Miami & The Beaches Photo Blog

You don’t have to be an acid-fried, VW driving, hippie-burnout to appreciate a good jam-band, nor do you have to be a hoity-toity, pinky-flaring, culture snob to appreciate the subtle nuances of good improvisation. In fact, the presence of a loyal fan-base is far from evidence proving notable talent (need I cite the existence of multiple Paris Hilton fan-clubs?). But, there is one so-called “jam-band” that transcends the barriers between underground appeal and critical notoriety. Regularly treading their own successful path through the journey toward musical greatness is the Chicago-based improvisational conglomerate, Umphrey’s McGee.

They may be grouped with the likes of other jam-bands like the Grateful Dead and Phish, but Umphrey’s McGee has a unique style eclectically derived from rock bands like Pink Floyd, the Police, Iron Maiden, and even the Beatles. Their live performances have been heralded as works of majesty that are no less than blessings to those who bear witness. They’ve frequented coveted spots at the Bonnaroo Music Festival, selling more CDs in their initial 2002 appearance than any other artist on the bill, which included Trey Anastasio, Widespread Panic, Jurassic 5, and Norah Jones. Umphrey’s McGee continued performing live, releasing several albums (both studio contribution and live performance), and instituted a program called “UM Live,” where audience members could buy live recordings of the improvised show they had just witnessed after the performance was over. In 2005, the band began production of various live performance podcasts, which today are heard by nearly 20,000 listeners. A year later, in an effort to generously spread the Umphrey’s McGee influence, they began a program where they would send free tickets to concert tapers, providing they would freely distribute the material online.

In spite of the vast number of their live recordings, the band has released a number of critically acclaimed studio albums. Their latest, Mantis, is an apt example of the level of progression that accompanies the group. As you may have guessed, Umphrey’s McGee will be touring in support of this album. However, as they tend to push the overall creativity-factor associated with their live performances, the band will be instituting an interactive fan-conduction experience which they have dubbed the “Stew Art Project” (or “S²”). In a special pre-show performance, ticketed separately from their live set, fans will be able to “conduct” the band in their live improvisations via texting suggestions to a mobile database. “Sound Caresser” Kevin Browning will then cipher through the many suggestions and present them on a large display screen for the band to interpret. Each audience member (only 50 for the S² shows) will receive an autographed CD of the performance they “conducted.” Make sure you get your tickets straightened out for the correct performance and you can make interpretative suggestions like “taking the bus to grandma’s house,” “ham and cheese on the radio,” or “not without my raincoat!”

Tour Dates:

Dec 10-13 – Runaway Bay, Jamaica @ Caribbean Holidaze

Dec 29 – Chicago, IL @ Vic Theatre

Dec 30-31 – Chicago, IL @ Aragon Ballroom

Jan 14 – Flagstaff, AZ @ Orpheum Theatre

Jan 15 – Las Vegas, FL @ House of Blues

Jan 16 – San Francisco, CA @ Warfield Theatre

Jan 17 – Reno, NV @ Knitting Factory

Jan 19 – Boise, ID @ Knitting Factory

Jan 20 – Salt Lake City, UT @ The Depot

Jan 22 – Aspen, CO @ Belly Up Aspen

Jan 23 – Denver, CO @ Fillmore Auditorium

Feb 2 – Omaha, NE @ Slowdown

Feb 3 – Lawrence, KS @ Liberty Hall

Feb 4 – St. Louis, MO @ The Pageant

Feb 5 – Nashville, TN @ War Memorial Auditorium

Feb 6 – Atlanta, GA @ The Tabernacle

Feb 9 – Birmingham, AL @ WorkPlay Soundstage

Feb 11 – Asheville, NC @ The Orange Peel

Feb 12 – Charleston, SC @ The Music Farm

Feb 13 – Charlotte, NC @ Neighborhood Theatre

Feb 14 – Baltimore, MD @ Rams Head Live

Mar 21-23 – The Melkweg, Amsterdam @ Jam in the ‘Dam

May 28-30 – Chillicothe, IL @ Summercamp

Michael Jackson’s, new hit “This Is It” isn’t as new as you think, nor is it as original if you ask singer Paul Anka, the co-writer behind the late pop star’s newest single. It turns out that the two collaborated on what was then titled “I Never Heard” for Jackson back in 1983. The song was ultimately orphaned, only to be revived seven years later for Puerto Rican singer Sa-fire.

Anka claims that Jackson, around the time of Thriller, presumably feeling “Invincible,” took the liberties of “borrowing” the tape without Anka’s permission and making a copy for himself before returning it. Anka said that “they (Jackson’s estate) have a major, major problem on their hands if this isn’t fixed,” and so far, it looks as if the threat’s being taken seriously; Anka’s currently looking at half of the royalties earned from what’s bound to be a major hit for Jackson’s ever loyal fan base.

Whatever the fate of this “I Never Heard,” one can only hope that Anka’s eventual litigation or settlement deters the departed pop-star, through label Sony’s Frankenstein-esque efforts, from involuntarily coming down with a case of “Tupac Syndrome.” For those unfamiliar, symptoms include posthumously releasing box-sets worth of previously unreleased material no one ever knew to exist.

Give Anka his due credit, and with it, let’s also open up the floor for anyone else who wants to fess up to penning a B-side for Jackson. Any tight-lipped producers out there want to make a claim and get their last few drops from the teat of the King of Pop’s fading cash cow?

Speak now, or forever abdicate in peace.