Medeski, Martin And Wood - Notes From The Underground 1991

Medeski, Martin And Wood - Notes From The Underground 1991

Jazz

Barry "DJ Scratchy" Myers is a name better known to punk club crawlers in the U.K. than to your average music fan. In the late '70s he was one of the premier punk DJs, supporting the Ramones and the Cramps and eventually serving two years as the tour DJ for the Clash. He was still at it 20 years later, serving the same part for Joe Strummer & the Mescaleros' U.S. tour. How he was able to get such choice gigs boils down to his eclectic ear as a selector, cherry-picking the best tunes, be it rock, soul, or reggae, and revealing them all to be of the same burning (and danceable) spirit. Jamaican music, specifically ska, reggae, and dub, make up a large part of his sets and Scratchy Sounds is a double-CD selection (43 tracks!) with some of Myers favorites. With so many collections sticking strictly to one style or producer, it's a fantastic thing to wander through Scratchy Sounds as it roams from ska innovations like C. Hyman's "Ska Rhythm" and Derrick Morgan's "Moon Hop" to a rarely heard extended version of Niney the Observer's reggae classic "Blood and Fire." The mysterious C. Hyman is just one of a large number of obscure artists who recorded fantastic tracks appearing on Scratchy Sounds. There's the Yabby U-flavored nyahbinghi cut "Seventy Two Nations" from Dadawah (an early incarnation of Ras Michael & the Sons of Negus), righteous toasting from Mr. Bojangles on "Ten Dread Commandments," and a less serious microphone attack from the DJ double team of Dennis Alcapone and Lizzy, who bring a bit of carefree R&B to "Ba Ba Ri Ba." Peppering the spirited ska and solemn roots cuts are some little-heard dubs like crooner Jackie Edwards' "Invasion Version" and Tapper Zukie, in a dubbing guise as the Musical Intimidator, taking on Errol Dunkley for "Stop Your Gun Shooting." Scratchy Sounds has the feel of a long-labored mixtape made for an old friend, and hopefully will lead to other collections helmed by Myers. Recommended.
By Wade Kergan.
**
Before they went electric and funky, John Medeski, Billy Martin, and Chris Wood were acoustic and funky — and a lot of other things — on this exciting early CD. They ruminate like a conventional jazz piano trio when the whim hits them, or move outside when Medeski explodes into Don Pullen-esque clusters. Their métier, though, was clearly the neo-funk thing, for when Martin pulls off those crackling hip-hop and M-Base-related beats on tracks like Uncle Chubbs and Orbits, the band really achieves liftoff. Caravan gets a rolling New Orleans funk treatment, and the finale, Querencia, is a lengthy excursion into dense avant-garde underbrush with a touch of the street in the beat. On several tracks, a three-brass, two-reeds horn section add an extra level of excitement, and the trio tracks are recorded live to DAT (hence the exceptionally crisp sound).
By Richard S. Ginell. AMG.
**
Gloria Tropp- (Vocals);
Thomas Chapin- (Alto Flute, Alto Sax);
Doug Yates- (Bass Clarinet);
Steven Bernstein- (Trumpet);
Bill Lowe- (Trombone, Tuba);
Curtis Hasselbring- (Trombone);
John Medeski- (Piano);
Chris Wood- (Bass);
Billy Martin- (Drums, Percussion).
**
01. Hermeto's Daydream 7:12
02. The Saint 6:58
03. La Garonne 5:52
04. Orbits 4:27
05. Uncle Chubb 7:05
06. Rebirth 6:28
07. Otis 4:44
08. United 8:30
09. Caravan 8:20
10. Querencia 12:52
11. Can't Get What You Want 6:33
**
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Medeski, Martin & Wood - Uninvisible 2002

Medeski, Martin & Wood - Uninvisible 2002

Jazz

On their eighth studio release, the experimentally inclined jazz-rockers Medeski, Martin, and Wood open up their organ-trio sound in new and unexpected ways. Trading in their earlier, groove-oriented sound for a more eclectic interest in moods and melodies, the group finally dives headlong into the hip-hop and electronica vibe it's been sniffing around at least since 1998's COMBUSTICATION. On tracks like the hypnotic "Retirement Song" or "Pappy Check," the polyrhythmic scratching of guest turntablist DJ Olive isn't employed for sonic color, but as a fully-fledged instrument in the mix.

Keyboardist John Medeski largely steps aside for once, leaving bassist Chris Wood to drive the songs, especially on the funky "The Edge of Night" and the pure hip-hop groove of "First Time, Long Time." Other tracks explore a more noodly, almost ambient feel, especially the closing "Off the Table," which starts with a wild Mellotron solo that sounds like someone spiked Rick Wakeman's curry with acid and ends to a strangely calming loop that sounds like two people playing ping-pong. Guest vocals by Brad Roberts of the Crash Test Dummies and noted southern eccentric Col. Bruce Hampton, as well as two tracks featuring a full horn section, add to the album's appealing sonic variety.

On their eighth studio release, the experimentally inclined jazz-rockers Medeski, Martin, and Wood open up their organ-trio sound in new and unexpected ways. Trading in their earlier, groove-oriented style for a more eclectic interest in moods and melodies, the group finally dives headlong into the hip-hop and electronica vibe it had been sniffing around at least since 1998's COMBUSTICATION. On tracks like the hypnotic "Retirement Song" and "Pappy Check," the polyrhythmic scratching of guest turntablist DJ Olive isn't employed for sonic color, but as a fully-fledged instrument in the mix.

Keyboardist John Medeski largely avoids the spotlight, leaving bassist Chris Wood to drive the songs, especially on the funky "The Edge of Night" and the pure hip-hop groove of "First Time, Long Time." Other tracks explore a more abstract, almost ambient feel, especially the closing "Off the Table," which starts with a wild Mellotron solo that sounds like someone spiked Rick Wakeman's curry with acid, and ends on a strangely calming loop that sounds like two people playing ping-pong. Guest vocals by Brad Roberts of the Crash Test Dummies and noted Southern eccentric Col. Bruce Hampton, and two tracks featuring a full horn section, all add to the album's vivid, appealing sonic variety.
**
John Medeski- (Organ, Piano, Strings, Keyboards, Clavinet)
Billy Martin- (Percussion, Drums, Triangle, Bells)
Chris Wood- (Bass)
Danny Blume, Scotty Hard- (Guitar)
Eddie Bobe- (Percussion, Conga, Bells, Bottle)
Stuart Bogie- (Tenor Sax, Clarinet)
Brad Roberts, Col. Bruce Hampton- (Vocals)
Michael Herbst- (Baritone Sax, Clarinet)
Aaron Johnson- (Trombone)
Jordan McLean- (Trumpet, Flugelhorn)
Todd M. Simon- (Trumpet, Flugelhorn, Trompong)
**
01. Uninvisible
02. I Wanna Ride You
03. Your Name Is Snake Anthony
04. Pappy Check
05. Take Me Nowhere
06. Retirement Song
07. Ten Dollar High
08. Where Have You Been
09. Reprise
10. Nocturnal Transmission
11. Smoke
12. First Time Long Time
13. The Edge of Night
14. Off the Table
**
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Medeski, Martin and Wood – Note Bleu, The Best of the Blue Note Years 1998–2005

Medeski, Martin and Wood – Note Bleu, The Best of the Blue Note Years 1998–2005

Jazz

For Medeski, Martin & Wood it has always been about the groove. And in the decade since their crossover appeal was solidified on the jam band circuit, MMW has remained loyal not only to the groove but to their New York jazz roots as well. On their new disc Note Bleu: Best of the Blue Note Years 1998-2005, MMW - John Medeski on organ and keyboards, Billy Martin on drums and percussion and Chris Wood on various basses - offers an overview of their cross-pollinated palette of styles.

As veterans of the downtown New York avant garde scene, the Blue Note era of MMW represents a phase of their recording career in which they further incorporate elements of funk, hiphop, world music and more into a blend of overall sonic exploration. On their four studio albums and one live album for Blue Note, which are well represented here (a remix and three previously unreleased bonus tracks round out the anthology), the fusion of non-linear voicings of free jazz are coupled with the pulsating rhythms of funk.

The ghosts of Jimmy Smith, Sun Ra, Bitches Brew-era Miles and Cecil Taylor hang over the oeuvre of MMW. True to the spirit of both their influences and their own work, the trio continues to push the boundaries of not only their musical configuration and composition, but also the definition of jazz itself, eating up musical genres in the process. In fact, the trio is often augmented by turntablists, guitarists, congas and horns. The standout tracks “Sugar Craft”, “Pappy Check” and “Uninvisible” are indicative of MMW’s sound, where the overall essence and what has contributed to their widespread appeal is that this is jazz you can dance to.
By Paul Christopher Dowd .
**
Medeski, Martin & Wood had already created a series of fine albums and a fervent following before they were signed to Blue Note, one of the most prestigious labels in jazz history. But rather than taking it easy after having made it in the jazz world, MM&W actually pushed the envelope even further during the Blue Note years, continually challenging their listeners as well as themselves. Note Bleu: The Best of the Blue Note Years: 1998-2005 compiles tracks from all five Blue Note albums, and does an excellent job of summarizing their label tenure. The Tonic recording was something of an anomaly. Self-produced and entirely acoustic, it's represented by only one track: a beautiful, slow interpretation of "Hey Joe." As nice as it is, it just doesn't fit with the rest of the material and breaks the flow just a bit. As for the rest of the album, fans may quibble about this omission or that, but the track selection is excellent and they've sequenced it well, wisely throwing chronology out the window. One of the things that becomes apparent, and something that probably contributes to their consistently fresh approach, is the role collaboration has always played. It goes beyond invited musicians and regular contributors like Marc Ribot and the unofficial fourth member of the band, DJ Logic, whose sound was key to Combustication. Scotty Hard's production was a major factor on both The Dropper and Uninvisible, as was John King's on End of the World Party (Just in Case); careful listening reveals all kinds of interesting sonic tricks and details. Of course, at the center of it all are the three incredibly talented players who make up the band. Not only have they turned in a body of work that's sure to stand the test of time, but they've helped broaden the concept of what jazz is and can be, and opened that world up to a whole group of people who may have never thought they'd be interested in jazz. Note Bleu is an excellent overview of their Blue Note years, and would be the perfect starting place for those who haven't yet entered the world of Medeski, Martin & Wood.
By Sean Westergaard. AMG
**
John Medeski- Piano, Keyboards, Melodica
Billy Martin-  Percussion, Maracas Mbira, Keyboards, Drums, Remixing
Eddie Bobe- Conga
Chris Wood- Bass, Drums (Bass) Eli Wolf A&R
Todd M. Simon- Trumpet, Flugelhorn
Stuart Bogie- Sax (Tenor), Contra-Alto Clarinet
Aaron Johnson- Trombone
Jordan McLean- Trumpet, Flugelhorn
Michael Herbst- Clarinet (Bass), Sax (Baritone)
Danny Blume- Guitar, Guitar (Baritone)
Marc Ribot- Guitar
**
01. The Dropper 3:33
02. Sugar Craft 3:22
03. I Wanna Ride You 3:25
04. Nocturne 4:02
05. Partido Alto 5:46
06. Hey-Hee-Hi-Ho (IllyB remix) 3:56
07. Note Bleu 3:04
08. Pappy Check 2:45
09. Mami Gato 4:08
10. Off The Table 4:18
11. Queen Bee 4:57
12. Hypnotized 5:06
13. Hey Joe 5:02
14. End Of The World Party 5:10
15. Uninvisible 3:37
**
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