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| 4.500 Ft
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| 1. | Flat Tires
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| 2. | Junkyard
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| 3. | Padrecito
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| 4. | Ijiji
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| 5. | Riffin' Ed
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| 6. | Amber Gris
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| 7. | Chasen vs. Suribachi
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| 8. | Dollar Pants
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| 9. | Amish Pintxos
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| 10. | Baby Let Me Follow You Down
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Jazz / Modern Creative, Jazz-Funk, Soul-Jazz, Post-Bop, Jam Bands, Avant-Garde Jazz
John Medeski - Keyboards
Chris Wood - Bass
Alan Silverman Mastering
Carmel Holt Art Direction, Layout Design, Design
David Kent Producer, Mixing, Engineer
David Perry Design, Art Direction, Layout Design
Ernst Haeckel Illustrations
A year ago, Medeski Martin Wood set off on the innovative experiment known as The Radiolarians Series. The Radiolarians Series was designed to subvert the age-old music industry cycle of writerecordtour. The trio, consisting of keyboardist John Medeski, drummer Billy Martin, and bassist Chris Wood, convened for brief writing retreats, performed only that new material on tour, and then recorded the music immediately after getting off the road.brbrIndirecto Records is now releasing this material as a trio of records entitled Radiolarians I, II, and III.brTo date, the band has completed 3 tours with dates stretching across the United States, South America, and Japan. The influences of these locations have found their way into MMW's writing and are being expressed through the music found on the Radiolarians Series. In September, Indirecto released Radiolarians I. This April 2009, Indirecto will release the second installment of the series, Radiolarians II.brThe Radiolarians Series, designed to challenge the traditional format of touring after a record s release, has found Medeski Martin Wood thriving and making some of their most creative and innovative music in years.
2009 release. A year ago, Medeski Martin Wood set off on the innovative experiment known as The Radiolarians Series. The Radiolarians Series was designed to subvert the age-old music industry cycle of writerecordtour. The trio convened for brief writing retreats, performed only that new material on tour, and then recorded the music immediately after getting off the road. The Radiolarians Series, designed to challenge the traditional format of touring after a record's release, has found Medeski Martin Wood thriving and making some of their most creative and innovative music in years.
The second volume in keyboardist John Medeski, drummer Billy Martin, and bassist Chris Wood's Radiolarians series is, much like the first, wildly eclectic. Certainly all the trio's records could be classified in this way, but few of them are as playful and musically adventurous as the ones in this series. Once more, the band incorporates everything in its own brand of modern jazz: from funk and rhythm & blues to the vanguard tradition; from soul and rock through carnival music, country, and beat-conscious grooves. "Flat Tires" opens the set and comes off all distorto-rockist in the intro thanks to Wood's nasty bassline that feels more like an electric guitar riffing before it's addressed by a couple of taut rolls by Martin and some wailing carnival organ by Medeski. This feels like film music, but it's more centered than that, because there are some stunning jazz improvs as Medeski's acoustic piano takes center stage. "Junkyard" follows. This cut, easily one of the best on the set, is a dead cross between some incidental music by Ennio Morricone spaghetti western and the Tom Waits of the Mule Variations. The shuffle, pop, and groove is given space, dimension, and atmosphere by shimmering keyboard sounds -- including accordion -- shuffling rimshot drums accented by forceful bass drum, and a downright nasty bassline. Like the previous volume, there is a cover on this set as well. Medeski plays the Rev. Gary Davis' "Baby Let Me Follow You Down" as a jazzy lounge tune with considerably more improvisational heft in his wonderfully labyrinthine acoustic piano lines. He adds some killer funky clavinet toward the middle to create an infectious groove that makes the timeless tune a modern-day groover. Check "Riffin' Ed" with its New Orleans second line funkiness, all done acoustically with some excellent work by Wood who gets his bass into the lower registers to push a bit against the melody line even as Martin breaks his beats and accents the taut end-line chords of Medeski's piano. Ultimately, what transpires on Radiolarians II is the notion of song. Certainly these tunes are played with great instrumental technique and musical acumen, but they are performed with the full intent of the listener's participation in the experience because each cut is so utterly memorable on its own. Chalk this one up as a must-have for longtime fans of MM&W, and an excellent introduction to what this group does best -- making jazz both provocative and fun. ~ Thom Jurek, All Music Guide
Medeski, Martin & Wood
Active Decades: '90s and '00s
Born: 1992
Genre: Jazz
Styles: Jazz-Funk, Soul-Jazz, Post-Bop, Jam Bands
A group that effortlessly straddles the gap between avant-garde improvisation and accessible groove-based jazz, Medeski, Martin, & Wood have simultaneously earned standings as relentlessly innovative musicians and an enormously popular act. Emerging out of the New York downtown scene in the early '90s, the group soon set out on endless cross-country tours before returning home to Manhattan to further refine their sound through myriad influential experimentations.
Each of the musicians -- keyboardist John Medeski, drummer/percussionist Billy Martin, and bassist Chris Wood -- crossed paths throughout the '80s, playing with the likes of John Lurie, John Zorn, and Martin mentor Bob Moses. In 1991, the trio officially convened for an engagement at New York's Village Gate. Soon, the group was rehearsing in Martin's loft, writing, and soon recording 1992's self-released Notes from the Underground. As the group began to tour, escaping the supportive, though insular, New York music community, Medeski -- a former child prodigy -- switched to a Hammond B-3 organ, an instrument far easier to travel with than a grand piano.
Grammavision released It's a Jungle in Here in 1993, which featured horn arrangements by future Sex Mob founder (and pan-scenester) Steven Bernstein. The medley of Thelonius Monk's "Bemsha Swing" and Bob Marley's "Lively Up Yourself" spoke volumes about what the band was attempting to accomplish. Friday Afternoon in the Universe, widely considered the band's breakthrough record, further continued the push toward groove-oriented accessibility, a movement which peaked with the group's 1996 Rykodisc debut, Shack-man (recorded entirely in the band's practice shack in the Maui jungle). By 1996, through a combination of endless touring and two widely circulated live collaborations with Phish, the group caught in the burgeoning jam band scene, where they continue to draw the bulk of their audience outside of New York.
Late in 1996, the group began a public return their avant-garde roots, hosting a series of weekly "Shack Parties" at New York's Knitting Factory, which featured collaborations with many musicians, including Vernon Reid and DJ Logic; the latter would soon become the group's unofficial fourth member. The trio issued the extremely free (and utterly beautiful) Farmer's Reserve on their own Indirecto imprint in 1997, a series of improvisations recorded at the Shack. Logic soon joined the band on the road, and they prepared to record Combustication, their first effort for Blue Note, as well as their first full-length collaboration with producer Scott Harding.
In 2000, the band made their coming-out as leaders with two releases -- the live acoustic Tonic (recorded at the New York City club of the same name), as well as the electric The Dropper (recorded at the band's newly christened Shacklyn Studios in the trendy DUMBO neighborhood of Brooklyn) -- as well as an acclaimed Halloween performance at Manhattan's Beacon Theater. The Dropper featured Harding's gritty production, as well as appearances by Sun Ra alum Marshall Allen. In 2006, the group released Out Louder, an album that saw them collaborate with John Scofield. Their music was also featured on Grey's Anatomy. Radiolarians 1, the first of three loosely linked albums, appeared in the fall of 2008 on the group's own Indirecto Records imprint. Radiolarians 2 followed a year later. The band's reputation has achieved massive proportions. As they always have, the three core bandmembers contributed to numerous other recording projects, both as sidemen and leaders. Increasingly, their word was gold and their efforts carved paths for musicians to follow. Following their rise, for example, was a renaissance in B-3-based organ trios. Many groups had played with DJs before them, but their performances with Logic made it downright fashionable. Though they were -- and are -- considered "alternative" jazz, they were drawing larger audiences than many of their mainstream counterparts.
---Jesse Jarnow, All Music Guide |
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