Cap’n Jazz

Short-lived but extremely important, Cap’n Jazz helped transform emo from a deeply underground punk subgenre right into a even more widely recognized subset of indie rock. Not really terribly well-known or well-known beyond the Midwest, Cap’n Jazz’s main contribution was stylistic — alongside Pinkerton-era Weezer, they helped change emo’s always-elusive musical concentrate from post-hardcore prog-punk for an arty but even more available punk-pop. Their discography was as scant since it was uncommon, but that extremely obscurity helped build their underground star through person to person, until a double-CD retrospective was finally released many years after their break up. By that point, a lot of the associates had shifted to various other, better-known emo rings, especially Joan of Arc as well as the extremely successful Promise Band, which helped pass on Cap’n Jazz’s impact considerably beyond their first audience. The very first incarnation of Cap’n Jazz was produced in Chicago circa 1989, when brothers Tim (electric guitar, vocals) and Mike Kinsella (drums) teamed up with bassist Sam Zurick and guitarist Victor Villareal; all had been still in college at that time. The music group went through many name adjustments and added guitarist Davey von Bohlen, but required a couple of years to get seriously interested in pursuing music. Ultimately, they gained a cult pursuing around Chicago as well as the Midwest, honing an audio that was simultaneously challenging and sloppily enthusiastic. Frontman Tim Kinsella’s cryptic wordplay and naïve, amateurish vocals became the group’s things; although some discovered those characteristics polarizing, they gave Cap’n Jazz a definite personality. Through the early ’90s, the music group recorded many singles for small independent labels, and in addition contributed tracks to many indie and emo compilations. In 1995, they released their first in support of recording, Shmap’n Shmazz, within the small, poorly distributed Guy With Weapon label; the recording also had a remarkably lengthy alternate name, which most followers overlooked. It quickly became a collector’s item. Shortly after its launch, Cap’n Jazz disbanded to go after other tasks. In 1998, 3 years following the band’s separation, the Jade Tree label put together a nice double-disc Cap’n Jazz retrospective entitled Analphabetapolothology. It included the band’s total recorded functions — the entirety of Shmap’n Shmazz, materials using their early singles and break up releases, compilation songs, unreleased demos and outtakes, and many songs using their farewell concert in Chicago. Davey von Bohlen managed the best profile of any ex-Cap’n Jazzer, shifting to Milwaukee and founding the Guarantee Band, which became probably one of the most well-known emo bands from the ’90s; he also fronted the acoustic-oriented part task Vermont. Tim Kinsella founded Joan of Arc, which fused emo and avant-garde post-rock in exciting and sometimes hard ways, and in addition included Mike Kinsella and Sam Zurick at numerous times. Among drumming gigs behind his sibling, Mike Kinsella continued to front side his personal emo tasks, American Soccer and, later on, the mainly single Owen. Victor Villareal was the quietest, resurfacing within the mainly instrumental Spirits and Vodka, which also highlighted Zurick. Pursuing Joan of Arc’s break up in 2001, Tim Kinsella reunited with all the current former associates of Cap’n Jazz — aside from von Bohlen, who was simply still committed somewhere else — under a fresh name, Owls; the quartet released an record that season. Kinsella subsequently started a new clothing, Friend/Foe, which afterwards included Zurick. Another reunion happened this year 2010, filled with concert schedules along with a reissue of Analphabetapolothology.