“Environmentally friendly, socially conscious, and sustainable jazz and funk” is how local band DTW describes itself on its website. The group leans into a Pacific Northwest-heavy marketing style, with the tagline “Craft Music” and plenty of winking nods to the PNW: “No high-fructose corn syrup has ever touched our chord progressions,” “USDA Organic certified licks and surprisingly global flavors,” “We never use feedlots for our horn players.”
Their bio might be amusing, but the band is composed of serious musicians. The thoughtful Justin “Shep” Schepige serves as the bandleader and bassist of DTW, and over the course of a two-and-a-half hour interview, he graciously went in depth describing the origins, structure, and future of the multifaceted ensemble.
To speak in DTW terms, the music comes from farm to table. And if that’s the case, the band first sprouted in 2013.
DTW started out as a six-member group. “A lot of us were OSU students at the time, and we all had signed up for this class that doesn’t exist any longer, called Small Jazz Improvisation,” said Schepige. “We got to know each other there, and we started playing together and booking gigs, and without getting into that whole history, that was the beginning of it.”
The early days of DTW were marked by not just a smaller headcount, but a different name. Longtime fans will know that the title acronym once stood for “Despite the Whiteness,” a tongue-in-cheek name as “it was a bunch of white guys playing funk … like, a white guys can’t jump kind of a thing.”
“The name kind of became an acknowledgement, right?” said Schepige. “Like, this is what we are, this is what we’re doing. We’re also here to remind you that this music didn’t come from us, right? It came from other cultures in America, predominantly African American, and it was kind of serving as a homage – like, we know what we’re doing, but we’re trying to credit it appropriately.”
However, as the band grew in popularity, the title drew some controversial reviews. Passionate about social issues, the group decided to pivot from the band name but not the subject. “I think it’s really important to have that conversation [regarding how race relations shaped American music], and I don’t want to stop having it, which is why, when people ask in an interview setting, I’m happy to talk about some of the history,” said Schepige. “But when you’re playing a 60-minute set at a music festival, it’s not a place to explain all of that. … [It was] becoming a really big distraction from making quality music.”
These days, the meaning of the DTW acronym is fluid. It adds another layer of personality to a band that’s already full of it. There’s a full list on the website (still accepting entries) of what the band’s signature three characters can mean depending on the circumstance, from “Dafoe, That’s Willem” to “Darjeeling Tea Water” and “Death by Train Wreck.”
“I think the DTW acronym and the flexibility we’ve assigned to it now is just more artistically reflective of what we’re doing,” said Schepige. “We did a summer concert series that was on a Wednesday, it was like, okay, clearly we’re Dancing this Wednesday. And then we went out to Airlie Winery that Sunday, and they’re like, ‘What does DTW stand for?’ … So we’re like, ‘Well, clearly it’s Drink the Wine.’”
Some original members, such as Schepige, are still members of DTW. Others have moved on in the last 11 years, but the band’s numbers have increased since. Now, DTW has 13 core members: Schepige (bass), Kelsey Bleck (drums), Erik Crew (guitar), Bryson Skaar (keyboards), Ed Propst (trombone), Bowen Wolcott (trumpet), Dublin Nichols (baritone saxophone), Keagan Wall (tenor saxophone), Sam Reid (alto saxophone), Gavin Milligan (tuba/sousaphone), and Jobe Woosley, Kate Kisselburgh, and Alfred “Alpha Ready” Perez on vocals (Perez raps).
Some live in Corvallis, with other DTWers spread across Albany, Salem, Dallas, Lebanon, and Philomath. One lives in Vancouver.
“What I’ve been trying to shift the conversation to is telling people we’re from the mid valley,” said Schepige.
Similar to other modern funk collectives such as Vulfpeck and Snarky Puppy, DTW’s reach goes far beyond just a 13-piece band. The group often collaborates with other musicians. Sometimes it will split into bands within the band: The DTW Street Band, inspired by New Orleans music, The Groove Members, an all-improvisation funk project, and DTW Lite, which boasts versatile jazz; “Same great taste, but less calories,” per Schepige.
The designations are a way to stay honest regarding the band’s many musical avenues: “We’re doing separate things musically, and we’re selling it differently, and it’s authentically trying to be something different,” said Schepige. “We just want people to know what they’re signing up for, so there’s no disappointment or confusion.”
The different flavors of DTW’s sound mean the band’s performances don’t get stale despite over a decade of live shows. “If you’re going to play the same amphitheater every year, how many years are you going to do that for people who’ve seen it all and they’re sick of it, you know?” said Schepige. “And so we’ve done a really good job, maybe more so than some other people in the area, of not wearing out our welcome. Because if you’ve seen us perform three or four years in a row, you’ve probably seen three to four different shows. … We’re always trying to elevate, add a new thing.”
The band’s versatility has helped them weather what can be a difficult Oregon music scene.
“I think there are a lot of people in the community that want art and entertainment, but Corvallis in particular seems to have an issue where there are so few places that you can do it at. I think I consider us to be down to three, four venues in Corvallis, and we look at all the bands and people making art and music – there was a big contraction around when I first showed up in the town, and then there was another really big one with the pandemic,” said Schepige.
One part of the scene that’s still thriving is the annual “Funk in the Forest” music festival – a decade-old event that was founded in part by Schepige, DTW members, and other area musicians.
“The mid valley is not known as a gig mecca, by any means,” said Schepige. “That’s partially why we have the music festival, because that was kind of like, hey, there’s not enough gigs in this town. We should make our own.”
Schepige explained that Funk in the Forest wasn’t specifically created to champion the local scene. But in many ways, it’s risen to the occasion: “It wasn’t so explicit, like, hey, there’s a problem. Let’s fix it. It was just people who wanted to do things, so we did it, and now it’s become an event.”
In 2013, the first Funk in the Forest was held in Corvallis’ Avery Park Thompson Shelter (where it is still held today). Schepige remembers around 70 people attended. “But everyone remembered it being magical,” he said. “The vibe was there. It was awesome. … There wasn’t this big intention, and we weren’t trying to change the world, or even try to start a music festival.”
These days, Funk in the Forest can draw around a thousand people. The grassroots funk show has grown into a full-fledged music festival. In 2024, the event will be hosted on Sept. 28, complete with vendors, two stages, and one band each hour from 4-10 p.m. DTW is slated for the closing set.
You can visit the Funk in the Forest website here.
“I can’t think of another music festival anywhere close that specifically celebrates funk and jazz and live bands,” said Schepige. “The aesthetic and what we’re trying to promote is a very specific thing, and I’m just always trying to make the best show I can. … This year, it’s pretty much just funk. I was very happy with the billing we have. It’s a return to form.”
Schepige previewed the festival experience for potential attendees: “As one stage is setting up, the other one is playing. So there’s no gaps – bang for your buck.”
Besides the bands, Funk in the Forest will feature local businesses selling food and drinks. Other features will include aerial performers, live yoga, and breathwork. “There might be a stilts guy coming,” added Schepige.
Still, the focus is on the music. “What’s cool about Funk in the Forest is we tried to condense what I would describe as your typical multi-day music festival experience into one evening,” said Schepige. “Just kind of cram it in. And so if you’re into that, come out for six hours and enjoy a concentrated amount. No camping required. $25 tickets. Super cheap. Sleep in your own bed the same night.”
Known primarily as a live band, it was actually DTW’s lone released album (and a fantastic video game covers EP in 2019) that first drew me to their music. Titled “Do the Work,” the 10-track, hour-long project serves as a strong first impression.
Opener “Soft Grove” brings a laid-back, catchy groove. “Earthbound” packs a searing lead guitar line while “Miss D’meanor” is led by an energetic horn section. From there, the band’s versatility explodes. The first movement of “Symphony of the Cosmos” is anchored by a breakbeat and bassy synth. The second movement? A 12-minute ambient piece. The third? A cinematic jazz epic. From there, “Do the Work” ends with “All It Takes,” which features the album’s lone vocal performance, and “Monk Funk,” an old-school, lively composition that shows off the group’s musical chops.
“Do the Work” was released in 2018. While still proud of the project, Schepige has taken notes on how the band’s next LP can be even better: “I learned a lot being involved in that – there’s a whole bunch of things we did on the album that I will never do again.”
“The first album, I think, is a little bit more all over the place, but I thought that was a good thing,” he said. “This next one, it’s going to sound more coherent, but there’s still going to be a similar music variety. … Because the band’s played so much and we’re really tight, the way I’ve heard it described to me is the band has a distinct sound – everything we touch kind of sounds the way we do it. But we’re also pulling on a bunch of different genres and eras in American history, in music. So, there’ll be more variety, but it’ll sound less disjointed than the first album may have. … I would say the second album is going to be less strictly jazz funk. There’s going to be other genres.”
The new record, which Schepige hopes will be out around the new year, will feature more original music as well as some updated versions of past tracks, such as “Symphony of the Cosmos (Movement III).” Schepige also previewed how the new album would preserve DTW’s sense of musical adventurism, this time sounding more cohesive.
DTW is able to fuse different sounds together because of the band’s connection and collaboration. “Some people really like reggae and ska. Other people like old school Americana. I like jazz, but I don’t even blanketly love jazz – it’s particular artists and eras,” said Schepige. “There’s definitely a lot of metal influence at this point. … So, I think everyone in the band has a different set of influences. But what makes the band fun and interesting and sound good is that we’re all able to serve the band, and all those influences mesh together in an interesting way. And it’s not one influencer, one person, that’s being so dominant. We allow those ideas to coexist.”
A lot of the group’s music is based on improvisation. “Some of the horn lines are stuff where we originally didn’t have a horn line,” said Schepige. “The horns as a section, they’ll make stuff up the whole show. There’ll be some solo section where I was like, ‘Take a solo,’ and then halfway through, they had turned around and worked a little thing out, and now they’re doing a backing line.
“I was always taught that jazz is a verb, not a noun,” Schepige told me, later adding: “It’s supposed to be, at its core, a conversation using the musical language.”
Schepige and drummer Kelsey Bleck are the only members of the band who are full-time performers. However, other DTWers hold music-related jobs, such as in education.
“My life situation, [Bleck’s] life situation, are very particular to allow us to function on just having a lower income,” said Schepige. “I don’t make bad money for what I’m doing, and compared to the other people I know, I’m doing great. But if you just compare me to your average Joe engineer – yeah, it probably doesn’t look good on paper. However, being a small business owner in America and the way tax write-offs work, I would argue I have it better.”
Schepige’s full-time status means he takes care of a lot more than just performing with DTW, including writing the band’s charts, scheduling the majority of gigs, and handling equipment. “All this other work and rent, marketing and running a business and taxes are super boring. Sucks. You have to do it. Someone’s gotta do it, but it gets handled,” said Schepige. “And because we’ve become a big enough deal in our area, I’m able to pay this nine to 12 person band competitive gig fees that they probably would have trouble getting even as a trio.”
Still, being a bandleader is a lot of hard work that isn’t always reflected on the bottom line. Schepige knows he has the skillset to make more in other lines of work, but he’s happy with his current job. “I [went to OSU for physics]. I’ve worked as a mechanic professionally, briefly. There are a lot of things I could do with my time and the skills I have that could potentially make me a lot more money flat out than music,” he said. “But I do music because I really love it. … And I found a way, through trial and error, to make it work for me as a career, and I will do it for as long as I can maintain that, because why wouldn’t you if you can make a career doing art?”
Schepige recounted a time when he played professionally in a wedding band out of college: “A year and a half into that, I was like, I really hate this. No one’s having fun in the band. These guys, they were all old dudes except me, and they’ve been playing the same setlist for like 30 years,” he said. “There’s a point where it’s just like, man, is this a job where you’re just showing up to clock in, or are you making art and engaging on that level. And so, when music started becoming this dispassionate job, I was like, man, is there anything else I could be doing to make more money than this? Why would I subject myself to this? So I’ve worked really hard to make sure the band reflects my mentality: We’re here because we want to be here, and we’re playing the music we want to play.”
“I want the band to stay interesting and engaging,” he added later. “I want the compositions to be natural. I want people to contribute authentically. I want this collective of really good musicians that, quite frankly, if any of them were to move to New York, could probably be doing much better than they are in Oregon, just by virtue of the industry existing. I want all of those people to get to the next level with me, and I want them to maintain the fun. Like, if you’re not having fun at a DTW show, what are you doing?”
You can check out DTW’s music on Bandcamp, Spotify, YouTube, or their website, DTWProductions.com.
