|
|
CD Reviews Widespread Panic- 'Til the Medicine Takes
Edited by Dean Budnick
By Chip SchrammThe men in Widespread Panic have come a long way. Without wavering from their original vision, they have managed to turn out six albums, log countless thousands of miles from Australia to Athens to Amsterdam, and even set a world's record at their live CD release party for "Light Fuse, Get Away." They have accomplished all of this without a top 40 single or gold record to show for it, although their army of rabidly loyal fans hasn't seemed to mind. With the advent of their 7th album, "'Til the Medicine Takes," the band from Athens, Georgia seems ready to change this in a passive-aggressive sort of way.
For their part, John Bell, Mike Houser, David Schools, Todd Nance, Domingo "Sunny" Ortiz and John "Jojo" Hermann do what they do best: sing and play songs from their heart and soul. What makes this album more than meets the eye is the contribution of their friend and mentor John Keane, further bolstered by a bevy of special guests all over the album. Keane not only tackles production, mixing, and engineering chores, he also plays with the band as a 7th member on several tracks. His distinguishing touches combined with the soulful sounds of New Orleans jazz, Memphis gospel, and even DJ Colin Butler scratching on one track give this thick roux its texture. Much like a marriage of sound to emotion, "Til the Medicine Takes" has something old, something new, something borrowed, and of course, something blue.
The album begins with a brand new song, "Surprise Valley." As the instruments start to hum and harmonize, there is no doubt this is a Widespread Panic album. The first track shows off a little of each band member, with none overshadowing the rest. Those familiar with Panic's repertoire might hear a hint of Disco or maybe even a little "Aunt Avis" flavor hidden within the opening tune. The lyrics, too, are vintage Bell. He engages the listener with allusions to nature and flight while the other 5 players paint the rest of the musical portrait behind him. Ortiz even gets a quick timbale solo in the middle, one of his most prominent moments of the album.
"Surprise Valley" breaks down into a somewhat mysterious little mandolin jam at the end of the track. There's something fishy going on in the background underneath the segue which seems only appropriate for Widespread Panic. "Bear's Gone Fishin'" is one of the band's older songs, formerly played only as an instrumental. Jojo Hermann gets the Hammond organ fired up and creeps ominously below the surface of Houser's fluid guitar segments. The line "Spy vs. spy, baby's a freakshow," seems to make a veiled reference to elements of the live Panic experience, while Anne Richmond Boston pipes background vocals underneath the waves of sound, reminding us that this is still a studio album.
"Climb to Safety" is a powerful song that translates well from the stage to the studio. Hermann again provides grinding organ to go along with military precision from Nance on the drum kit. Bell does justice to Jerry Joseph's power-ballad about the frustration of heroin abuse with magnetic vocals supported by the rest of the band in a gripping chorus. This song seems to have the greatest potential as a radio hit, though it isn't as well known as some of the other songs on the album at this point. "Blue Indian," the song containing the title of the album within it, seems to be the essence and soul of Widespread Panic. Nance plays the skins with brushes while Houser slides guitar lines around the Zambi-like vocals that sing John Bell. The background vocal effects are also very well placed and add a nostalgic touch to the tone of the song.
"Waker" is the name of Michael Houser's son. It would serve to reason that this would be a pretty inspired tune for Mikey and indeed it is. John Keane lends some really nifty banjo work to compliment the wild western bass bombs dropped by Dave Schools. Houser's vocals and guitar licks are tight and superb. Getting to watch this song develop from infant size to its present studio state is a wonder to behold. It is the best overall track on the album, and the current pinnacle of Houser's career in the studio.
"Party at Your Mama's House" is the lone instrumental on the album. Kind of like lazy Saturday afternoons when your parents are out of town, the song flows smoothly along without any worries, built mostly upon Bell's acoustic exchange with Houser's slide guitar licks and Schools' rhythmic interplay with Ortiz. The instrumental breaks down into what sounds like the soundtrack from a video game with lasers shooting back and forth. This last bit of funkiness is courtesy of track looping software on David Schools' computer. This serves as a nice segue into Colin Butler's spinning and scratching of vinyl to begin "Dyin' Man," the first single released off of the new album. Butler does a great job and the hip-hop element added to the band is something Widespread had only experimented with in concert a few times before. What makes the track somewhat dubious is the vocal balance between Bell and Hermann. The band members always share equal billing on song writing, but this is definitely a "Jojo song." The mix actually puts Bell's vocals over the top of Hermann's, taking a little off of the edge of the song. Keane's lack of confidence in Hermann's singing here is his only notable mistake on the album.
Todd Nance has been the backbone of the band for over a decade. His first tune on vocals has been long overdue. He sings an emotional and personal ballad called "You'll Be Fine." He is well supported by the rest of the band, and Keane who tightens the screws down on the track in the studio. Nance's vocals come through very clearly with some give and take with other band members in the chorus. One Arm Steve is Jojo Hermann's mythic tale of evil, power and the life of a rock star. Here also, the vocals are crisp and the jam bounces back and forth between the piano and lead guitar. The well traveled Hermann manages to get thrown out of a bar, seduced by a mysterious woman and called to judgment by none other than the grip reaper himself. Agony or Ecstasy? Humble reader, you are the judge.
One of the trademarks of Widespread Panic over the years has been their willingness to share the stage with other musicians and tour with many different opening acts. Their open-mindedness has encouraged everyone in the music community and strengthened the jam scene as a whole. On the album this gives them the chance to add a little extra flavor to some of their newer songs like "Christmas Katie" and the show-stopping "All Time Low." The Dirty Dozen Brass band adds some laid back horn tracks to the former, adding a big band sound to Bell's surly vocals. The short jam to end the track is a snippet of the longer jam that has developed live over the summer. "All Time Low" is rich with allusion to natural disaster and personal downfall, but that seems to be the well from which the band draws their most inspired material. Dottie Peoples adds some unbridled gospel wailing to the end of the track, supported by a full tabernacle chorus.
"Nobody's Loss" is a fitting tune to end the album. Slow, simple, and from the heart, Hermann and Bell's vocals plus Schools on acoustic bass seem to reiterate their original vision. They neither run from their country and folk roots, nor do they embrace them. Instead they mold them into something original and unique. Those who appreciate it are always welcome. For the rest, there is a nonchalant live and let live attitude that the band has displayed for well over a decade. Widespread Panic brings a lot to the table on "'Til the Medicine Takes." There are so many different musical and vocal elements at play that it takes at least three or four full times through before most listeners will be able to fully digest it. Music fans unfamiliar with their material will be pleasantly surprised by the complex yet subtle themes at work throughout the album. These six musicians playing in their prime have created something they can be proud of for a long time to come.
Jazz Is Dead- "Laughing Water"
By Chris OrmanWhen it was announced that Jazz Is Dead was going to play and record the entire "Wake of the Flood" album, it made complete sense. After all, it has the conspicuous distinction of being the Dead's jazziest recording, therefore being a natural choice for a group of jazz oriented personnel. Strangely, the new Jazz Is Dead album titled "Laughing Water" is not as jazzy as its paradigm. It seems to have more in common with southern rock than jazz. This is not necessarily a terrible thing, especially for those that love the Allman Brothers Band.
The southern rock sound and connection could probably be explained by the player's themselves. Jimmy Herring and Jeff Sipe both played with Aquarium Rescue Unit and Herring has sat in for Dickey Betts when he was ailing. Sipe is well known for his drumming with the bluegrass/rock Leftover Salmon. On keyboards, T.Lavitz hosts an impressive resume, including being a founding member of the fusion band Dixie Dregs and adding texture to the southern sounding Widespread Panic. Mix in guests Derek Trucks (recent Allman addition) and Vassar Clements, both southern boogie styled players, and you know the sound isn't going to be exactly jazz. Bassist Alphonso Johnson is the only "true" jazz player and with no real connection to the southern sound, yet when it is six players to one, rarely can that one steer the whole ship.
A great example of the band sounding "Southern" can be heard on the perfectly titled "Sunshine Jam", which features Clements and Trucks. The band jams, moving between rhythms until Sipe begins playing a bluegrass beat. Suddenly the band finds themselves amidst an electric bluegrass jam, with Clements adding fiddle that is holds a strong similarity to some of his Old and In the Way work.
The ABB do get jazzy at times, as does Jazz Is Dead. "Let Me Sing Your Blues Away" is the most swinging track, coming close to the sound of Jimmy Smith in a smoke filled bar. Herring adds some great Duane Allman styled fills, and he seems to especially enjoy the heavy blues ending. "Eyes of the World" also swings and probably is the only track close to the sound on the first album, "Blue Light Rain". When the Dead played "Eyes" it was a song which was gentle and sweeping. Jazz Is Dead kicks it up a few beats and makes it funkier and grittier which fits their sound. This is the only track, which doesn't sound like the ABB, or any band for that matter. Those changes may be the Dead's but the sound is uniquely Jazz is Dead's.
The highlight of the album may come at the end of "Eyes of the World" with Johnson's enormous bass solo. His playing brings back memories of the genius Jaco Pastorius. It is a nice touch to have a tribute to another great musician on an album also meant to acknowledge the skills of the Dead.
Comparing this album to the original "Wake of the Flood" would be crass and possibly pretentious. The Dead, will not be duplicated and this effort by Jazz Is Dead is not meant to sound like the legendary group. Their goal is to forge their own musical trail by using the changes and chords of the Dead 's music. In that sense, Jazz Is Dead is successful, and with the southern rock flavor they have made these songs their own. Still, one has to wonder where does Jazz Is Dead get the word jazz that is in their name? Maybe it should be Southern Rock is Dead.
Day By The River, Jiggle The Handle, Vinyl- Three Sets
by Reid BrockenThree Sets is the first project released by the fledgling label Lauan Records Before moving on to the music, I wish to point out that the label is committed to by keeping their CD prices very low (this disc will set you back a mere EIGHT bucks) and by donating money to charity. This is a win/win situation, as fans get good music at a fair price, and some worthy organizations receive some additional funding. Of course none of this would manner one iota if the music presented here wasn’t enjoyable, which it is. Three Sets collects ten songs performed by three bands with varied sounds, located in different parts of the country: Day By The River, Jiggle The Handle and Vinyl.
The disc opens in the mid-flight as Day By The River’s segues into "Puddin." Ted Lahey’s rich, soulful growls and Jason Rabineau’s notebending leads define the group’s sound as thick, batter-dipped and southern fried. However, keyboardist Walt Austin also contributes some jazzier flair, most notably on "Moanin’’ Lisa" which follows. The band’s set closes with "Story," a dense, more nuanced song which did not immediately grab this listener but one which I further appreciated with each additional spin. Indeed, this may be an apt metaphor to describe Day By The River’s music in general, as it is a thick brew that is ultimately rewarding once it has been fully tasted and savored.
Next up is Jiggle The Handle, whose music provides a contrast as it is a bit more immediate and accessible (which is no knock against either band). The group’s first track "Finally," demonstrates this point, as it is an upbeat, more traditional rock tune which builds to a rousing climax that highlights the band’s vocal interplay. Gary Backstrom also distinguishes himself here, enlivening this song with some ringing guitar leads. Next up is what I found to be the most enjoyable composition on the entire disc "Walking Backwards." It was written by the group’s newest member Chris Kew (formerly of Hypnotic Clambake), and it melds some interesting lyrical musings with some sublime rich textures as the band works its way into jam that is reminiscent of the Dead (both keyboardist Paul Wolstencroft and drummer Greg Vasso really step it up). "Slow Down" the reggae flavored song that follows offers a pleasant contrast, a lilting change of pace.
The real revelation for me was Vinyl. I had heard of them but I don’t think I was prepared for the group’s rich, flavorful sounds. The band’s instrumental grooves draw on range of influences from Latin to jazz to funk to reggae. The percussion section, brothers Antonio and Sean Onorato really stand out, driving the music forward and yet adding enough subtle flourishes to keep the listener engaged. The opening cut "Bones," also presents some funky guitar and some slinky horn lines. "Funk In 5-4" lives up to its billing, as well with some solid interplay from all eight members. The band concludes with "Imperial Dub," which, as the title suggests, skanks along but is does so over eleven minutes, as a range of instruments and sounds are layered over that basic beat, including harmonica. My roommate tells me that he would zone out on occasion to this track only to perk up a few minutes later as a new color was introduced.
All in all this is a enjoyable sampling of three interesting bands each with its own sound. I suppose if I had any gripe, it’s that I wish all three of these sets could be a little longer.
Stanton Moore - "All Kooked Out"
Fog City Records 002
by Jesse JarnowThe label copy on Galactic drummer Stanton Moore's solo debut promises "more than an hour of the new new super heavy New Orleans funk". Breaking it down: There is most definitely more than hour of music on this release. No problem there.
"New new" poses a bit more of a conundrum. The answer relies mostly on the listener's definition of the word "new" itself. There is definitely a deep sense of history on this release. The music on "All Kooked Out" certainly feels fresh, but it feels so as a product of tradition -- as Moore would likely be the first to point out. Throughout the supplementary material provided by the features of the enhanced CD, Moore and other musicians involved in the release point to their New Orleans based roots -- from Professor Longhair to the Meters. Much of the newness relies on interpretation of something that has long existed.
"Super heavy"? Make no mistake about it, this band can - and does - get their groove on. As for "super heavy", that varies from track to track. One of the strengths of the Moore-assembled ensembles which play on the disc - featuring, for the bulk of the disc, 8-string guitarist Charlie Hunter, and saxophonist Skerik - is a lightness which allows them to skirt from section to section gracefully, never quite getting too bogged down in the groove so that they can't escape. Check out the nearly effortless shifting in the group composed Kooks On Parade. Super heavy, it's not.
This is both a strength and a weakness, however. It can be quite effective. It is definitely, as Miles Davis would've called it, "social music". It is simultaneously greasy and smooth and one can sure as hell dance to it. Ultimately, though, the problem is that much of the music here doesn't leave much of an impression. It is all extremely worthwhile and insanely well-played but so is a lot of music. Blues For Ben, for example, is as tight as anything and certainly shimmys its way out of the stereo and into the room. It doesn't exactly make its way into the listener's head or, at the very least, my head.
The album fares a little bit better on the "New Orleans" part. Strike that, a lot better. Most of this has to do with Charlie Hunter's guitar playing. I have never been to New Orleans, though I sure have some preconceived images of it. There are two that come before any others. The first is a city of constant celebration, partying. Mardi Gras. The second is a dark city that is swallowed by the fog of the bayou with seedy characters darting in between the shadows.
In that, New Orleans has always been a bundle of contradictions it¹s so deeply mysterious and dark in some ways, but so joyous and celebratory in others. Oddly enough, the two worlds celebration and mystery aren¹t at odds with each other at all. In fact, they naturally complement one another. The parties seem to celebrate the danger and the danger seems a natural product of the lifestyle- if that makes any sense. The center of these celebrations, Mardi Gras, celebrates mystery. Revelers dance in mask and costume, hidden from fellow merry-makers. Many a story set in New Orleans has begun with a case of mistaken identity behind the masks of Carnival. All of this, and more, is embodied in parts of "All Kooked Out".
Take the more straight-forward noirish music from John Zorn's first "Naked City" release and set it in New Orleans, as opposed to Manhattan. The echoey tones of Charlie Hunter's 8-string guitar resonate like noises slapping back off of brick walls in alleys. Moore's drums are the shuffling footsteps in the shadows, peeking around corners. All the while, a non-stop party rages in the background. Farmstead Antiques, in this regard, is one of the finer cuts on the disc. As some confrontation occurs in an alley, the silhouettes of dancers can be seen in the background black outlines in front of bright yellow light.
Perhaps those in the midst of the fight (if that's what it is) emerged from the party depicted on Stanton Hits The Bottle -- the previous track. Thanks to Moore's percussive attack on a set of bottles - ergo, the amusing pun of the title the whole thing comes off like a giant choreographed scene in a noisy bar with people dancing and tapping glasses together in synch. The liner notes for "All Kooked Out" proudly claim "no overdubs, no headphones". If this is true, then Stanton Hits The Bottle is a wonderful example of the virtuosity of the bandleader as he I hajumps back and forth between bottles and traps even alternating beats between the two at several points.
Yes, Moore is the bandleader here. This is his first release as such. Surprisingly (or not), it does not come off as a showcase for the music of Stanton Moore, the drummer or arranger. Instead, it feels more like a showcase for the talents of Stanton Moore as an arranger of people bringing together a bunch of musicians who might not've ordinarily gotten the chance to play together. And that could directly be related to the albums faults, as it comes off more as a pickup band than anything else albeit a fuckin' great one.
"Funk"? Yes. God, yes.
Keller Williams- "Breathe"
By Christopher OrmanTalent drips off of some people, leaving a trail of sound that creates awe and leaves jaws dangling on the ground. Take Keller Williams. He plays a custom ten-string guitar that allows him to play bass and melody lines simultaneously a la mode Charlie Hunter. On top of that feat, via his mouth he is able to emulate brass instruments like the trumpet and flueglehorn. If that isn't enough, Keller has a mellifluous voice that rings with sweetness. Like I said, some people have a plethora.
Keller's talent and awe-inspiring antics gives him the freedom to bounce around genres with relative ease. He can play jazz, funk, bluegrass, reggae and folk all with mastery.
On his previous releases, Keller documented his one-man band style with elan and success. Now, with his latest release "Breathe", a different approach was taken. Rather than doing the album solo, he enlisted the talents of the equally talented and eclectic String Cheese Incident to add ornamentation and flesh to his works.
The result is an album that is compelling and ingenious. It may not be the place to discover Keller Williams or the SCI, but it is a musical adventure that can stand on its own.
Musically, "Breathe" is a trip through the opulent lands of musical sounds. Constantly, from song to song and even within songs, genres are being traversed: musical idioms of exotic lands explored.
"Breathe", the title track may be the finest exemplary of this comment. There is a vague resemblance to Phish found in the beginning. Then suddenly tablas and hammered dulcimer give the song a unique middle-eastern sound, twisting and turning the listener through the typical jam band sound to the outskirts of Saudi Arabia. Just breathe, that's all, just breathe.
After "Breathe", "Roshambo" an instrumental track is bound to grab your attention. As if the listener needed more evidence of Keller's talent, this track features him teamed with Michael Travis. With Keller's one of a kind picking, the two create a funk instrumental that is bound to get you dancing. After "Breathe", it is like the listener has been flown immediately back to New Orleans, circa Mardi Gras.
The sojourn continues, this time to the hills of Kentucky with "Lightning". No album featuring SCI or Keller could be complete without a bluegrass romp. The piece is just that, except for another esoteric addition. Travis, SCI's drummer, has a talking drum and some African percussion keeping the rhythm. Imagine, if you can Bill Monroe performing in Africa with a drum circle.
To close the album, your trip ends in Kingston, Jamaica with the infectious reggae of "Callalloo and Red Snapper". So the lyrics aren't the best, almost like David Lindley, still it is a miraculous piece of music considering what has just transpired. After the last strains of reggae emanate from your speakers, the listener is left in awe, desirous for more. Yet there is more, at least one more song. At exactly 4:20 on your CD player on track thirteen, a secret track starts. The sound is hip-hop, or at least close enough. It is as if Keller needed to show just one more element, one more piece from his arsenal. This song is ineffable, but a feeble attempt would be to say it sounds a bit like acoustic Medeski Martin and Wood with DJ Logic sitting in (Keller, with his mouth makes DJ scratching sounds).
"Breathe" is an amazing album for the ears and mind. Continually you will catch yourself looking over at the speakers, wondering if the CD players switched to Phish, then David Lindley or some African Drumming. This is a true testament to Keller's enormous talent and his desire to redefine the definition of a folk singer. Breathe, put on this album and enjoy the diversity of Keller Williams and SCI.
Chris Dahlgren- Slow Commotion
by Dave RiouxMy first comment upon hearing Slow Commotion was: "Now THIS is a Solo Project!" Chris Dahlgren, the current bass player for Jazz Mandolin Project, takes the opportunity to shine without blinding you. The first three songs present such severe mood swings, displaying Chris's broad diversity as soon as possible.
The opening "Visken," a tantalizing blues shuffle, is hauntingly colored by Ben Monder's frantic guitar playing. The mix is such that it enhances that ominous feeling, without highlighting any one instrument. Particularly that of the featured artist.
"Harmonic Cloud" is next, and one that I've had to listen to over and over again. I truly believe it's not for the faint of heart. A dark bass harmonic moan rippled by the draw of the bow creates a sound so sinister, I'm drawn to the poetic mastery of it. Here is the perfect example of Chris portraying substance without ego...masterful.
"Good 'n Plenty" is up next. Here we are treated to a piece that dwells more in the realm of traditional jazz. Odd time signatures and scat-sax color the mood as Chris walks all over the fretboard. Definite coffeehouse stuff. The drummer skipping across the snare and high-hat; hollow-body guitar sounding off; and there is the bass, always present, keeping the back-bone and exploring the scales. Not unlike some of the other cuts included on this eclectic and fun montage.
There seems to be a fair amount of dissonance, purposely speckled throughout, as though it was put there to keep the listener from getting too comfortable. That kind of fuzzy reality leaves me a little bit uncomfortable, but with a huge amount of respect to the artist for being able to create and control it.
We are also treated to a recitation of Duke Ellington's "In a Sentimental Mood," which fits well in the collection as a whole. I personally prefer it when artists perform their own stuff, but I can also see the need for paying homage. This piece is well done, relaxed and moody.
To work with such talented individuals on your solo project only shows Chris' openness, and confidence in his art. I particularly want to mention Tim Ries' sax playing throughout, and his great in great donations to this wonderful collection.
This is a perfect CD for the jazz enthusiast, as well as a great jumping off point for those who would like to get a little deeper into explorative jazz! Good stuff.
Ancient Harmony-Skywater
Paul L. "Pro" Pearson, Ph.D.
© 1999, www.strangepleasures.comAncient Harmony Websitehttp://www.ancientharmony.com/
From note one, you know you’re south. Somewhere between Feat Swamp and Allmanville, close to Panic Rock on the corner of Skynrd and Weir. Macon, Georgia to be exact. Although it is south, it’s not exactly ALL the way south.
Recorded and released independently in 1996, Ancient Harmony’s initial recording is a study of influences and nuances. Georgia has produced a true melting pot of styles, and this one is distinctly southern funky rock with a jam where bands like the Georgia Satellites or the Black Crowes would start another verse. Shell Stamps, a solid vocalist, also holds his own on guitar. Bassist Steve Patton and Michael Cansler (drums and percussion) hold the rhythm in tandem and add plenty of flavor. Fine keywork and backing vocals are by Leif Ragnaldsen on the disc-those duties now covered by Hal Month, according to Relix Vol.23(1) http://www.ancientharmony.com/relix.htm . No additional information on the band members is available from their website, however new recordings are rumored ‘soon come.’
Recorded by Paul Hornsby (producer for Charlie Daniels and Marshall Tucker Band) at Muscadine Studios in Macon, Georgia, this disc offers enough jam to seriously interest me in their live show (samples offered in Real Audio from the website). The production is excellent, retaining a distinctly studio feel at times. The jam segments do transcend and truly capture a live image of this band’s stage personality. According to this photo, it promises to be a grooving party.
Given the band’s 10+ year history (Patton joined Stamps and Cansler in 1992), perhaps it’s not surprising that the hour-long first collection of songs from Ancient Harmony is a afterimage of important influences and a reflection of contemporaries with similar tastes. Connect the dots on the musical landscape and you’ll see some dancing bears. Perhaps the fluidity of the band in the subtle distinctions of their combined styles enhances the tendency to make comparisons. Those comparisons, however, are at the very least favorable.
"Taxi Driver," a Little Feat-style boogie, kicks this disc off, letting you know just when you’ve had enough. "Time Will Tell" is distinctly funkier, distinctly original foray into jamland, allowing the guitar and keys to stretch out before merging into "Southern Train." Amidst the tight changes, this is definitely ‘the’ jam on the disc. "Skywater" begins with a Zeppelin-esque intro and shifts into a cruise on Widespread Panic RR, maintaining an upbeat groove throughout before fading out mid-guitar just after the seven-minute mark. "Wings" is another uptempo travelling song searching for air. "On My Own" is the requisite lament to aloneness, slightly down tempo. As soon as "Georgia Bound" kicks in, you know you’ve got a cool closing anthem on your hands that could explode. (You know that if these guys play Lynrd Skynrd covers on request, they would MEAN them.) For the tasty icing on the cornbread, they return you to the unsettled and cloudy, yet uplifting side of your mind with "The Storm," which builds in tension before letting loose a torrential up-tempo jam. Echoes of Paul Rodgers rumble in Stamps’ vocals, his guitar thick with Ragnaldsen’s funkified keys, dropping you off in a light sprinkle.
Comments?
pro@strangepleasures.com
August Issue: Home | Editors | Features | Columns | Photos | Regional | New Groove
Road Trip | Tour Journal | Venue | Levels | Ghosts | Homegrown | Inaudible | CDs | Charts
JamBands.Com is published on the 15th of every month. Submissions are due ten days earlier on the fifth of each month. Please contact the specific editor for the section you are interested in contributing to. For general content comments, please e-mail jambands@jambands.com. For all technical web site related issues, please contact Sarah Bruner or David Steinberg