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Jammer was blown away listening to Colin Stetson on Jian Ghomeshi’s radio show “Q.” Sometimes an artist/musician can can kick down the walls and change your world. Colin Stetson is one of those strange and exotic birds. When you hear him play, you think there must be studio trickery or electronic looping or something else going on, but it’s just one man, his sax, and an array of microphones capturing his performance. He uses the whole instrument, and makes it much more than a saxophone. Not many folks change the way you think about an instrument, or about what makes music, music. But Colin Stetson does. He opens our hearts and heads to what’s sonically/artistically possible. He imagines and creates a unique musical vision, and brings an extraordinary physicality and technique to the task. It’s all very inspiring! – Jammer

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This weekend we played at the first annual Bucktown Tree and Garden Walk. The Garden Oasis Stage was set up right next to Club Lucky. A well-equipped stage: lights, monitors, a full back-line. The band certainly felt at home. The main stage is just the ticket. We played for nearly an hour; a blazing set. It was hot, the sweat was flying, and Jammer nearly spontaneously combusted during “Fallen.”  The band is getting tighter, and we continue to evolve and explore together. It’s becoming a big sound! The event was organized and hosted by Chicago music mogul and good friend, Michael Teach and his own CAUDOG Records. After the show Karen O. asked Jammer, “What’s up with the Neil Young schtick?”  Karen, good or bad, it just comes naturally! – Jammer

photo by karen o’brien

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We asked the band for their “go to” albums; music they continually gravitate to for deep inspiration. Carla likes to draw a hot bath, crank the boom-box, and chill to John Coltrane’s “Giant Steps,” Chet Baker’s “Let’s Get Lost,” and two early discs from Van Morrison: “Astral Weeks,” and “Veedon Fleece.” Rich’s wide-ranging picks include the Brazilian singer Maria Rita’s first two albums, Clifford Brown & Max Roach’s “In Concert – L.A. 1954”, plus Erik Satie, Jascha Heifetz, Joan Baez, and The Beatles. Tim likes to put on his headphones and jam along with the Jack Bruce-driven, British-blues-based, psychedelia of Cream (“Disreali Gears,” & “Wheels of Fire”), and also “Clapton and Winwood Live.”  James is stuck on those late 60’s, early 70’s, Jimmy Miller-produced, Rolling Stones records, especially, “Exile on Main Street,” and Neil Young’s loose and dark-edged, “Tonight’s the Night.” He also zones out to the “Donnie Darko Soundtrack.”  “Why are you wearing that stupid man suit?” – Jammer

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We look at the world, and we do our best to see it as it is; at the same time, we envision a more enlightened reality. The first track on our disc 10+1 is called “Radio Man.” It swings, it moves, it sets the tone for the disc.  A change of consciousness comes in a flash, a flutter of a wing, a blink of an eye; instantaneous: no space, no time. Change a Mind/change a Universe. All in one fell swoop. And the damaged ones?  They can heal themselves, and they can heal others too. “Maybe, maybe, maybe, the bandaged hand can heal the dove…” – Jammer


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In retrospect, Pink Floyd’s 1975 album “Wish You Were Here,” is not only a beautifully cohesive sonic masterpiece, arguably their greatest achievement; it’s also a prophecy.  Roger Water’s acidic lyrics, (“hot ashes for trees, hot air for a cool breeze”), his corrosive vision, his dim view of humanity, are playing out in spades.  We are rolling along, harvesting the planet at an accelerating clip, hurtling towards a definitive Dark Green Doomsday Scenario.  We are that glad-handing, flaming fellow on the album cover; consumed by fire, even as we consume.  We are burning up, and we don’t even know it.  Will we awaken in the nick of time? Or do we emerge from our groggy state wondering if the greenery, the blue skies, the bounty of nature were all just a fever-dream? – Jammer

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When it came to working in the studio to record our CD 10+1, we brought in some examples of records we loved, records we listened to over and over, records we could play without wearing them out, without tiring our ears.  We wanted a record to use as our sonic template. Cat Power’s “The Greatest” was our number one choice. There’s something about the warm sound of the bass and the drums, about how the guitar and keyboards are layered, and how they all provide a great sonic foundation for Chan Marshall’s soulful vocals. Chan Marshall assembled an amazing band of Memphis musicians to create a joyful noise.  The sound is lush, dense, airy, and alive.  That was our target.  It’s good to have a target. – Jammer

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Someone once asked Townes Van Zandt, “How come most of your songs are sad songs?”  Townes answered: “I don’t think they are all that sad. I have a few that aren’t sad, they’re like… hopeless.  Totally hopeless situation, and the rest aren’t sad, they’re just the way it goes. I mean, you know, you don’t think life is sad?”  Yes, life is sad. And beautiful. Townes was an amazing songwriter. In our live set we often play a cover of Townes Van Zandt’s “Nothing.” We take it from a hushed whisper to a raucous roar. Our version was inspired by Robert Plant and Alison Krauss’ take on their glistening “Raising Sand.” Powerful, inspiring, radiant. Sad.

From TVZ’s Nothing:

Being born is going blind
And buying down a thousand times
To echoes strung
On pure temptation

Sorrow and solitude
These are the precious things
And the only words
That are worth rememberin’

– Jammer

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“Jesus Died for somebody’s sins, but not mine…”  Visionary poetry married to punky-garage rock. Rock and roll embodied by a flinty, knife-sharp, Black Raven-like girl, declaiming a deeply subversive and ecstatic vision. The collaboration between Patti Smith and Lenny Kaye; the perfect r&r template. The Poet and The Guitar Slinger. All fever-dream, stream-of-consciousness, and spit. Sam Shepard (Tooth of Crime) and Bob Dylan (Blonde on Blonde) in their boots of Spanish leather, and their mirrored shades, looking over Patti’s shoulder with cracked, sideways, grins. Cowboy Mouth! – Jammer

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Was this a touchstone record for us?  Yes, it was, for sure.  Richard and Linda Thompson – light and shadow. Yin/Yang energy throwing sparks. The Lovely Carla and I played the daylights out of our original vinyl copy back in the 80’s.  Some of that vibe has certainly seeped deep into our sonic DNA. Didn’t really think about it until someone mentioned it at the Ultra Lounge show. Nice reference. And yeah, no doubt, there’s a link there for sure. – Jammer