It’s time to double clutch and jam the gears, cut the apron
strings, and kick out the jams, m****rf***ers! The Roc City Pro Jam — the now-weekly open jam that
rotates venues — has reached its plateau. Or maybe its
ceiling, depending on how you look at it. This is a wonderfully organic
event that takes on a professional-player edge without getting too high tone.
Anyone can get up and play, but you’ve got to step high. The level of talent
runs high here. The problem is, basically, there ain’tno words. Each jam is groove or beat-centric to
exalted heights, and within these goalposts it shines supernova bright. But to
avoid the comfort and bloat from this position, some melody needs to be introduced.
It could be freeform freak-out, classic Sinatra, Gregorian chant, anything, but
it’s structured where there’s an additional challenge and the endings don’t
resemble a plane overshooting the runway.
I came to this realization Tuesday night while killing Kenny
with a pinball and after dominating the slot-car track at Rock ‘n’ Roll Ron’s while
the jam shook the walls at a packed Skylark Lounge. Members from local bands
like The Goods, AudioInflux, the Teressa
Wilcox Band, and Teagan and the Tweeds all got up and
played in various configurations. And it seems some are inching in a more
structured direction already as several saxophones wailed wantonly around more
than just righteous riffs. My suggestion to the wigs that run this shindig is to
give the recently assembled ensembles a chance to get their assorted ya-ya’s out, rocks off, and grooves on, but throw them a
curve ball. Spin the wheel and predetermine the groove the group has to adopt. Metal mavens? Give them a reggae beat. Long-winded
jammers? Assign them a three-minute pop tune. And so on. Remember, it’s
all one big song, and we’re all just trying to carve
out our own little piece.
This article appears in Jan 9-15, 2013.
