Illinois to inspire her designs, often paying homage to that in her work today.

Eland has made a name for herself in the artistic world with her ability to create realism in her art. Wildlife, architecture, and landscapes are displayed in sharp detail and occasionally mistaken for a photograph.

“I’m usually painting what I can see and trying to make it look pretty realistic, so there’s that satisfaction with every

brush stroke,” Eland said.

Daisy says she doesn’t have that talent, but that’s what makes the partnership stronger.

“It’s like a dance when we’re painting,” she says.

Complementing each other’s styles and strong suits is an artistic process but Daisy says those challenges make the murals what they are. It’s a symbiotic display of artistic mastery, and together they can do more.

“We’re creating something together that we couldn’t do apart,” Eland says.

The journey to a mural’s completion takes time and careful planning. It starts with multiple empty 5-by 8-foot panels, each adding up in length to fit its final destination. Their work is carefully outlined with white pencil before wet paint ever touches the canvas, a process Eland and Daisy find exhilarating despite the gaping void of a blank wall before them. Their murals vary in length and panels provide a convenient way to paint off-location and install when the artwork is complete.

They both recently completed their seventh and largest mural in the Old Mill District. At 16 feet high and 24 feet wide, it took careful thought before painting. Unlike previous

Karen Eland and Katie Daisy have forged their way along the Central Oregon Mural Trail.

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murals, this was the first entirely painted on location. The mural now lives next to the flag bridge on the north-facing wall of the GAP store, as an emblematic tribute to Bend.

Eland and Daisy have a few more murals to complete within the Mural Trail project. Each location is promised their best effort to represent their respective towns and landscapes. And like every mural before, the Central Oregon landscape will live on in the form of painted artistry at the hands of two masters.

Daisy hopes people can find a little peace in their work.

“I love creating a world that people can jump into and escape in,” she says.

And Eland hopes people will be blessed by their efforts in preserving the beauty of Central Oregon.

stunningly beautiful seasons with temperate climate, endless recreation on land, water, and in the air, farm-to-table food and toasts with artisan-cra ed beverages, and world-renowned events, music, and art

Each mural starts with empty five-byeight-foot panels. Designs are carefully created in pencil, then colorful paint finishes them in all their glory.

Harvest’s bounty

FILLS PANTRIES ACROSS THE HIGH DESERT

By Jim Cornelius & Bill Bartlett

Katrina Van Dis is on a mission to make sure everyone in Central Oregon, regardless of station or status, has access to good, healthy food.

She’s the executive director of High Desert Food & Farm Alliance (HDFFA), whose vision is clearly defined: a prosperous food and farm network with equitable access for all Central Oregonians.

“Food is a basic need and shouldn’t be a luxury,” Van Dis says. “On the flip side, how can we support small farmers in a corporatized system so that they can continue to do the work they love?”

Van Dis grew up on a farm in La Grande, and a passion for agriculture is in her blood.

“I worked on my parents’ farm and I had a business selling cherries on the side of the road in the summer.”

She learned the ropes early, including the economics of producing food and getting it to consumers.

“I just was really fascinated by it, and made a career of it,” she said.

The HDFFA was developed in 2010 and formalized in 2012 to address the barriers and challenges around food access and production in the high desert region of Central Oregon. Their work centers around the conviction that everyone deserves good food — defining good food as

affordable, nutritious, and culturally appropriate food that is easily accessible and sustainably produced in Central Oregon.

Much of their work is focused around food security for limited-income residents, but HDFFA is equally committed to supporting farmers and ranchers who grow, raise, and craft food.

“We strengthen the ties between traditional food security efforts (food bank) and work to build healthy food systems (farm to plate),” HDFFA explains on their website. “We do this by purchasing fresh food directly from our local farmer for our Food Access programs, providing educational materials about how to shop, prep, and cook with local and fresh foods, and working with our agricultural producers to improve their viability and provide food for the community.”

In this endeavor they have received financial support from The Roundhouse Foundation, whose philanthropic work is designed to “support programs that inspire creativity and connect people with each other and their sense of place to ensure sustainability and economic success for Oregon’s rural communities.”

“Our relationship with Roundhouse started small,”

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Van Dis said. “They supported us through COVID.”

Today, HDFFA turns financial support from The Roundhouse Foundation into “sub-grants” to producers to develop innovative projects. Funding from The Roundhouse Foundation has helped to formalize the network’s peer-topeer learning programs, where farmers and ranchers share with each other the nuts and bolts of what’s working for them.

Van Dis is deeply appreciative of the degree to which Roundhouse “gets” the world of small-production agriculture.

“What’s most important to me is that they see the potential, and are willing to take a risk,” she said.

Van Dis has built a strong rapport with Erin Borla, The Roundhouse Foundation’s executive director.

“I get so excited when I get to talk to someone about the whole food system — and she’s one of them,” Van Dis said.

“She gets the whole supply system from farm to table.”

One of the projects HDFFA backs is the Central Oregon Fill Your Pantry event.

Organized by Megan Kellner-Rode of Boundless Farmstead, this is an annual event typically in November at the peak of fall harvest. The Oregon State University Extension Center on the grounds of Deschutes County Fairgrounds is the setting. This year, 2022, is the seventh year of a market that is growing every year in popularity. The event is set for Saturday, November 12, from 11 a.m. to 3 p.m.

Fill Your Pantry is a community bulk-buying farmers market created so anyone can fill their pantry, freezer, and root cellar full of local products for the winter.

HDFFA wrote a grant to help cover the cost of supplies for the event. Support for Boundless Farmstead and Central Oregon Fill Your Pantry was natural.

“Their farm and our mission are very aligned,” Van Dis said.

Regarding the event, Van Dis said, “It’s actually an important event for both producers and consumers.”

This is a bulk-buying event, so shoppers are advised to bring their muscles. Farmers, ranchers, orchardists, and producers will only be selling large quantities of items — 20-pound bags of onions, 50-pound bags of potatoes, halfwheels of cheese, etc.

“This is an opportunity for farmers to get a lot of produce out there to people,” Van Dis said. “They can off-load thousands of pounds of food.”

Van Dis notes that she always buys 25 pounds of carrots.

“I parboil them and freeze them and have them all

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The Central Oregon Fill Your Pantry event organized by Boundless Farmstead is an opportunity for farmers to get their produce out to people in bulk, just in time for winter.

page

winter,” she said.

For people who can’t afford to buy in bulk, there are ready-made food kits that include recipes.

“They can use SNAP (benefits) to purchase it,” Van Dis said.

It’s not only vegetables and fruits — grains, grassfed beef, salmon all are available.

For the most up-to-date information on the events, follow Central Oregon Fill Your Pantry on Facebook and Instagram.

HDFFA has many programs to improve food access while simultaneously aiding farmers in accessing the market.

Among the projects are Mobile Food Pantry-Fresh To You. HDFFA and NeighborImpact partnered to purchase a mobile food pantry that drives to places where there is a need to improve food access and food security —places that lack food pantries or have

a limited number of grocery stores.

Then there’s Grow and Give. HDFFA annually collects 15,000 to 30,000 pounds of fresh produce from local farmers, gardeners, and community members. In 2021, they collected over 30,000 pounds, which was the equivalent of more than 26,000 meals for Central Oregonians. Overall, HDFFA has donated 104,548 pounds of fresh, local produce to NeighborImpact.

Check out local food by visiting www.getataste.org, a free community resource produced by HDFFA on behalf of all their partners who grow, raise, and craft local products in the tri-county region of Central Oregon, and the Confederated Tribes of Warm Springs.

For more information on The Roundhouse Foundation and its work, visit www.roundhousefoundation.org.

HDFFA group gleaning a local corn field.

TAKING ON THE ultra challenge IN CENTRAL OREGON’S MOUNTAINS

By Ceili Gatley | Photos by Jarod Gatley

The rugged and beautiful landscape of Central Oregon calls to dedicated athletes. Some are elite professionals.

Others are folks with a day job — and a passion. People like Chris Colovos.

The Bend man ran the Oregon Cascades 100-mile ultramarathon foot race put on by Alpine Running on August 27, 2022 one of more than 200 runners to participate in the race starting in Bend at Pacific Crest Middle School, and finishing 100 miles later at Sisters Middle School.

Colovos always enjoyed running, ever since he was a kid.

“I was always the kid that was excited to run the mile at school,” he said.

He grew up in the Crook County schools, graduating from Crook County High School in 2000. Colovos participated in track-and-field and cross-country throughout middle and high school, always enjoying running as a hobby and a sport. Colovos has always had a passion for sports that provide a sense of excitement and competition.

After high school, Colovos wanted to check out the rodeo scene. He was working at the Bend Athletic Club at the time, and went to the practice pens in Madras to get on bucking horses, which weren’t there that day. But there were bucking bulls.

“I was hooked from my first time, and dove in and started bucking bulls and then wanted to go in and compete in rodeo,” said Colovos.

He was competing in rodeos across the northwest, and he met his wife, Leslie, through the rodeo scene. Two or three years into bull riding, after getting roughed up a bit, he decided that he wasn’t going to continue with rodeoing.

Colovos and his wife and family moved to Bend from

Prineville in 2018, and Colovos rekindled his passion for running. Colovos currently works at Judson Construction as a foreman, framing homes and pouring concrete. Running is Colovos’ hobby outside of work.

In 2016, he began running 5Ks, street marathons, and other races of that nature in Central Oregon. Every year, Colovos would take part in the 4th of July Splash-n-Dash triathlon event in Prineville, where he’d recruit family members and friends to do it with him.

“I always looked forward to that event and kept up with my training and physical condition to participate in races and this triathlon event. I liked it enough to want to keep training and athletic ability up and I started doing more of that,” said Colovos.

Due to the relocation to Bend in 2018, Colovos started running more on trails.

“It was this new exciting thing, to run on trails and have them more accessible, and I just wanted to find more trails and places I hadn’t been,” he said.

During his experience running on trails in Bend, he began finding the ultra-running community, and that is when he started thinking about taking on serious long distance. An ultramarathon race is anything over 26.2 miles (marathon race length), including the Oregon Cascades 100.

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The ultra-running community turned Colovos on to more trail running, doing runs that were a lot more physically demanding, climbing over mountain passes on rough, rocky terrain.

“That type of running is a different experience and an exciting one, running through the mountains and on hiking trails. Ultra-running is a lot slower, it’s not easier because of the terrain, but you move slower through the trails while running ultras,” he said.

“Running was always a part of my life. When I found ultra-running, and people running for days, it felt like it was something I should be doing,” said Colovos.

Running on steep mountain trails, “It becomes an obsession of ‘where can I go next?’”

The Oregon Cascades 100 ultramarathon race was what was next for him. The race started from Pacific Crest Middle School in Bend, and looped over to Tumalo Mountain and through the Cascades to the Sisters Middle School track. The race has 12,000 feet of elevation gain, with 14 aid stations along the way.

The race began at 6 a.m. on a clear, crisp morning in Bend. Colovos arrived at the race with his crew, which included his wife and kids, his brother Nick Colovos, and friend Drew Roberts. Nick and Drew were Colovos’ pacers later in the race. Roberts started pacing with Colovos from mile 50-83, and Nick Colovos ran with him from mile 83 to the finish.

By mile 10, Colovos was stung by a bee, which slowed him for a moment, but he ended up running straight through to mile 23, where he began experiencing knee pain, which was discouraging .

“That took the wind out of my sails,” he said.

Colovos made it to the first large-scale aid station at aid station 5 at Skyliners road, which was 36.5 miles in. He got

to see his family and get refueled. All the aid station had to help stabilize his knee was a cloth buff, which he tied around his upper knee to help stabilize it on the trails for the rest of the race.

By the time Colovos reached the nighttime hours, around mile 60, he began seeing fewer fellow runners on the trail, but was still accompanied by his brother Nick as his pacer. Running through the night tested Colovos’ mental state.

“You’re only focusing on what’s in front of you in the distance of your headlamp light when running at night,” he said.

By the time he reached the Quarry aid station, (Station 12 at mile 83), up Three Creek Road, it was 1:30 a.m. He hit one more aid station, at the Eagle Rock area, before reaching the finish line.

Colovos had the goal of finishing the race in 24 hours total. By the time he reached the Quarry, he wasn’t sure if he was going to make it in that time.

“I began walking a lot more and slowing down. I don’t know what my brother and I found out there, but we kicked up the pace and ran the single-track trail for four more miles towards the middle school, and the sun began rising by then,” he said.

Colovos turned on the afterburners by the end of the race and finished the 100-mile race in 23 hours and 57 minutes.

As a kid, Colovos always went on hikes and explored Central Oregon with his family. But with the Oregon Cascades 100, he was able to combine his love for racing with the exploration of trails through the Cascades, testing himself while reaching his racing goal of finishing in 24 hours.

Giving thanks IS A COMMUNITY EFFORT

By Jim Cornelius

Community Thanksgiving volunteers in Sisters include Deri Frazee, Kimber Finney, Jennifer Seher, Michelle Hammer, and Josh Reed.

Gathering with friends and family to enjoy a Thanksgiving feast is one of the most beloved of American traditions. Yet there are many people who don’t have family in the area, or who are somewhat isolated in their lives — or simply don’t have the wherewithal to cook a big Thanksgiving meal.

Cadres of dedicated volunteers across Central Oregon have stepped up over the years to provide Thanksgiving meals for their communities — and those gatherings have forged their own traditions.

In 2014, an off-the-cuff conversation between Sisters residents Jennifer Seher and Deri Frazee led to the grassroots production of a Thanksgiving tradition.

“I thought there was a lot of people who didn’t have a place to go for Thanksgiving,” Frazee said.

Seher agreed — and the idea of putting on a meal was born. The project suited Seher perfectly.

“I love on people with food,” she said.

Sisters Community Church opened its kitchen facilities and a gathering space and a dozen volunteers got to work.

“We worked from 7 a.m. to 5:30 in the evening, and we served about 125 meals,” Seher said. “That was when we decided to do this every year.”

And they have, even through the COVID-19 pandemic, when they made meals for people to take away with them. Last year, they were able to host a sit-down meal again. Some 450 people were served.

“Some people are there because they need a meal,” said longtime volunteer Michele Hammer. “Others are there for

the community, the companionship.”

Many folks will stay at the site all day, visiting with friends.

Local businesses have stepped up to provide support, including Ray’s Food Place. Last year, the volunteers cooked 20 turkeys.

Josh Reed is the chef for the affair. After his first year volunteering, he told Frazee and Seher that they have him for life. For Reed, “volunteering, helping, providing food for the masses,” is a wonderful expression of personal and community values.

“I believe my boys learned a valuable lesson,” he said. “I hope to have them at my side when they are of an age to help.”

The Sisters Community Thanksgiving Dinner will be held on Thursday, November 24, this year.

Council on Aging of Central Oregon has made providing a Thanksgiving meal an important part of their mission to serve elders across Central Oregon.

“Since COVID began, many of our seniors have been isolated and unable to gather,” said Emma Fried-Cassorla, director of communications and programs. “We’re excited to be able to provide safe and beautiful spaces for them to congregate for the holidays and all year round.

“Thanksgiving is a time to be with family and friends, and our diners and staff have become that for each other. We provide a space for people to laugh, listen to music, chat, dance, and enjoy a great meal with their community.”

COUNCIL ON AGING OF CENTRAL OREGON THANKSGIVING OPPORTUNITIES

BEND

Location: Council on Aging, 1036 NE 5th St., Bend

Time: Noon to 12:30 p.m., Tuesday, November 22

What: Grab and Go Thanksgiving meal with all the trimmings

Who can attend: Anyone over the age of 60

Cost: Free

SISTERS

Location: Sisters Community Church, 1300 McKenzie Hwy., Sisters

Time: November 22 from 11a.m. to 1 p.m. with lunch served at noon

What: Traditional Thanksgiving turkey dinner with all the trimmings

Cost: Free

Who can attend: Anyone over the age of 60

Entertainment: There will be music and a pie walk

LA PINE

Location: The La Pine Moose Club, 52510 Drafter Rd., La Pine Time: 10:30 a.m. to 1:30 p.m., Thanksgiving Day, November 24

What: Meals on Wheels traditional Thanksgiving meal with all the trimmings

Who can attend: Current Meals on Wheels clients Cost: Free

LA PINE

Location: La Pine Activity Center, 16450 Victory Way, La Pine

Time: 11 a.m. to noon on November 17

What: Traditional Thanksgiving meal with all of the trimmings

Who can attend: Anyone in the community Cost: Suggested donation of $5 for anyone over 60 and $6 for anyone under the age of 60

LATIN BAND strikes chord IN CENTRAL OREGON

The band has been a noteworthy sound in Central Oregon for years, playing a host of venues. Their musical range is matched by their regional reach, with regular appearances in Portland, Seattle, and around the Willamette Valley.

Their most recent appearances in Central Oregon were at Joe’s Mood Indigo in Bend and The Depot in Sisters.

The band is comprised of an equally eclectic assemblage of virtuoso musicians with deep roots in Brazilian music, North American and Brazilian jazz, and other groove-oriented music from the Americas, Africa, and beyond.

Brasil Band is led by master saxophonist Tom Bergeron, who has been researching, teaching, and performing Brazilian music for more than 40 years. He returns to Rio annually to perform, and marinate in the tropical vibe.

“As long as I’ve been playing jazz — going back to the ’60s — I’ve been particularly fond of Brazilian music,” he said. “The grooves are infectious, and the melodies have a joyful sadness about them that touches the heart.”

Brasilidade. She was immersed from an early age in the musical culture of her native Rio de Janeiro, participating in Rio’s legendary samba schools, studying voice, and developing a deep repertoire of samba, bossa nova, and Brazilian popular music.

“As a singer, she physically connects with the emotions of a song’s lyric and melody, and reaches listeners on an intuitive level through her embodiment of those emotions,” Bergeron said.

Pianist Cassio Vianna is a native of Rio de Janeiro and a founding member of Brasil Band. He holds a doctorate in jazz studies from the University of Northern Colorado and a master of music degree in contemporary music from Western Oregon University (WOU). His playing strikes a perfect balance between lush harmony and a deeply groovy Brazilian rhythm.

The romantic song-samba from the 1930s and ’40s, bossa nova, the breathtaking frevo from Northeast Brazil — these are all sounds served up by the Tom Bergeron Brasil Band. The band plays an upbeat and eclectic mix of Brazilian genres, contemporary and classic, including the brilliant instrumental choro that was popular in the early 20th century, and modern popular songs, original compositions, and hits in the style of the New Samba currently heard in today’s Rio de Janeiro.

Bergeron holds a doctoral degree in saxophone, having studied with legendary concert saxophonist Donald Sinta, and with Robert Moore — one of the last pupils of the French saxophone godfather Marcel Mule. He began his music study with Roland Belisle, who learned stride piano from Fats Waller.

A Teal Creek Music recording artist, he has recorded, produced, and played on dozens of CDs. In his long career as a jazz and classical musician, Bergeron has shared the stage with a wide range of artists, including Ella Fitzgerald, Joe Lovano, Anthony Braxton, Natalie Cole, Robert Cray, Mason Williams, Glen Moore, and Marin Alsop.

Band members Tom, Rosi, and Cassio also lead Vianna Bergeron Brazilian Jazz in the Seattle area.

Singer Rosi Bergeron brings to Brasil Band the sensuous sound of Brazilian Portuguese and her distinctive and consummate expression of

Bassist Page Hundemer grew up on the East Coast and graduated from the Berklee College of Music. He has lived in Corvallis, Oregon, for 30 years, playing all styles of music and establishing himself as a rock-solid groovemeister. Recently, he released a solo record called “Double Stops,” comprising ten original pieces for solo and overdubbed acoustic bass. Michael Manring had this to say about the record: “Mikey likes it!”

Drummer Cameron Siegal is a Eugene-based drummer, percussionist, teacher, and composer. Although his focus as a performer is drum set, his musical life and sense of groove have been enriched by his experience in West African drum orchestras, the gong ensembles of Java and Bali, the samba bands of Brazil, the calypso bands of Trinidad, and other world music, in addition to Western and Eastern musical traditions

Leader of the band (and mellow fellow)

Since 2000, Bergeron has been deeply involved in studying, playing, and teaching Brazilian music, returning regularly to Brazil to further explore choro,

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samba, bossa nova, frevo, and Brazilian jazz. This passion led to the formation of his Brasil Band in 2012.

He and Rosi spend most of the year in Camp Sherman, and the rest of the year at their home in Niterói, Brazil, across the bay from Rio de Janeiro. When not working on music projects, Bergeron can often be found kayaking or hiking in the Cascades, or walking the beaches of Rio.

The Brazilian draw began about 30 years ago.

“I’d been including Brazilian tunes and grooves in my repertoire all along, then in the ’90s I began to teach a course at WOU in world music, and began in earnest to study musics from around the world — especially those from Brazil, Africa, and Latin America,” Bergeron said. “I traveled to Brazil for the first time in 2004, in order to learn more about the music and the culture. I returned in 2008 on a faculty research grant, and it was then that I met my to-be wife, Rosi.”

Bergeron draws musical inspiration from the jazz heritage and other music traditions from around the world. In the 1980s, he studied with the late Zimbabwean master percussionist Dumisani Maraire, and was a founding member of the Eugene-based African marimba group Shumba. He has premiered dozens of new “concert” works for the saxophone, and is the author of a comprehensive book on saxophone multi-phonics, the esoteric technique of producing several notes at once on the saxophone.

“The first person who inspired me to imagine I could be a musician was my childhood music teacher, Mr. Belisle, who could sit at the piano and play anything. Himself a student of Fats Waller, he taught me stride piano, sax, music theory, chess, and how to run a band,” the saxophonist recalled. “I’ve had other great teachers — mostly from the world of classical saxophone — who encouraged me and allowed me to follow my own path.”

PET