Jam band embraces spontaneity, followers
By Chris Nixon
For The San Diego Union-Tribune
April 11, 2006
The words “jam band” evoke a variety of images and stereotypes, both musical and cultural. The bands typically adopt an improvisational style, drawing new fans through word-of-mouth and constant touring. Kids usually follow groups on their tours, creating a traveling subculture.
For Chicago band Umphrey's McGee, acceptance into the jam band lifestyle brought a constant flow of devoted fans.
“I see it as we're part of this community, a really great community that allows us to experiment in our live show,” said percussionist Andy Farag from his home in the Windy City. “People come out and travel from state to state to see us. We embrace (the term jam band). This is how we make a living.”
The music of Umphrey's McGee – with its tendency toward both tight songwriting on studio albums and long jams during live shows – places the sextet at the forefront of the next generation of jam bands (see also Particle and Disco Biscuits). After its humble roots in 1998 in the Midwestern town of South Bend, Ind., the group grew an audience through constant touring.
Learning the music business through touring can leave bands scratching their heads, especially jam bands. Even the most ardent of Grateful Dead fans (affectionately dubbed Deadheads) will admit the legendary group's studio output was uneven and mediocre at best compared with its live shows. Instead of creating material on the spot, Umphrey's McGee was forced to learn the art of studio songwriting.
Umphrey's McGee – Jake Cinninger (guitar), Joel Cummins (keyboards, vocals), Brendan Bayliss (guitar, vocals), Ryan Stasik (bass), Kris Myers (drums, vocals) and Farag (percussion) – released its third studio album recently, titled “Safety in Numbers.” The disc features 11 tracks of prog rock and tight songwriting, with guest appearances by veteran rocker Huey Lewis and touted jazz sax player Joshua Redman.
“Over the past couple of albums we've been working on (writing material to fit the studio format),” admitted Farag. “We realized that we have to be different in our live show and our studio work. I think we did it a little better this time around with 'Safety in Numbers.' In the studio, you have to be short and concise compared to a show. So you have to be mentally prepared to separate those two things.”
Despite the solid collection of tunes on “Safety in Numbers,” the calling card of Umphrey's McGee continues to be its live performances.
“People come see us for the improvs,” said Farag. “We try to write songs on the spot. It's the spontaneity of the experience that keeps people coming back, the freshness of every show. Nobody knows what's going to happen next, not even us onstage.”
Chris Nixon is a San Diego music writer.
