Wisconsin Jam Band Guitarists Revealed by Mike Kuerschner
Jerry, Bob, Trey, Kang, whoever you want to align with, guitarists are often the face of the band. What would Phish be without Trey? Or the Dead without Jerry and Bob? For as much attention as these musicians get for their mutual instrument, they all approach the instrument differently. Each person behind the instrument brings his or her own influences and style that makes it unmistakably theirs.
This is extremely evident in the guitarists of the Wisconsin jam band scene. While each guitarist brings the instrument to life on stage, each player takes on the instrument in a new way. Their personality flows from their fingers and picks out to the crowd, whether you realize it or not. I recently got a chance to interview several guitarists that are a part of the WIJAM scene and pick their brain for some insight into their bond with their instrument.
This is extremely evident in the guitarists of the Wisconsin jam band scene. While each guitarist brings the instrument to life on stage, each player takes on the instrument in a new way. Their personality flows from their fingers and picks out to the crowd, whether you realize it or not. I recently got a chance to interview several guitarists that are a part of the WIJAM scene and pick their brain for some insight into their bond with their instrument.
Jake Stottler of Wook (Madison)
Photo courtesy of Reflections of Heaven PhotoDesign
Other instruments played: Mandolin, Keys, Synth, Phrase Synth, Bass, Hand Drums
Type of guitar most frequently played: Fender '60 Classic Players Series Strat, Tele
Ideal guitar: A PRS-type semi-hollow body with single coil pick ups
Amp played: Fender Hot Rod Deluxe (Cannabis Rex Speaker-hemp cone speaker, Torres Engineering Brightness cap, various other mods)
Influences: Bebop guitar fused with progressive rock with a splash of untz-untz womp
How do you approach writing a song for guitar?
I think of songs as journeys. When thinking of a new song, I think of different parts to a journey. The song is complete when things feel like they have come around ‘full circle’.
How do you approach learning a cover song?
The way Wook usually does a cover song is we'll listen to the song and decide how we should do it a little different. Typically done by ear though.
How do you approach collaborations if you do at all?
...Hey heady bro, wanna jam?...umm yea heady bro. Shwamp-collaboration.
How do you define your style and what separates your style from others?
I like to think of my style as an artistic representation of all the music that has influenced me.
Live or Studio? Why?
I believe live music is something completely different than a studio piece. I view live music as a chance to play music as to how the enviroment can best be reflected through music. A studio piece to me is a composition that is refined. Not set in stone, but a template as to how it should be done live.
Jerry or Bob? Why?
Jerry. He’s more than just a musician. He’s an icon that helped spark a revoloution. His guitar playing and musicianship is top notch. His words feel true. I’d like to get drunk with Bob Weir though.
What do you enjoy most about the jam scene?
Untz untz untz. I enjoy the fact that it keeps evolving into different forms of music. I enjoy the people that I meet. I enjoy the bands that I am able to meet and share the stage with. I enjoy the lights. I enjoy the glow sticks. I enjoy the dancing. I enjoy pretty much everything about it. I can’t say what I enjoy most.
Type of guitar most frequently played: Fender '60 Classic Players Series Strat, Tele
Ideal guitar: A PRS-type semi-hollow body with single coil pick ups
Amp played: Fender Hot Rod Deluxe (Cannabis Rex Speaker-hemp cone speaker, Torres Engineering Brightness cap, various other mods)
Influences: Bebop guitar fused with progressive rock with a splash of untz-untz womp
How do you approach writing a song for guitar?
I think of songs as journeys. When thinking of a new song, I think of different parts to a journey. The song is complete when things feel like they have come around ‘full circle’.
How do you approach learning a cover song?
The way Wook usually does a cover song is we'll listen to the song and decide how we should do it a little different. Typically done by ear though.
How do you approach collaborations if you do at all?
...Hey heady bro, wanna jam?...umm yea heady bro. Shwamp-collaboration.
How do you define your style and what separates your style from others?
I like to think of my style as an artistic representation of all the music that has influenced me.
Live or Studio? Why?
I believe live music is something completely different than a studio piece. I view live music as a chance to play music as to how the enviroment can best be reflected through music. A studio piece to me is a composition that is refined. Not set in stone, but a template as to how it should be done live.
Jerry or Bob? Why?
Jerry. He’s more than just a musician. He’s an icon that helped spark a revoloution. His guitar playing and musicianship is top notch. His words feel true. I’d like to get drunk with Bob Weir though.
What do you enjoy most about the jam scene?
Untz untz untz. I enjoy the fact that it keeps evolving into different forms of music. I enjoy the people that I meet. I enjoy the bands that I am able to meet and share the stage with. I enjoy the lights. I enjoy the glow sticks. I enjoy the dancing. I enjoy pretty much everything about it. I can’t say what I enjoy most.
Steve Neary of Steez (Madison)
Photo courtesy of Adjomi Photo Design
Number of years playing guitar: 13
Other instruments played: Piano, Saxophone, Mandolin
Type of guitar most frequently played: PRS Custom 22
Ideal guitar: PRS Hollowbody II
Amp played: Ampeg vt-40
Ideal amp: Mesa Boogie
Influences: Prince, Ernest Ranglin, Jon Gutwillig
How do you approach writing a song for guitar?
When I first started writing music, almost all of the songs would start with one or two chord progressions that I had come up with myself. Once I’d come up with two or three progressions that I thought fit well together, I would bring them to the band and then we’d figure out how to make them work together. Actually several steez songs are unconventionally structured in that we’ll go from part A to part B to part C without returning to any of the previous sections. We were never really concerned with writing standard verse-chorus kinda stuff although we do have a few songs like that.
Lately, we have been writing more songs together as a band. This means that one of us will come up with a cool progression or lick and maybe someone else will have another one and we’ll try to bring them together. We are also slowly moving towards almost exclusively instrumental new material, which isn’t necessarily on purpose, we just haven’t been forcing words into a song just because we think it has to have some, y’know? This is also changing our songwriting a bit, at least from my perspective. I don’t feel as compelled to always be playing chords, so sometimes I can create a progression with individual notes. I’m definitely enjoying it.
How do you approach learning a cover song?
We always learn things by ear. Usually we’ll have to listen to a shitty youtube recording a thousand times while we are chilling in our studio before we get it right, but in the end it usually works out. We try to choose covers that are usually somewhat obscure, in the sense that other bands in the scene don’t cover them. However, we try to keep them mainstream enough so that people still know what we are playing. I’m not gonna lie, we have a soft spot for 80’s early 90’s cheesy tunes that feature a lot of synth.
Another cool thing about the covers that we do is that we generally have the sax play the melody line instead of attempting to sing it. This allows us the freedom to cover songs by people like Madonna or George Michael that we normally should never be allowed to attempt.
How do you approach collaborations if you do at all?
To be honest, we don’t have that many collaborations. If we do, it's usually someone really nasty at guitar that we know pretty well. For example, we like to have Luke Abler from Bowser or Aaron Peterson from Cymatic sit in with us once in a while. In those situations, I usually sit back and let those guys take the lead because they are both sick and I like watching them play.
How do you define your style and what separates your style from others?
I like to play a lot of funky vamp rhythm. I don't know if that separates me too much from other players but I'd like to think that I've been cultivating my own sound for the last few years.
Live or Studio? Why?
They both have their merits. Studio is great because you can layer so many tracks that add up to this amazing sound that one can only hope to achieve live. However, playing live has that crowd energy aspect that is sometimes lacking after you’ve played a song 1000 times in a row in the studio.
Jerry or Bob? Why?
Jerry, without a doubt.
What do you enjoy most about the jam scene?
The fact that fans like to go out and have a good time. I couldn’t imagine if people just came out and stood still during our shows and didn’t booze at all. That would be incredibly weird.
Other instruments played: Piano, Saxophone, Mandolin
Type of guitar most frequently played: PRS Custom 22
Ideal guitar: PRS Hollowbody II
Amp played: Ampeg vt-40
Ideal amp: Mesa Boogie
Influences: Prince, Ernest Ranglin, Jon Gutwillig
How do you approach writing a song for guitar?
When I first started writing music, almost all of the songs would start with one or two chord progressions that I had come up with myself. Once I’d come up with two or three progressions that I thought fit well together, I would bring them to the band and then we’d figure out how to make them work together. Actually several steez songs are unconventionally structured in that we’ll go from part A to part B to part C without returning to any of the previous sections. We were never really concerned with writing standard verse-chorus kinda stuff although we do have a few songs like that.
Lately, we have been writing more songs together as a band. This means that one of us will come up with a cool progression or lick and maybe someone else will have another one and we’ll try to bring them together. We are also slowly moving towards almost exclusively instrumental new material, which isn’t necessarily on purpose, we just haven’t been forcing words into a song just because we think it has to have some, y’know? This is also changing our songwriting a bit, at least from my perspective. I don’t feel as compelled to always be playing chords, so sometimes I can create a progression with individual notes. I’m definitely enjoying it.
How do you approach learning a cover song?
We always learn things by ear. Usually we’ll have to listen to a shitty youtube recording a thousand times while we are chilling in our studio before we get it right, but in the end it usually works out. We try to choose covers that are usually somewhat obscure, in the sense that other bands in the scene don’t cover them. However, we try to keep them mainstream enough so that people still know what we are playing. I’m not gonna lie, we have a soft spot for 80’s early 90’s cheesy tunes that feature a lot of synth.
Another cool thing about the covers that we do is that we generally have the sax play the melody line instead of attempting to sing it. This allows us the freedom to cover songs by people like Madonna or George Michael that we normally should never be allowed to attempt.
How do you approach collaborations if you do at all?
To be honest, we don’t have that many collaborations. If we do, it's usually someone really nasty at guitar that we know pretty well. For example, we like to have Luke Abler from Bowser or Aaron Peterson from Cymatic sit in with us once in a while. In those situations, I usually sit back and let those guys take the lead because they are both sick and I like watching them play.
How do you define your style and what separates your style from others?
I like to play a lot of funky vamp rhythm. I don't know if that separates me too much from other players but I'd like to think that I've been cultivating my own sound for the last few years.
Live or Studio? Why?
They both have their merits. Studio is great because you can layer so many tracks that add up to this amazing sound that one can only hope to achieve live. However, playing live has that crowd energy aspect that is sometimes lacking after you’ve played a song 1000 times in a row in the studio.
Jerry or Bob? Why?
Jerry, without a doubt.
What do you enjoy most about the jam scene?
The fact that fans like to go out and have a good time. I couldn’t imagine if people just came out and stood still during our shows and didn’t booze at all. That would be incredibly weird.
Alex White of Elf Lettuce (Madison)
Photo courtesy of Rhy Kno Photography
Number of years playing guitar: Played guitar since I was 13, so 14 years
Other instruments played: Piano, trumpet, bass
Type of guitar most frequently played: -- I play guitars w/ humbuckers primarily -- current guitar is a Hamer Monaco Super Pro, semi hollow body chambered guitar.
Amp played: I play a Dr. Z MAZ 36 watt amp.
Ideal amp: My ideal amp would be a Dr. Z twin or Fender twin.
Influences: A lot of blues, roots rock, country blues, mixed with the psychedelia of course.
How do you approach writing a song for guitar?
I'll put together riffs, record ideas for choruses and verses on digital recorder and put the parts together to form a song later. Usually strum chords and sing nonsense over them and if the babbles turn into words, that will usually be the starting point for lyrics, combined with the feel of the chords or riffs that will influence the subject matter of the song.
How do you approach learning a cover song?
Sometimes I'll print chord charts but they're mostly learned by ear. Play and pause until I get the right chord or riff.
How do you approach collaborations if you do at all?
If you know the song or have a good enough ear, jam along with us and enjoy the ride!
How do you define your style and what separates your style from others?
Our style is pretty rooted in traditional music or folk music and it has that psychedelic edge. There's one school of music heading in the electronic direction and one school heading in the instrumental direction and we're heading the instrumental route.
Live or Studio? Why?
We only have one 5 song studio EP. The magic of Elf Lettuce is in a live setting. We unfortunately have yet to capture that live energy in the studio.
Jerry or Bob? Why?
I like Jerry's writing better than Bob's although Bob was arguably a better lyricist. As far as guitar work there's really no question who I draw more influence from. Jerry can jam with anyone, I don't think the same is true of Bob Weir.
What do you enjoy most about the jam scene?
What I like most about the jam scene is that it's based on an unwritten code of peace. Very rarely do you see fights breaking out at these shows. Moreover, people are generally kind and courteous to each other. There's not that air of pretentiousness you might find among other crowds. I also like the fact that, contrary to the opinion of some, you don't have to play a certain way or dress a certain way to be appreciated on this scene. Jamband enthusiasts generally embrace a wide variety of sounds, so at a festival that can be pigeon-holed as a "jamband" festival, you can hear artists ranging from rock to reggae to hip-hop to electronica to country to bluegrass to indie rock to grunge to metal to punk to jazz to blues. It's a big melting pot of genres that's accepting of a very wide variety of musical influences.
Other instruments played: Piano, trumpet, bass
Type of guitar most frequently played: -- I play guitars w/ humbuckers primarily -- current guitar is a Hamer Monaco Super Pro, semi hollow body chambered guitar.
Amp played: I play a Dr. Z MAZ 36 watt amp.
Ideal amp: My ideal amp would be a Dr. Z twin or Fender twin.
Influences: A lot of blues, roots rock, country blues, mixed with the psychedelia of course.
How do you approach writing a song for guitar?
I'll put together riffs, record ideas for choruses and verses on digital recorder and put the parts together to form a song later. Usually strum chords and sing nonsense over them and if the babbles turn into words, that will usually be the starting point for lyrics, combined with the feel of the chords or riffs that will influence the subject matter of the song.
How do you approach learning a cover song?
Sometimes I'll print chord charts but they're mostly learned by ear. Play and pause until I get the right chord or riff.
How do you approach collaborations if you do at all?
If you know the song or have a good enough ear, jam along with us and enjoy the ride!
How do you define your style and what separates your style from others?
Our style is pretty rooted in traditional music or folk music and it has that psychedelic edge. There's one school of music heading in the electronic direction and one school heading in the instrumental direction and we're heading the instrumental route.
Live or Studio? Why?
We only have one 5 song studio EP. The magic of Elf Lettuce is in a live setting. We unfortunately have yet to capture that live energy in the studio.
Jerry or Bob? Why?
I like Jerry's writing better than Bob's although Bob was arguably a better lyricist. As far as guitar work there's really no question who I draw more influence from. Jerry can jam with anyone, I don't think the same is true of Bob Weir.
What do you enjoy most about the jam scene?
What I like most about the jam scene is that it's based on an unwritten code of peace. Very rarely do you see fights breaking out at these shows. Moreover, people are generally kind and courteous to each other. There's not that air of pretentiousness you might find among other crowds. I also like the fact that, contrary to the opinion of some, you don't have to play a certain way or dress a certain way to be appreciated on this scene. Jamband enthusiasts generally embrace a wide variety of sounds, so at a festival that can be pigeon-holed as a "jamband" festival, you can hear artists ranging from rock to reggae to hip-hop to electronica to country to bluegrass to indie rock to grunge to metal to punk to jazz to blues. It's a big melting pot of genres that's accepting of a very wide variety of musical influences.
Eric Streske of Shoeless Revolution (Minneapolis via LaCrosse)
Number of years playing guitar: 11
Other instruments played: Drums, Saxophone, and Bass
Type of guitar most frequently played: Paul Reed Smith Custom 24
Ideal guitar: I'm really happy with my PRS so I would say it's my ideal guitar.
Amp played: Mesa Boogie Lonestar 2X12 Combo
Ideal amp: I would love to run my Mesa Boogie in stereo with a Fender Twin. There are aspects about both Fenders and Mesas that I love so a stereo rig would be a way to get both in my sound.
Influences: The Beatles, Wes Montgomery, Kenny Burrell, Pat Metheny, Eric Krasno, John Scofield, and Eric Clapton. It's really hard to keep a list of your influences short.
How do you approach writing a song for guitar?
I don't do a lot of songwriting. When I do, I come up with a riff or a chord progression that I like and then build off of it. There's no particular order I work in, I just try to keep the scope of the song in mind and make sure the individual parts work together to create the flow I'm looking for.
How do you approach learning a cover song?
I like to learn the cover tune as accurately to the original as I can. I usually use music, if it's available. Once the cover is learned, putting your own spin on it and arranging it is the fun part.
How do you approach collaborations if you do at all?
Collaborations are something I don't do often because I'm so busy with Shoeless. When I do, I like to make sure I support everyone's artistic direction while providing my own spin on things. Also, don't be a jerk! Being a jerk is not good for you or anyone else involved in the project.
How do you define your style and what separates your style from others?
My istyle is very blues and jazz based. I always strive to make sure my playing is very clean and rhythmically accurate. They always say, "It's not what you play, but how you play it." I couldn't agree more. You want to make people feel the emotion that you are putting into your playing. Dynamics, tone, accuracy, inflection, and articulation play more of an important factor in this than just speed and note choice.
Live or Studio? Why?
There's aspects of both that I enjoy. Live performing is probably my favorite because of the connection between the performers and the audience. If you can make the audience part of the whole emotional experience, it is going to your make your live performance that much more powerful. If you can take that type of performance, put it into a product, and make people feel those emotions at home, your studio projects will be successful.
Jerry or Bob? Why?
To be completely honest with you, I don't listen to the Dead that often so I can't really answer that question. I will say that one of the greatest parts of the music industry is how musicians influence one another even if they're not cited as a direct influence. What I mean is, even though I don't cite Jerry or Bob as an influence of mine, without them, the jam scene wouldn't exist and I wouldn't be playing the music that I play.
What do you enjoy most about the jam scene?
The best part is the sense of family and respect between all the bands on the scene. Nobody speaks poorly of anyone. We are all working toward the same goal and we support each other every step along the way.
Other instruments played: Drums, Saxophone, and Bass
Type of guitar most frequently played: Paul Reed Smith Custom 24
Ideal guitar: I'm really happy with my PRS so I would say it's my ideal guitar.
Amp played: Mesa Boogie Lonestar 2X12 Combo
Ideal amp: I would love to run my Mesa Boogie in stereo with a Fender Twin. There are aspects about both Fenders and Mesas that I love so a stereo rig would be a way to get both in my sound.
Influences: The Beatles, Wes Montgomery, Kenny Burrell, Pat Metheny, Eric Krasno, John Scofield, and Eric Clapton. It's really hard to keep a list of your influences short.
How do you approach writing a song for guitar?
I don't do a lot of songwriting. When I do, I come up with a riff or a chord progression that I like and then build off of it. There's no particular order I work in, I just try to keep the scope of the song in mind and make sure the individual parts work together to create the flow I'm looking for.
How do you approach learning a cover song?
I like to learn the cover tune as accurately to the original as I can. I usually use music, if it's available. Once the cover is learned, putting your own spin on it and arranging it is the fun part.
How do you approach collaborations if you do at all?
Collaborations are something I don't do often because I'm so busy with Shoeless. When I do, I like to make sure I support everyone's artistic direction while providing my own spin on things. Also, don't be a jerk! Being a jerk is not good for you or anyone else involved in the project.
How do you define your style and what separates your style from others?
My istyle is very blues and jazz based. I always strive to make sure my playing is very clean and rhythmically accurate. They always say, "It's not what you play, but how you play it." I couldn't agree more. You want to make people feel the emotion that you are putting into your playing. Dynamics, tone, accuracy, inflection, and articulation play more of an important factor in this than just speed and note choice.
Live or Studio? Why?
There's aspects of both that I enjoy. Live performing is probably my favorite because of the connection between the performers and the audience. If you can make the audience part of the whole emotional experience, it is going to your make your live performance that much more powerful. If you can take that type of performance, put it into a product, and make people feel those emotions at home, your studio projects will be successful.
Jerry or Bob? Why?
To be completely honest with you, I don't listen to the Dead that often so I can't really answer that question. I will say that one of the greatest parts of the music industry is how musicians influence one another even if they're not cited as a direct influence. What I mean is, even though I don't cite Jerry or Bob as an influence of mine, without them, the jam scene wouldn't exist and I wouldn't be playing the music that I play.
What do you enjoy most about the jam scene?
The best part is the sense of family and respect between all the bands on the scene. Nobody speaks poorly of anyone. We are all working toward the same goal and we support each other every step along the way.
Justin 'Juicy' Wouters of Wook (Madison)
Number of years playing guitar: I got my first guitars when I was about 13 years old. The guitars originally belonged to my uncle who passed away after being hit by a drunk driver. The 3 guitars were a 1961 Gibson Les Paul/SG, a 1963 Gibson SG junior, and some Hamer Prototype from the early 1980’s. Those guitars sat in storage at my grandparents’ house calling out my name, begging to be played every time I visited when I was a kid. One day they finally decided to give them to someone who would use them, so thanks grandma and grandpa. That was about 8 years ago that I inherited the guitars and I would say I have been playing seriously for about 5 years as of 2010.
Other instruments played: I pretty much like to play any instruments I can get my hands on, although I tend to get a little crazy over the electronic ones, synthesizers can keep me busy for many many hours! (laughs) That may be the reason why I love guitar effects pedals so much.
Type of guitar most frequently played: My most recent guitar that I can’t seem to get enough of is my Ibanez AJD91, it’s a discontinued semi-hollow strat style electric guitar with a set of humbuckers in there. I just love the overall tone of the guitar, can’t see ever wanting to get rid of it.
Ideal guitar: I can’t really say. I suppose someday I would like to have a custom guitar built for me. That way I have a guitar that meets every little detail that I love, plus it would be one of a kind.
Amp played: I just got myself a Fender Deluxe Reverb and I am in love with the thing. I had always wanted that Fender clean and now that I got it, I couldn’t be happier. As a guitarist it’s a never-ending quest for that perfect tone.
Ideal amp: The Deluxe Reverb is everything I could ever want out of an amp. In the future I may get a couple modifications done to it but other than that its perfect.
Influences: I have too many to list….
How do you approach writing a song for guitar?
When I’m writing music, my mind is kind of all over the place, flooded with ideas that are going in all different directions, but somehow manage to end up at the same destination because of the overall feel of the song that I have in my head. It usually happens in one of two ways for me. One way is that I am doodling around with my guitar and come across a part or riff that stands out to me, and from there I work around it to build it into a section or part that may be worked into a song. The other way is when I don’t have a guitar at all, and could be just strolling down the street humming to myself and think of something that sounds really cool. When I come up with things like that I need to keep repeating it to myself in my head until I find the nearest available guitar to work out this idea that I just created in my head. Sometimes you remember them by the time you get to your instrument and sometimes by that time, you have already forgotten the idea. It can be frustrating when you have a great idea and then forget it, but it’s all part of being a guitarist or a musician of any kind for that matter.
How do you approach learning a cover song?
I can usually pick up a song by ear. Occasionally, there are some crazy chords that I don’t know off the top of my head, but other than that I usually just learn the basic chordal structure of the song. As far as leads, I will improvise while keeping in mind the theme of the song or melody. But I definitely don’t learn it note for note or by sheet music. What would be the fun in playing a cover if you did it the exact same way as the original band plays it? I think that the best covers are when a band makes the song into their own individual style.
How do you approach collaborations if you do at all?
The whole idea of collaborating with other musicians is just the most fun you could have at a show. Especially at festivals when there is just such a high concentration of amazing musicians around, its hard to imagine why you wouldn’t collaborate with them. The craziest thing about collaborating with other musicians is when you realize how much the practice with your own band pays off, just by being able to know and predict where your band mates want to go with the jam.
How do you define your style and what separates your style from others?
The thing is, I cant even define my own style of guitar playing, and maybe that’s what separates me from others. I play what makes me feel good and I hope that it’ll make the crowd feel good, too.
Live or Studio? Why?
Live, is that really a question? (laughs)
Jerry or Bob? Why?
Jerry. Why not?
What do you enjoy most about the jam scene?
Heady bros! (laughs) No, the thing I enjoy most is the people and community. That’s who the music is for and the reason we all do what we do.
Other instruments played: I pretty much like to play any instruments I can get my hands on, although I tend to get a little crazy over the electronic ones, synthesizers can keep me busy for many many hours! (laughs) That may be the reason why I love guitar effects pedals so much.
Type of guitar most frequently played: My most recent guitar that I can’t seem to get enough of is my Ibanez AJD91, it’s a discontinued semi-hollow strat style electric guitar with a set of humbuckers in there. I just love the overall tone of the guitar, can’t see ever wanting to get rid of it.
Ideal guitar: I can’t really say. I suppose someday I would like to have a custom guitar built for me. That way I have a guitar that meets every little detail that I love, plus it would be one of a kind.
Amp played: I just got myself a Fender Deluxe Reverb and I am in love with the thing. I had always wanted that Fender clean and now that I got it, I couldn’t be happier. As a guitarist it’s a never-ending quest for that perfect tone.
Ideal amp: The Deluxe Reverb is everything I could ever want out of an amp. In the future I may get a couple modifications done to it but other than that its perfect.
Influences: I have too many to list….
How do you approach writing a song for guitar?
When I’m writing music, my mind is kind of all over the place, flooded with ideas that are going in all different directions, but somehow manage to end up at the same destination because of the overall feel of the song that I have in my head. It usually happens in one of two ways for me. One way is that I am doodling around with my guitar and come across a part or riff that stands out to me, and from there I work around it to build it into a section or part that may be worked into a song. The other way is when I don’t have a guitar at all, and could be just strolling down the street humming to myself and think of something that sounds really cool. When I come up with things like that I need to keep repeating it to myself in my head until I find the nearest available guitar to work out this idea that I just created in my head. Sometimes you remember them by the time you get to your instrument and sometimes by that time, you have already forgotten the idea. It can be frustrating when you have a great idea and then forget it, but it’s all part of being a guitarist or a musician of any kind for that matter.
How do you approach learning a cover song?
I can usually pick up a song by ear. Occasionally, there are some crazy chords that I don’t know off the top of my head, but other than that I usually just learn the basic chordal structure of the song. As far as leads, I will improvise while keeping in mind the theme of the song or melody. But I definitely don’t learn it note for note or by sheet music. What would be the fun in playing a cover if you did it the exact same way as the original band plays it? I think that the best covers are when a band makes the song into their own individual style.
How do you approach collaborations if you do at all?
The whole idea of collaborating with other musicians is just the most fun you could have at a show. Especially at festivals when there is just such a high concentration of amazing musicians around, its hard to imagine why you wouldn’t collaborate with them. The craziest thing about collaborating with other musicians is when you realize how much the practice with your own band pays off, just by being able to know and predict where your band mates want to go with the jam.
How do you define your style and what separates your style from others?
The thing is, I cant even define my own style of guitar playing, and maybe that’s what separates me from others. I play what makes me feel good and I hope that it’ll make the crowd feel good, too.
Live or Studio? Why?
Live, is that really a question? (laughs)
Jerry or Bob? Why?
Jerry. Why not?
What do you enjoy most about the jam scene?
Heady bros! (laughs) No, the thing I enjoy most is the people and community. That’s who the music is for and the reason we all do what we do.
Nick Rathsack of Snook & Ghetto Blaster (Appleton)
Photo courtesy of Reflections of Heaven Photo Design
Number of years playing guitar: Around 7
Other instruments played: When attempting to play another intstrument, it usually turns into a train wreck!
Type of guitar most frequently played: Gibson SG Classic w/ p-90 pick-ups
Ideal guitar: A custom semi-hollow body
Amp played: Fender Hot Rod Deluxe
Ideal amp: Fender Twin Reverb
Influences: Trey Anastasio is definitely the biggest one but also Jerry Garcia, Bobby Weir, Jimi Hendrix, Jimi Page, pretty much all those classic guitarists.
How do you approach writing a song for guitar?
Well, it seems a lot of songs come together differently, but for me, it seems like an individual riff kind of starts the whole monster. Or something while jamming a certain riff will stand out and I'll build something off of that.
How do you approach learning a cover song?
Usually when I learn a cover, I just learn the chord progression then everything else pretty much works itself out by ear. We usually don't play the cover songs exactly as they were recorded as.
How do you approach collaborations if you do at all?
I definitely approach them with an open mind. It seems that whenever I collaborate with other people, it's pretty much just a jam, such as Ghetto Blaster.
How do you define your style and what separates your style from others?
I don't know... You tell me! (laughs)
Live or Studio? Why?
Live. There is nothing like making music in the moment. I love being in the studio as well, though. That in itself has such a unique feeling.
Jerry or Bob? Why?
Bob. Gotta love those cut-offs!
What do you enjoy most about the jam scene?
Every band around has original music. There is so much talent in the jam scene. Music, fans, I don't know...everything!
Other instruments played: When attempting to play another intstrument, it usually turns into a train wreck!
Type of guitar most frequently played: Gibson SG Classic w/ p-90 pick-ups
Ideal guitar: A custom semi-hollow body
Amp played: Fender Hot Rod Deluxe
Ideal amp: Fender Twin Reverb
Influences: Trey Anastasio is definitely the biggest one but also Jerry Garcia, Bobby Weir, Jimi Hendrix, Jimi Page, pretty much all those classic guitarists.
How do you approach writing a song for guitar?
Well, it seems a lot of songs come together differently, but for me, it seems like an individual riff kind of starts the whole monster. Or something while jamming a certain riff will stand out and I'll build something off of that.
How do you approach learning a cover song?
Usually when I learn a cover, I just learn the chord progression then everything else pretty much works itself out by ear. We usually don't play the cover songs exactly as they were recorded as.
How do you approach collaborations if you do at all?
I definitely approach them with an open mind. It seems that whenever I collaborate with other people, it's pretty much just a jam, such as Ghetto Blaster.
How do you define your style and what separates your style from others?
I don't know... You tell me! (laughs)
Live or Studio? Why?
Live. There is nothing like making music in the moment. I love being in the studio as well, though. That in itself has such a unique feeling.
Jerry or Bob? Why?
Bob. Gotta love those cut-offs!
What do you enjoy most about the jam scene?
Every band around has original music. There is so much talent in the jam scene. Music, fans, I don't know...everything!
Jacob Lison of Elf Lettuce (Madison)
Photo courtesy of Rhy Kno Photography
Number of years playing guitar: About 13 years playing. I was in the City Choir from the age of 5 in Green Bay, then through 6th grade in the choir at school.
Other instruments played: Piano, harmonica, baritone ukulele, a little banjo.
Type of guitar most frequently played: I only have one electric: Fender Strat American Standard. I've also enjoyed playing the Gibson SG.
Ideal guitar: I don't know if I could say what my Ideal guitar would be. Haven't found it yet, so for now, it's the Strat all the way.
Amp played: I play that through a 1975 Twin Reverb. If I could get the original speakers back in there, I think the twin would be my ideal amp.
Influences: My main Influence is love. I play for freedom. Not my freedom, but for anyone else who finds release in sound, the feeling, the scene or whatever gets them off. Musically, too many to list. All kinds of classical music. Andre Segovia is insane. Indian classical music speaks the sound of nature like none other for me, and I love the old Appalachian music, found in some of the earliest recordings in American music from the late '20s, notably the music recorded by the Lomax Family, now available on the Smithsonian Folkways label. Then it's on to the blues and country; old country, Hank, Buck Owens, Ernest Tubb, Roy Acuff. Also, Chuck Berry, Howlin' Wolf, Muddy Waters, the Rolling Stones, and the Beatles. I could go on and on, but I love the Grateful Dead, the spirit of the sound and the story.
How do you approach writing a song for guitar?
Most of my favorite songs I feel are already written. I just open my mind and 'hear' it. Sort of like grabbing rain drops out of the sky. The melody will just smack me in the head, and I won't be able to forget it until I write it down or play it. Other times I'm just noodling and I stumble into a riff and build a song around that.
How do you approach learning a cover song?
I learned to play guitar by ear and I can't read music, or have never taken the time to do so. So when I learn a cover, it's by ear.
How do you approach collaborations if you do at all?
Collaborating can be like making love for the first time, you may feel a bit off or not exactly connected, but you just go with what feels good and hopefully somebody gets off.
How do you define your style and what separates your style from others?
My style is meditative. I'm just up there trying to forget. Everything I know or think I know should not be on my mind if I'm doing things right. Things are just happening.
Live or Studio? Why?
I'm a lover of the live scene because the audience is just as much, if not more, a part of creating the vibe than the band is. It's hard to get up there and surf without some kind of wave to ride, you know? Studio settings often makes me feel like a deer in headlights. It's a bit steril and harder for me to loosen up.
Jerry or Bob? Why?
Both Bob and Jerry were part of making the whole thing happen. Without one, the other could not have done what they did.
What do you enjoy most about the jam scene?
Free people.
Other instruments played: Piano, harmonica, baritone ukulele, a little banjo.
Type of guitar most frequently played: I only have one electric: Fender Strat American Standard. I've also enjoyed playing the Gibson SG.
Ideal guitar: I don't know if I could say what my Ideal guitar would be. Haven't found it yet, so for now, it's the Strat all the way.
Amp played: I play that through a 1975 Twin Reverb. If I could get the original speakers back in there, I think the twin would be my ideal amp.
Influences: My main Influence is love. I play for freedom. Not my freedom, but for anyone else who finds release in sound, the feeling, the scene or whatever gets them off. Musically, too many to list. All kinds of classical music. Andre Segovia is insane. Indian classical music speaks the sound of nature like none other for me, and I love the old Appalachian music, found in some of the earliest recordings in American music from the late '20s, notably the music recorded by the Lomax Family, now available on the Smithsonian Folkways label. Then it's on to the blues and country; old country, Hank, Buck Owens, Ernest Tubb, Roy Acuff. Also, Chuck Berry, Howlin' Wolf, Muddy Waters, the Rolling Stones, and the Beatles. I could go on and on, but I love the Grateful Dead, the spirit of the sound and the story.
How do you approach writing a song for guitar?
Most of my favorite songs I feel are already written. I just open my mind and 'hear' it. Sort of like grabbing rain drops out of the sky. The melody will just smack me in the head, and I won't be able to forget it until I write it down or play it. Other times I'm just noodling and I stumble into a riff and build a song around that.
How do you approach learning a cover song?
I learned to play guitar by ear and I can't read music, or have never taken the time to do so. So when I learn a cover, it's by ear.
How do you approach collaborations if you do at all?
Collaborating can be like making love for the first time, you may feel a bit off or not exactly connected, but you just go with what feels good and hopefully somebody gets off.
How do you define your style and what separates your style from others?
My style is meditative. I'm just up there trying to forget. Everything I know or think I know should not be on my mind if I'm doing things right. Things are just happening.
Live or Studio? Why?
I'm a lover of the live scene because the audience is just as much, if not more, a part of creating the vibe than the band is. It's hard to get up there and surf without some kind of wave to ride, you know? Studio settings often makes me feel like a deer in headlights. It's a bit steril and harder for me to loosen up.
Jerry or Bob? Why?
Both Bob and Jerry were part of making the whole thing happen. Without one, the other could not have done what they did.
What do you enjoy most about the jam scene?
Free people.
Curt Biese of Ifdakar (Madison)
Photo courtesy of Graham Washatka
Number of years playing guitar: 8
Other instruments played: Synths
Type of guitar most frequently played: PRS
Ideal guitar: A more expensive PRS
Amp played: 76 Deluxe Reverb with many mods
Ideal amp: 69 Deluxe Reverb
Influences: Trey Anastasio, David Gilmour, Jerry Garcia, Michael Kang, Hunter Brown, etc.
How do you approach writing a song for guitar?
Usually I like to dabble around with some themes. Once I have some sick themes for the base of the song then I move on to the solo section. When arranging a solo section I tend to leave an open slate. I usually will work through a toolbox of licks but for the most part, the solos are improvised. It gives me the freedom to express myself in any given way on any given night.
How do you approach learning a cover song?
I usually let my bandmate Jon work out the covers. Then I just kind of play along. I guess you would say I am lazy when it comes to covers.
How do you approach collaborations if you do at all?
I choose to collaborate with an open mind. I know what I like and sometimes another player may be able to sweeten up something we have done. You can always learn from others, no matter what their skill level is. There is always something that evades your playing until you get slapped in the face with it. I guess you could say I like to watch how others do it, then make my own version of their playing. I guess you could call that being a 'thief of music'. (laughs)
How do you define your style and what separates your style from others?
I would classify my playing as 'jamtronica'. I like to play themes. Love to play melodical phrases that hit home with the listener, you know, something they will remember. I also like soulful jazz orientated soloing. I usually like to play something beautiful as opposed to an aggressive style. I hear so many guitarists filling their licks with aggressive bends and hammer ons. Truth is the notes can speak to the listener on their own. There is no need to overplay.
Live or Studio? Why?
Live. The studio points out all the mistakes in my playing. (laughs)
Jerry or Bob? Why?
Jerry. Bob wears short shorts. (laughs)
What do you enjoy most about the jam scene?
The energy! You can't find anything else in life that is more colorful than the positive vibes being communicated between performer and audience. Oh, and Trey Anastasio.
Other instruments played: Synths
Type of guitar most frequently played: PRS
Ideal guitar: A more expensive PRS
Amp played: 76 Deluxe Reverb with many mods
Ideal amp: 69 Deluxe Reverb
Influences: Trey Anastasio, David Gilmour, Jerry Garcia, Michael Kang, Hunter Brown, etc.
How do you approach writing a song for guitar?
Usually I like to dabble around with some themes. Once I have some sick themes for the base of the song then I move on to the solo section. When arranging a solo section I tend to leave an open slate. I usually will work through a toolbox of licks but for the most part, the solos are improvised. It gives me the freedom to express myself in any given way on any given night.
How do you approach learning a cover song?
I usually let my bandmate Jon work out the covers. Then I just kind of play along. I guess you would say I am lazy when it comes to covers.
How do you approach collaborations if you do at all?
I choose to collaborate with an open mind. I know what I like and sometimes another player may be able to sweeten up something we have done. You can always learn from others, no matter what their skill level is. There is always something that evades your playing until you get slapped in the face with it. I guess you could say I like to watch how others do it, then make my own version of their playing. I guess you could call that being a 'thief of music'. (laughs)
How do you define your style and what separates your style from others?
I would classify my playing as 'jamtronica'. I like to play themes. Love to play melodical phrases that hit home with the listener, you know, something they will remember. I also like soulful jazz orientated soloing. I usually like to play something beautiful as opposed to an aggressive style. I hear so many guitarists filling their licks with aggressive bends and hammer ons. Truth is the notes can speak to the listener on their own. There is no need to overplay.
Live or Studio? Why?
Live. The studio points out all the mistakes in my playing. (laughs)
Jerry or Bob? Why?
Jerry. Bob wears short shorts. (laughs)
What do you enjoy most about the jam scene?
The energy! You can't find anything else in life that is more colorful than the positive vibes being communicated between performer and audience. Oh, and Trey Anastasio.
Jon Schinke of Ifdakar & Ghetto Blaster (Madison & Appleton)
Photo courtesy of Reflections of Heaven Photo Design
Number of years playing guitar: 15
Type of guitar most frequently played: Fender Telecaster Japanese Reissue
Ideal guitar: '77 Gibson Les Paul. My dad's got one he keeps taunting me with. He let me play it only once. We had a show at Mill Creek in Appleton the day Les Paul died and he let me use it. I loved the weight of it, the action, everything. I've got no complaints about my Tele, but that Les was a dream.
Amp played: I play an old Peavy Black Widow. It was my dad's gig amp in the 80's. It's not the best rig around but I gotta say, it's been more reliable than I could have ever hoped for. Other than one wiring problem, I've never had an issue with it in over 10 years.
Ideal amp: I'd love to upgrade to a nice old tuber. The older the better.
Influences: My main influence would have to be Trey Anastasio from Phish. His depth of knowledge when it comes to the world of theory, still boggles my mind. He's doing things on stage that most of us can't even fathom. You know those big moments during shows when he hits that note, the lights go big and the crowd goes nuts? That's no accident. Guitar playing's a tricky thing. You've first got to convince people to pay attention to you, then when they do, you've got to deliver the goods. I don't think there's anyone else in the business that delivers the fire, as well as the beautiful moments, on a more consistent basis than Trey. Beyond him, I'd say that some of my playing has been influenced by the likes of Neil Young, David Gilmour, more blues infused players. My exposure to different types of music has driven me to develop a fuller palette of styles, but it's nice to have a dirty blues background to rely on.
How do you approach writing a song for guitar?
When I first started writing songs, I would write on an acoustic. Still do, to an extent. I can usually complete a song in less than an hour. It's hard to explain. Things just flow, as if the song was written before, or in another life and I just need to remember it. Some of those songs I wrote back then are still my favorite pieces. Songs like A Moment In Time, Drive, Out Of Range, Exo-Planet, Rider On the Angry Sea, A Wood Divided, and The Mountains Of Peru all were written on my 12 string and ended up finding their way into steady Ifdakar rotation. We've started writing as a group as of late, which is also very exciting.
How do you approach learning a cover song?
Learning and teaching cover songs to the rest of the band has always been my department. It depends on the song, really. Some songs are readily available to view with online resources. Then again, some of the online sources are incomplete at least or flat out wrong at worst. I'll usually start by just listening to the song and trying to pick up what they're doing without the use of any literature. If I get stumped, I'll seek out additional help. Most times, though, it just takes repetition and commitment. Even if you can't get it exact, if you have the right melodies and the right overall themes, it should work out.
How do you approach collaborations if you do at all?
I've had the opportunity to play with some great guitar players over the past couple years, partly with Ifdakar and also with another group I play with, Ghetto Blaster. Guys like Don Woppert from SLM, Sean Shiel, Mark Grundhoefer from Down Lo, Jake Stottler from Wook, Max Levin from Soup, Tony Warpinski, Chris Jourdan, Danny Waters, Ryan Gleason, man, too many to name. It's always such a treat to jam out in the moment with someone you've never played with. That's how I like to do it. Just show up and see what happens. There's a lot to be said for preparedness and control but when you're out there in the midst of a jam and no one on stage really knows what's going to happen next, that's when it's really fun. That's the thing with all these players in this scene; not a one of them has a scared bone in their body. It's like 'you want me to come up and jam? Hell yeah, dude, I'm in!' I love that.
How do you define your style and what separates your style from others?
Passionate. I've never claimed to be the most gifted player out there, and I never will. There's always going to be someone better but what I can offer is my entire mind, body and soul. I'm not to concerned if I'm not considered one of the best out there. What I do want people to say is, 'he's getting better.' That's never going to change with me because I'm never going to feel like I can stop working on getting better. It's a marathon, not a sprint. As far as my playing goes, I like to utilize a nice mix of bluesy grit, trancey licks, and trippy chordal undertones. I think my playing has vastly improved over the past half year or so, and all the credit there has to go to our drummer Frank Deringer. Dude's a better guitar player than me and that's just got to change! (laughs) No, in all honesty, Frank basically grabbed me by the collar and told me to shit or get off the pot. It's a powerful thing when someone tells you they believe in you and when you look in their eyes, you know they mean it.
Live or Studio? Why?
Live. Definitely. There's no describing the feeling of standing on stage and watching people move to what you're doing. There's been times where I've nearly cried on stage, the feeling is so intense. It's bliss. I really did enjoy the studio experience, too, though. We basically took a live approach to it. We just set up and cranked it up. A couple retakes here or there, but on our album, what you hear is all together, single takes. I can't wait to get back in the studio and start exploring some of the things we've done live as of late.
Jerry or Bob? Why?
Jerry, to me, was so far ahead of his time, he's left off the radar when it comes to the best of all time conversation. Again, here's a guy that wasn't just thinking in terms of 12 bar blues, or major key and minor key, and I think his playing reflects that kind of depth, or need to seek out more. Of course everyone, even today, has there own visions and ideals of what and who Jerry was, and who really knows which view is accurate? All I know is that when I listen to that man really get down, there's no mistaking that he meant every goddamn note.
What do you enjoy most about the jam scene?
What I love about the Wisconsin jam scene, in particular, is the camaradarie between everyone involved. From the fans to the musicians, the promoters and club owners, everyone's in this together. This is not just a hobby but a lifestyle that we have chosen, and by all of us sticking together, we're saying without pause that it's ok. What we're doing with our lives is ok becuase we all have eachother. It's a beautiful thing.
Type of guitar most frequently played: Fender Telecaster Japanese Reissue
Ideal guitar: '77 Gibson Les Paul. My dad's got one he keeps taunting me with. He let me play it only once. We had a show at Mill Creek in Appleton the day Les Paul died and he let me use it. I loved the weight of it, the action, everything. I've got no complaints about my Tele, but that Les was a dream.
Amp played: I play an old Peavy Black Widow. It was my dad's gig amp in the 80's. It's not the best rig around but I gotta say, it's been more reliable than I could have ever hoped for. Other than one wiring problem, I've never had an issue with it in over 10 years.
Ideal amp: I'd love to upgrade to a nice old tuber. The older the better.
Influences: My main influence would have to be Trey Anastasio from Phish. His depth of knowledge when it comes to the world of theory, still boggles my mind. He's doing things on stage that most of us can't even fathom. You know those big moments during shows when he hits that note, the lights go big and the crowd goes nuts? That's no accident. Guitar playing's a tricky thing. You've first got to convince people to pay attention to you, then when they do, you've got to deliver the goods. I don't think there's anyone else in the business that delivers the fire, as well as the beautiful moments, on a more consistent basis than Trey. Beyond him, I'd say that some of my playing has been influenced by the likes of Neil Young, David Gilmour, more blues infused players. My exposure to different types of music has driven me to develop a fuller palette of styles, but it's nice to have a dirty blues background to rely on.
How do you approach writing a song for guitar?
When I first started writing songs, I would write on an acoustic. Still do, to an extent. I can usually complete a song in less than an hour. It's hard to explain. Things just flow, as if the song was written before, or in another life and I just need to remember it. Some of those songs I wrote back then are still my favorite pieces. Songs like A Moment In Time, Drive, Out Of Range, Exo-Planet, Rider On the Angry Sea, A Wood Divided, and The Mountains Of Peru all were written on my 12 string and ended up finding their way into steady Ifdakar rotation. We've started writing as a group as of late, which is also very exciting.
How do you approach learning a cover song?
Learning and teaching cover songs to the rest of the band has always been my department. It depends on the song, really. Some songs are readily available to view with online resources. Then again, some of the online sources are incomplete at least or flat out wrong at worst. I'll usually start by just listening to the song and trying to pick up what they're doing without the use of any literature. If I get stumped, I'll seek out additional help. Most times, though, it just takes repetition and commitment. Even if you can't get it exact, if you have the right melodies and the right overall themes, it should work out.
How do you approach collaborations if you do at all?
I've had the opportunity to play with some great guitar players over the past couple years, partly with Ifdakar and also with another group I play with, Ghetto Blaster. Guys like Don Woppert from SLM, Sean Shiel, Mark Grundhoefer from Down Lo, Jake Stottler from Wook, Max Levin from Soup, Tony Warpinski, Chris Jourdan, Danny Waters, Ryan Gleason, man, too many to name. It's always such a treat to jam out in the moment with someone you've never played with. That's how I like to do it. Just show up and see what happens. There's a lot to be said for preparedness and control but when you're out there in the midst of a jam and no one on stage really knows what's going to happen next, that's when it's really fun. That's the thing with all these players in this scene; not a one of them has a scared bone in their body. It's like 'you want me to come up and jam? Hell yeah, dude, I'm in!' I love that.
How do you define your style and what separates your style from others?
Passionate. I've never claimed to be the most gifted player out there, and I never will. There's always going to be someone better but what I can offer is my entire mind, body and soul. I'm not to concerned if I'm not considered one of the best out there. What I do want people to say is, 'he's getting better.' That's never going to change with me because I'm never going to feel like I can stop working on getting better. It's a marathon, not a sprint. As far as my playing goes, I like to utilize a nice mix of bluesy grit, trancey licks, and trippy chordal undertones. I think my playing has vastly improved over the past half year or so, and all the credit there has to go to our drummer Frank Deringer. Dude's a better guitar player than me and that's just got to change! (laughs) No, in all honesty, Frank basically grabbed me by the collar and told me to shit or get off the pot. It's a powerful thing when someone tells you they believe in you and when you look in their eyes, you know they mean it.
Live or Studio? Why?
Live. Definitely. There's no describing the feeling of standing on stage and watching people move to what you're doing. There's been times where I've nearly cried on stage, the feeling is so intense. It's bliss. I really did enjoy the studio experience, too, though. We basically took a live approach to it. We just set up and cranked it up. A couple retakes here or there, but on our album, what you hear is all together, single takes. I can't wait to get back in the studio and start exploring some of the things we've done live as of late.
Jerry or Bob? Why?
Jerry, to me, was so far ahead of his time, he's left off the radar when it comes to the best of all time conversation. Again, here's a guy that wasn't just thinking in terms of 12 bar blues, or major key and minor key, and I think his playing reflects that kind of depth, or need to seek out more. Of course everyone, even today, has there own visions and ideals of what and who Jerry was, and who really knows which view is accurate? All I know is that when I listen to that man really get down, there's no mistaking that he meant every goddamn note.
What do you enjoy most about the jam scene?
What I love about the Wisconsin jam scene, in particular, is the camaradarie between everyone involved. From the fans to the musicians, the promoters and club owners, everyone's in this together. This is not just a hobby but a lifestyle that we have chosen, and by all of us sticking together, we're saying without pause that it's ok. What we're doing with our lives is ok becuase we all have eachother. It's a beautiful thing.
Josh Chamberlin of Undercover Organism & Dub District (Milwaukee)
Number of years playing guitar: 7
Other instruments played: Synth, Kaossilator, Bass
Type of guitar most frequently played: American Fender Stratocaster
Ideal Guitar: I like my Strat.
Amp Played: Fender Supersonic
Ideal Amp: I like my Supersonic.
Influences: Lotus, Phish, Disco Biscuits, STS9, moe., Umphrey's McGee, hip-hop, electronica, funk, jam, dinosaur extinction, over population, Albert Einstein, Aaron Rodgers, off coast drilling, and Jesus.
How do you approach writing a song for guitar?
There are a few different ways that our songs are put together. Either I'll, usually, start with my acoustic and find some chords maybe a riff in there and start humming something until it makes sense, like the Undercover Organism song 'Low Down', for example. Then once I have it all together mostly, I'll show the band and they will add their flavor, or I'll have certain parts already in my head that I can hear them play.
The other way would be thinking of some words or a chorus and then implementing this to some music later like we did with the U.O. song 'Lazer Face'. Sometimes I will put together an entire song via Ableton, drums, bass, and riffs, and then show it to the band so they have an idea of what I want it to sound like.
The third way we write songs is by simply jamming and coming up with something that we like. This is usually a collaborative effort and the song is written fairly quickly, such as U.O.'s 'The Wire'. If there are lyrics, they are almost always added after we have the progressions and whatnot are figured out.
How do you approach learning a cover song?
Covers are always learned by ear. We try to not rely on covers in our sets, but do have a few that we play. When we do play covers, we always try and twist it to make it our own, with and extended jam almost always and perhaps a tempo change during the song.
How do you approach collaborations if you do at all?
We will usually just jam and have whomever play in that key. Tell them that there is a jam space for them or we'll call their name out. If it's a song we're playing, usually we'll have them hang until we call them out or enter a jam space.
How do you define your style and what separates your style from others?
We define our style as 'jamtronica', implementing jam, funk, live electronics, and dance music all into one style. What I think separates our style from other bands is that, for one, we are one of the only bands in Milwaukee that is playing a style like this. Our problem is that the Milwaukee music scene is somewhat close-minded and I feel people have a hard time venturing out of the box and listening to something they don't know the words to, or haven't heard before.
If you compare our style to all other bands I can say that what sets us apart is how we have a funk feel, but the goal of nearly every jam is to peak it to the absolute maximum. Ian Hutchinson on guitar helps with that, with major influences in Phish and The Grateful Dead, he strives his lead guitar, and we all play to achieve one giant crescendo most of time. This allows for a drawn out build up that eventually pays off in the best way. For me; ecstasy! I love the feeling when a jam has finally reached that point, and sometimes we will hold it there for few bars but it all depends on how everyone is playing and feeling about it.
Another thing that I think separates us from most bands is our use of live electronics and dance beats. When we play a show we are trying to throw the best party that your going to have that weekend. For some, we hope that it will be the best party in a month or year, but our main goal is to help people want to let that 'inner party self' out and come have a good time with us. So, all in all, I think it is the party atmosphere we create with the music that make people want to come to the show to have a good time.
Live or Studio? Why?
Definitely live. We are a live improvisational band and rely heavily on how our jams eventually build. We may not even know what or where the jam may take us, but if it feels right at some point, it has a lot of potential. The studio doesn't necessarily have this aspect and freedom to just explore on our instruments. It has its place and purpose and that is what it should be used for. Another reason I like live better is the familiarity and comfort I feel on stage, rather than the pressure of hitting every single note perfectly in the studio.
Jerry or Bob? Why?
I'd have to say Jerry. He's a legend that will live forever in the jam world. RIP Jerry.
What do you enjoy most about the jam scene?
What I love most about the jam scene is mainly the ability to express one's self in more then just a structured format that you've played the same way, time and time again. Granted you may have some strong emotions when you made a song and they are rekindled by playing them again, but I think that pure expression through something that has never been created is incomparable to anything in music or in life, for that matter. The people that are involved with jam music are almost always down to earth awesome people. There are some people in bands that are arrogant and sometimes downright assholes, which sucks and can ruin a vibe very quickly. I like to think of jam players as free flowing, laid back people with good intentions and those are the people I like to surround myself with.
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Other instruments played: Synth, Kaossilator, Bass
Type of guitar most frequently played: American Fender Stratocaster
Ideal Guitar: I like my Strat.
Amp Played: Fender Supersonic
Ideal Amp: I like my Supersonic.
Influences: Lotus, Phish, Disco Biscuits, STS9, moe., Umphrey's McGee, hip-hop, electronica, funk, jam, dinosaur extinction, over population, Albert Einstein, Aaron Rodgers, off coast drilling, and Jesus.
How do you approach writing a song for guitar?
There are a few different ways that our songs are put together. Either I'll, usually, start with my acoustic and find some chords maybe a riff in there and start humming something until it makes sense, like the Undercover Organism song 'Low Down', for example. Then once I have it all together mostly, I'll show the band and they will add their flavor, or I'll have certain parts already in my head that I can hear them play.
The other way would be thinking of some words or a chorus and then implementing this to some music later like we did with the U.O. song 'Lazer Face'. Sometimes I will put together an entire song via Ableton, drums, bass, and riffs, and then show it to the band so they have an idea of what I want it to sound like.
The third way we write songs is by simply jamming and coming up with something that we like. This is usually a collaborative effort and the song is written fairly quickly, such as U.O.'s 'The Wire'. If there are lyrics, they are almost always added after we have the progressions and whatnot are figured out.
How do you approach learning a cover song?
Covers are always learned by ear. We try to not rely on covers in our sets, but do have a few that we play. When we do play covers, we always try and twist it to make it our own, with and extended jam almost always and perhaps a tempo change during the song.
How do you approach collaborations if you do at all?
We will usually just jam and have whomever play in that key. Tell them that there is a jam space for them or we'll call their name out. If it's a song we're playing, usually we'll have them hang until we call them out or enter a jam space.
How do you define your style and what separates your style from others?
We define our style as 'jamtronica', implementing jam, funk, live electronics, and dance music all into one style. What I think separates our style from other bands is that, for one, we are one of the only bands in Milwaukee that is playing a style like this. Our problem is that the Milwaukee music scene is somewhat close-minded and I feel people have a hard time venturing out of the box and listening to something they don't know the words to, or haven't heard before.
If you compare our style to all other bands I can say that what sets us apart is how we have a funk feel, but the goal of nearly every jam is to peak it to the absolute maximum. Ian Hutchinson on guitar helps with that, with major influences in Phish and The Grateful Dead, he strives his lead guitar, and we all play to achieve one giant crescendo most of time. This allows for a drawn out build up that eventually pays off in the best way. For me; ecstasy! I love the feeling when a jam has finally reached that point, and sometimes we will hold it there for few bars but it all depends on how everyone is playing and feeling about it.
Another thing that I think separates us from most bands is our use of live electronics and dance beats. When we play a show we are trying to throw the best party that your going to have that weekend. For some, we hope that it will be the best party in a month or year, but our main goal is to help people want to let that 'inner party self' out and come have a good time with us. So, all in all, I think it is the party atmosphere we create with the music that make people want to come to the show to have a good time.
Live or Studio? Why?
Definitely live. We are a live improvisational band and rely heavily on how our jams eventually build. We may not even know what or where the jam may take us, but if it feels right at some point, it has a lot of potential. The studio doesn't necessarily have this aspect and freedom to just explore on our instruments. It has its place and purpose and that is what it should be used for. Another reason I like live better is the familiarity and comfort I feel on stage, rather than the pressure of hitting every single note perfectly in the studio.
Jerry or Bob? Why?
I'd have to say Jerry. He's a legend that will live forever in the jam world. RIP Jerry.
What do you enjoy most about the jam scene?
What I love most about the jam scene is mainly the ability to express one's self in more then just a structured format that you've played the same way, time and time again. Granted you may have some strong emotions when you made a song and they are rekindled by playing them again, but I think that pure expression through something that has never been created is incomparable to anything in music or in life, for that matter. The people that are involved with jam music are almost always down to earth awesome people. There are some people in bands that are arrogant and sometimes downright assholes, which sucks and can ruin a vibe very quickly. I like to think of jam players as free flowing, laid back people with good intentions and those are the people I like to surround myself with.
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Big thanks to all the guys that participated and gave us their thoughts. Jerry, looks like you are the winner in Wisconsin, although, Bob, everyone is diggin’ the cutoffs! Keep supporting your local artists, and be sure to check out all these guys, as they play around your area!
WIJAM Creative 2010
WIJAM Creative 2010
