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Photo by Megan Summers |
Jabe Beyer is the kind of fellow who walks into a room to emphatic shouts of “Hey Jabe!” as he passes by. One could argue that people just like to say “Jabe,” which is actually a nickname.
Pronounced just as it looks, the name bears a familiar quality, like “Abe” or “Babe.” And yet, Jabe is name that most have not come across. The name itself has come to reference a novel musical sound, an easy-going spirit in the tightly wound, results-oriented music scene.
Beyer is always at ease, both in his performances and during casual conversation. It seems almost paradoxical that his new record is entitled Where Are We Going & When Do We Get There. He does not come off as the kind of guy to ask “Are we there yet?” In many ways, it is as if he is already “there.” If not, then he is at least enjoying the ride more than most.
“Everyone wants to get big or whatever,” he concedes. He clearly desires this as well, but he’s not losing sleep any over it. “I’m involved with music,” he states; “I don’t fit well in ...” he pauses; “... boxes.”
Indeed, it would be hard to envision this man, with his Pinball Hero T-shirt and engineer-style cap, working in a cubicle somewhere. Jabe Beyer’s place is clearly in the studio or on the stage, behind the control room glass or leaning up to the microphone. Comfort is the name of the game, and Jabe sits quietly at the table with a drink, rolling a cigarette, as if he invented the word. It’s a warm and lazy afternoon, and Jabe doesn’t have to be anywhere at the present, so he does what he does best — he settles into the situation. All the while, he retains an air of cool good-naturedness, his quiet confidence permeating the entire room.
One thing that Jabe seems to do a lot is ponder. Ask him a question and he’ll turn it over in his brain for a few seconds before speaking. In another life, he could have been a low-powered attorney, one who furtively crafts an airtight case before anyone realizes what is happening. His nature and senses serve him well; he has been able to link up with more than a few artists, affording him opportunities that the average musician never sees. He has toured Europe with both his own band and as a guitarist for other bands. He is involved with a number of groups, and is even credited on Bang Camaro’s MySpace page as a contributing member of the Dude Choir.
For Jabe, Where Are We Going & When Do We Get There is an evolution of sorts. “These are songs that I have played for a long time,” he says. They are expansive, open-windowed entities buoyed by thoughtful vocals. His personality flows through the arteries of each song, creating more than a song of vocals and instruments. The twelve-track record has been forming inside of Jabe for quite a while, and each song exhibits a sense of assured maturity.
A strong flavor of roots-y Americana saturates the record, and Jabe’s well-honed sense of dynamics allows him to create a story out of anything. Whether it’s the “Let’s go!” of opening track “Broken Back Road” or the easy nighttime lope of mid-record track “Both Hands on the Wheel,” Jabe takes the listener on a trip, and at times it even seems as if days and nights elapse over the course of the record.
“Both Hands on the Wheel” is a midnight drive home through lonely roads haunted by the road-ghosts of earlier times. “You Can’t See the Stars from the Inside of a Bar” is a road trip home from a fun night out at the honky-tonk bar. Each song exudes a particular sentiment, as carefully thought out as Jabe’s free-flowing conversation.
While his license reads “Jason Beyer,” it is clear that this man is more suited to “Jabe.” Through brisk storytelling and enlivening performances, Jabe Beyer the man and Jabe the band continue to engage audiences. While others may wonder Where Are We Going & When Do We Get There, Jabe Beyer sits back and rolls a cigarette with the confidence of a man who knows that the answer is different for everyone, with the exception of himself, of course. Turns out he’s already there.