Umphrey's McGee Fan?

[\/\/illy]

I came across some interesting stuff here and I thought that fans and music heads alike may be interested in it.

The art of Umphrey's improvisation

Longtime fan Jon McLennand explained the concept of "Jimmy Stewart" on the popular Umphrey's McGee fan website, Umphreaks.com

Jamming is not always linear. Some bands touch on the concept of non-linearity. Some do it with much greater depth and style than others. You've heard bands jam where someone starts up a riff, and everyone starts playing said riff. Simple stuff. Someone starts playing the outlying chords, somebody starts soloing. Voila! You're a jamband. What Umphrey's does on a consistent basis, and with fluidity, which is where people get confused, is create a longer riff, that spans an entire measure, or longer. By doing this, you give the rest of the band more room to work with and create. And create they do. When no longer confined with a quick repeating riff to play off of, the other 5 members are able to create their own textures that build off the original riff. And, with each completion of the section, they go back to the top to repeat it, hence the non-linearity. Allowing for futher coloration and characterizing of that little piece of music. Then take it where it may. Sometimes modulating it through different keys or changing the tempo/dynamics of it. After they're done toying with said section, they just move along to the next section by holding out a chord. You'll see Jake do this a lot, as if he's wiping off the table.'

For the most part a Jimmy Stewart is designed to have at least 2 separate sections. This is where it really starts to get fun, and where Umphrey's really distances themselves from the pack.

The Bounceback Jam: After leaving the first section, as discussed above, they'll move along to wherever they go next, usually playing off the last outlying chord of the previous section. Another sections is started, built upon, and repeated a few times. Now here's where the pure beauty of it all comes in. When they get to the end of this 2nd section, instead of going back to the top, you'll see Jake lean backwards. Instead of repeating section B again, they're now back at A. The playing it even tighter and with more flair than they did their previous attempt 3 minutes before. Then another few runs through that, Jake leans back, and then they're back in section B, playing it, again, better than they had before. So what they do, is build 2 unique sections of music together, seperately.

Instant Composition: That's the difference. They don't just improvise, they create unique pieces of music night in and night out. Some wonder why Umphrey's fans can get frustrated when people say they don't know how to jam. Their methods are refined to a point well beyond anything most of us has heard.

Jazz Odyssey: The line between Jimmy Stewart and "Jazz Odyssey" has been slowly erased, or at the very least, become extremely cloudy. A Jazz Odyssey is more straightforward, with no bounceback involved, and there are usually less signals involved.

Pony Basslines: Ryan Stasik is always trying to work new riffs into jams as possible songwriting fodder. So if you hear him repeat something from a previous show, don't feel like you're getting slighted because he's not up there improvising as much as the others. They aren't chosen at random. Plus, some of them are just such tight grooves that they're worth playing multiple times, just to see how different versions unfold.

Composed Jimmy Stewarts: From time to time, the band will write out sets of chord changes, as well as a general idea of how they'll want to play said section, such as drum n' bass, ambient, uptempo, etc. On very rare occasions, Jake might bring something to the table, maybe a section that he's been working on. In written out Jimmy Stewarts, you'll hear the band make changes during which there's no way any band could just decide to change sections like that. It's not *pure* improvisation per se. However, it is an outline for improvisation, mostly in the interest of melody making, not soloing. The goal is to possibly take that section and turn it into a song in the future.

Bayliss Vocals: All fans of improvisation love the feeling of living in the moment of the music. From time to time, Brendan will take a jam even further and start spouting out lyrics, sometimes improvisationally, others from his apparent 'lyric notebook', which contains passages he's working on for future songs. During these jams, you really do truly get a full taste of instant music writing. See vocal jam during the 9/4/03 version of "Der Bluten Kat" which was later turned into "Ocean Billy."

Jimmy Stewart Becoming a Song: "#5," "Wife Soup," "In the Kitchen," "Ocean Billy," "Bridgeless," and "Robot World" are all examples of the band going back and listen to a previous Jimmy Stewart to see if there's any good material to use as a section for a new song.

Hand Signals

1. Step Forward/Back (modulate up/down a minor third).

2. Guitar Neck Up/Down (modulate up/down a whole step).

3. Wipe Off (clean the slate, start over)

4. Lean Back (go to previous section).

5. Hand Over the Head (return to the top of a jam, head of the song)

6. Hand Signals (to denote chord/key to change)

7. Rub Nipple (milk it. keep playing this section)

8. Fist at eye level (hold this groove)

[dJEd]

that makes it seem like they're doing something new and original, which they aren't.

[c-towns]

I highly recommend their album from 2004 "Anchor Drops".

highly.

[SmoothedShredder]

I like Umphree's cause they really remind me of early Phish... circa Junta... but they add their own unique twist. The songs on Anchor Drops sway from sweet folk duets to full out beefy, arranged, dual guitar solos, to raging rockers, with great harmonies, to quintuple jams with thick bass on the 8's. I haven't figured out their lyrics yet... but words... you know.

Changes within the songs come unexpectantly, by that I mean, there's not alot of resolve, and when they get there, they don't stay long... grooves are for jamming... the chorus is just a punctuation, and the boys are really eagar to move on to the next passage. It takes time to get used to, but the magnitude of fresh jams in a UM show is quite satisfying especially considering they are one album deep, and they rocked BSC for about Three hours off and on. Never too far from a groove, it's easy to boogie too, and I won't complain about that! Two drummers, one outfit with a serious array of percussion bombard the mind so that 'e''s and 'a's come in with a precsion and uniqueness similar to that of the great rattlers of our time i.e. the Fishman's to the Butch Trucks and Jaiomes of the world.

Big deal if they don't attract everyone... their material is serious, and seriously refined... Please check out 'Mulches Odysey' for UM's: 'David Bowie' or 'Bullhead City' for UM's: If I could... or 'Miss Tingle' for the fusion of Dream Theathre, Skynard, and the Arcade Fire. There's Bathtub Gins, and there Divided Skys... but they are new and Fresh. And they make me feel like I'm 14 again.

Peace,

~W

On a side note Rilo Kileys song 'With Arms Outstretched' is a song that reminds me that life is glorious, and that clapping is all I need to make me happy.

[bouche]

I didn't notice any of the conducting nor pseudo-structure. I am quite simply impressed with the insane guitarists.

[deranger]

Yes, that whole band is just insane.

INSANELY GOOD!

[Tenenbaum]

had a great time when I saw them at BSC; the keyboardist did nothing for me though

[\/\/illy]

had a great time when I saw them at BSC; the keyboardist did nothing for me though

That's interesting. I think it was their keyboardist that joined Keller on stage at the Toronto BSC and I remember saying to the GoodRev that I thought the keyboardist was totally missing the boat and his 'solos' were uninspired and choppy.

Are they just too into guitars to recognize the weak link or is there too much history to change members?

[bradm]

7. Rub Nipple (milk it. keep playing this section)

This at least partially explains why there are no female members of UM...

Aloha,

Brad

[guigsy]

the keyboard guy seems to get a bad rap everywhere. when we were in chicago for the show, asking around to get a feel for what to expect, the keys seemed to be the common weak spot that people pointed to.

maybe he is, but i didnt really care, though... he got the job done as far as i was concerned.

Edited August 25, 2005 by Guest
y!

[headygouda]

After going back and giving a good listen to all the BSC sets this summer, as good as Umphs were in their limited short sets, they never took it out there like some of their other shows in 2003-2005. The podcasts from this year really do highlight some of their best moments from each month. Definitely listen to podcasts 6-10, which feature mind blowing jams in april > may. Some of the Stews and JO's are amazing. Speaking of jams.. I can pretty much pick out stews now, especially after understanding the jam formula as described above, but I still have a hard time hearing Jazz Oddessey jams.

[SevenSeasJim]

After going back and giving a good listen to all the BSC sets this summer, as good as Umphs were in their limited short sets, they never took it out there like some of their other shows in 2003-2005. The podcasts from this year really do highlight some of their best moments from each month. Definitely listen to podcasts 6-10, which feature mind blowing jams in april > may. Some of the Stews and JO's are amazing. Speaking of jams.. I can pretty much pick out stews now, especially after understanding the jam formula as described above, but I still have a hard time hearing Jazz Oddessey jams.

I really enjoyed podcast5 as well. Sprinkled with Zeppelin. Nice!

[Kaidy Mae]

I've only seen UM twice live (in VERY different venues...Bonnaroo & the Docks), so I need to experience more live before I would slag on Joel. I'm no keys expert, but it is my favourite instrument. Perhaps I'd have a better feel for his skills if I could take my eyes off of Ryan Stasik. *blush*

headygouda, do you remember the guy who sat in on the keys for UM at BSC? I have a pic of him that I can post some other time, if necessary. I think he was a friend of the band or something. He didn't play a whole lot, but I recall it being kind of a "meh" moment in the show. Damn, I wish I could remember what tune that was.

Okay, speaking of UM, is anyone seriously interested in doing the ferry to Rochester for the Sept. 9th show? Ferry leaves at 7pm for $29 US (each way). Tickets are $15 US. The venue is 15 miles from the dock. I'm looking into public transit now.

Edited August 25, 2005 by Guest
Some wacky stuff is goin' on w/my quote feature.

[c-towns]

They have keys??

[AD]

Where can I find these podcasts, and what is the sound quality like?

AD

[bradm]

http://www.umphreys.com/music/index.htm

Aloha,

Brad

[Kaidy Mae]

Thanks Brad!

[c-towns]

I highly recommend this show.

Umphrey's McGee

02/21/04

The Funk Box

Baltimore, MD

OM Trio Opened

Source: SBD(delayed via TC Electronics D-Two) + Neumann KU-100(at DFC, 10' from stage) -> Allen & Heath WZ12:4:2 -> Sony R-500 w/SBM-1 -> DAP-1(master) -> D-100(48khz,DAT/4)

Transfer: D100 -> UA-5 -> Toshiba Satellite 1135-S155 -> Soundforge 6(normalized & resample to 44.1khz w/anti-alias filter 4/4) -> CDwav(splits) -> Flac

Taped by Kevin Browning & Chris Clark(clark@taperssection.com)

Transfered by Chris Clark

Set1: 69:42

Disc1

1. Kat's Tune -> 04:13

2. Much Obliged -> 04:05

3. Jazz Odyssey -> 04:41

4. The Crooked One 08:30

5. FF -> Jam 08:26

6. Bridgeless 10:35

7. White Man's Moccasins 07:19

8. Uncle Wally 05:41

9. All in Time 16:08

Set2: 88:19

Disc2

1. Crowd/Banter 01:51

2. Professor Wormbog 06:23

3. When the World is Running Down^ -> 07:02

4. "jimmy stewart" 06:38

5. Blue Echo -> 02:26

6. Jam -> 02:18

7. Blue Echo -> 03:27

8. Jam ->## 09:44

9. Push the Pig 10:59

10. All Things Ninja 16:34

11. Wife Soup 15:18

Encore

12. Crowd/Banter 02:12

13. Waiting Room 03:20

Notes:

Joshua Redman sat in on saxaphones for entire second set

^ with Ilya Stemkovsky (OM Trio) on percussion; with Another Brick In the Wall tease in the intro

## with Hot For Teacher tease at the end

Tech Note:

Wormbog can be added to D1 to make the show fit on 2 discs

-I Decided to transfer this sbd source after listening to the Wilson Matrix, as i felt that the other source had some very harsh spots in the vocals. Browning's Matrix was much cleaner. -I also tracked this a little different, leaving the FF>jam

[bradm]

The show c-towns listed is available here; the "Wilson Matrix" referred to in the Tech Note is here.

Aloha,

Brad

[Kaidy Mae]

do you remember the guy who sat in on the keys for UM at BSC?

07.12.05 - The Docks Concert Theatre on Polson Pier, Toronto, Ontario [top]

One Set: Great American, 2x2, Utopian Fir* > "Jimmy Stewart" > Mulche's Odyssey, Atmosfarag > Walletsworth, Bright Lights > White Man's Moccasins, Dump City, FF^ Andys Last Beer

Notes:

Big Summer Classic tour

* first half

^ with Anthony Robustelli (Spearhead) on keys

Well that answers that.

[AD]

Thank you sir

AD

[gentlemonkey]

I highly recommend this show.

Umphrey's McGee

02/21/04

The Funk Box

Baltimore, MD

OM Trio Opened

yes sweet show.. I'm psyched for some UM in september..