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  Home > by Artist > Umphrey's McGee >

  Umphrey's McGee
 
 
Live at the 2006 Langerado Music Festival

Item# Item Name Our Price Qty Add
268-0001 Umphrey's McGee - CD Mail Order $14.99
268-0002 Umphrey's McGee - Combo CD & Download $19.99
268-0003 Umphrey's McGee - Cool USB Wrist Band $12.99
268-0004 Umphrey's McGee - Download $9.99
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Artist Bio:
Umphrey's McGee is Brendan Bayliss (guitar, vocals), Jake Cinninger (guitar, Moog, synthesizers, vocals), Joel Cummins (keyboards, vocals), Andy Farag (percussion), Kris Myers (drums, vocals), and Ryan Stasik (bass, no vocals). Also with the band are sound man Kevin Browning, monitor engineer Bob Ston, stage manager Robbie Williams, lighting designer Adam Budney, road manager Don Richards, and manager Vince Iwinski. The ascension continues for Chicago’s Umphrey’s McGee, not only in terms of their commercial success but in creative accomplishment and instrumental achievement as well. Their performance on Live at the Murat (SCI Fidelity), their first official live release, is as impressive as anything they’ve recorded to date, with the power and finesse, the yin and the yang, that have come to characterize their by-now classic material. UM has — since forming in the late ’90s in the South Bend, Indiana area — cultivated an impressive presence both live and in the studio, quite an accomplishment when considering their humble roots. Cummins, Bayliss, bassist Ryan Stasik and original drummer Mike Mirro all studied at the University of Notre Dame near South Bend, Indiana, while percussionist Andy Farag at the South Bend branch of Indiana University. Cinninger, from Michigan, had a South Bend-based band called Ali Baba’s Tahini — as well as an open invitation to join Umphrey’s, which he accepted in the Fall of 2000. His addition, along with Kris Myers’ arrival in 2003, proved critical to the band’s success. Together, the gifted collective elevated its game. Just a few months after their first gig in 1998, the band released their first album, the cleverly titled live document, Greatest Hits Volume III. Songs for Older Women and One Fat Sucka followed — as did their first ever DVD, Live from the Lake Coast. Building a reputation with the critically favored studio recording Local Band Does OK (not to be confused with Local Band Does Oklahoma — a live EP released soon after) and honing their groove as a stellar live act, by the time 2004’s Anchor Drops was released to raves, the buzz on Umphrey’s had grown loud. Rolling Stone tipped them in their Hot Issue and the Washington Post named the band “rock’s undisputed lord of sonic shape-shifting.” And if you need further convincing, one look at their second DVD, 2005’s Wrapped Around Chicago: New Year’s at the Riv, says it all: Umphrey’s had arrived. The jam crowd hoisted the band up on their proverbial shoulders as heroes, heirs to the Phish throne. Fans reveled in Umphrey’s flair for inventive improvisation, incredible covers, and unpredictable moments. The band had also developed an uncanny visual language onstage that includes dozens of unspoken cues — a happy face, for example, symbolizes a major key, while a sad face indicates a minor one — that make their signature “jazz odysseys” and “Jimmy Stewarts” legendary on the jam scene. These cues manage to keep things tight and prevent their improv interludes from spiraling into hippie jam orbit. The band retains space, breath, and patience in performances, yet maintain masterly control in the process. These days, Umphrey’s spends half the year on the road habitually flooring audiences. Their anything-goes musicianship, humor, and good-nature all make remarkable entertainment. The band shuttles between styles with precision, from straight-up pop and rock to jazz, prog-metal, and classical. If you can name it, chances are Umphrey’s can play it. http://www.umphreys.com/home/?linkId=101


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