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FAITU#52+#53+#54+#55+#56

FRIDAY AFTERNOON IN THE UNIVERSE
(FAITU#52 & #53 & #54 & #55 & #56)
2001-04-20
2002-04-20
2004-04-20
2005-04-20
2013-04-20

MMW Listen to playlist
  • 2001-04-20
    MEDESKI MARTIN & WOOD

    Warfield Theatre, San Francisco, CA
    Friday, April 20, 2001


    One Set: The Dropper > We Are Rolling > Shack, Bone Digger > Improv > Night Marchers > Is There Anybody Here That Love My Jesus > Africa > Bass Solo > Shacklyn Knights, Note Bleu, Big Time > Improv Intro > Jelly Belly > Drum Solo, Partido Alto

    Encore: Acoustic Intro > Chubb Sub > Hey Joe

    One Set Only
    Karl Denson’s Tiny Universe opened for MMW

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  • 2002-04-20
    MEDESKI MARTIN & WOOD

    w/ the Uninvisible Horns of San Francisco

    Warfield Theatre, San Francisco, CA
    Saturday, April 20, 2002


    Set 1: Improv Intro > Ten Dollar High > Take Me Nowhere > Lifeblood* > Bass Solo, Creole Love Call (w/ Snake Anthony bass line)# > Felic# > Drum Solo > Fire > Smoke

    Set 2: Pappy Check, The Saint#, Open Improv# > Uninvisible#, Nocturnal Transmission# > Open Improv# > Where’s Sly?# > Blue Pepper#, Moti Mo#

    Encore: I Wanna Ride You#

    Most of the show with Dan the Automator – turntables
    * w/ extended outro
    # w/ the Uninvisible Horns of San Francisco:
    Steven Bernstein – trumpet, slide trumpet, director
    Ralph Carney – bari sax, flute, homemade thing
    Paul Hanson – bassoon + effects
    Kenny Brooks – tenor sax, oboe

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  • 2004-04-20
    MEDESKI MARTIN & WOOD

    Café du Nord, San Francisco, CA
    Tuesday, April 20, 2004


    Set 1: Improv > Improv > Improv > Improv > Improv > Open Improv > Improv > Drum Solo > Drums’n’Bass > Improv > Open Improv > Improv

    Set 2: Improv > Improv > Improv > Improv > Improv > Improv > Drum Solo > Open Improv > Improv > Improv > Bass Solo > Improv > Improv > Improv

    Encore: Whiney Bitches

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  • 2005-04-20
    MEDESKI MARTIN & WOOD

    Liberty Hall, Lawrence, KS
    Wednesday, April 20, 2005


    Set 1: Open Improv > Improv > Open Improv > Improv, Bass Solo > Bass’n’Drums > Hegaz, Curtis > Is There Anybody Here That Love My Jesus

    Set 2: End Of The World Party > Reflector (w/ Drum Solo) > New Planet > The Lover > Bass Improv Outro > Sasa > Everyday People > Queen Bee > Whiney Bitches

    Encore: Who The Fuck?

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  • 2013-04-20
    MEDESKI MARTIN & WOOD

    Mondavi Center for the Arts, Davis, CA
    Saturday, April 20, 2013


    Set 1: Open Improv > Improv > Improv > Improv > “Mondavi Piano” > Improv > Drum Solo

    Set 2: Shacklyn Knights > Bass Solo, Last Chance to Dance Trance (Perhaps), Just Like I Pictured It, No Ke Ano Ahiahi, Heaven On Earth

    with Joshua Light Show

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2001-04-20

MMW c.2001

MMW c.2001

Source info:
2001-04-20.neumann-u89.117619.t-flac16

– ONE SET (tracks 1-23) –

– SHACK THOUGHTS –
Another opening slot with The Dropper, but this time the band basically jumps right into the tune and WE ARE ROLLING! Cool little Shack out of there and we move into *yet another* kick ass single spring set show! Super fun Acoustic Intro > Chubb Sub too …

enjoy the grooves,
dug


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2002-04-20

MMW c.2002

MMW c.2002

Source info:
2002-04-20.schoeps641.9521.t-flac16

– SET I (tracks 1-7) –
– SET II (tracks 8-15) –

– SHACK THOUGHTS –
Speak of the devil! Take Me Nowhere pops up here … Lifeblood, again cool with an extended outro of sorts … Creole > Felic might be the highlight of the show for me … well, the Moti Mo to close is in competition but not quite … Nocturnal Transmission is a wicked tune! And the move into Where’s Sly? is wacked! HA!

Can’t speak to Dan the Automator additions to the show too much … I’m just not a DJ guy … I simply can’t recall one way or the other at the moment …

enjoy the grooves,
dug


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2004-04-20

Wood & Martin 2004-05-28 @Harmony Park Music Garden, Geneva, MN

Source info:
2004-04-20.fob.dpa4023.23966.t-flac16

– SET I (tracks 1-11) –
– SET II (tracks 12-27) –

– SHACK THOUGHTS –
Standing out as one of the most incredible run of shows MMW has ever played, these April 2004 gigs of 100% improvisation exhibit the band at the height of their SHACK skills, pulling endless melodies and grooves out of thin air, along with the usual visits to more out-there/open space.

Each night encores with a tune intended for release on End Of the World Party (Just In Case) later in 2004 — Whiney Bitches never made it to the US release, but I think was on the Japanese release, and was later found on the Note Bleu-Best of the Blue Note Years 1998-2005 compilation disc.

All that to say: Dig into these gigs of pure musical exploration … you won’t be disappointed.

enjoy the grooves,
dug


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2005-04-20

MMW @The Staircase, Scranton, PA 2005-05-13

MMW @The Staircase, Scranton, PA 2005-05-13

Source info:
2005-04-20.akg463.29083.t-flac16

– SET I (tracks 1-5) –
– SET II (tracks 6-13) –

– SHACK THOUGHTS –
The show opens in fine form with lots of exploration solidifying in a tweaked-out groove — Medeski’s keys are wild! We move through 2 incredible improvisations in the first 30min — you have to listen to these guys constructing these pieces on the fly, it’s unreal, boiling down to Chris letting loose on a Bass Solo before illyB joins back in and the two groove out and play around for a few minutes before landing into Hegaz — this is an incredible tune the guys played throughout April ’05 thanks to Brahim Fribgane bringing over this Club D’Elf tune during his sit-in @Tonic in NYC the previous March. Thought it might be the Zorn tune Ziphim for a while, but it’s a D’Elf tune, I believe written by Brahim. John sticks on piano throughout for this one which is real nice — each version of this tune is worth checking out for what the band does over the course of its brief inclusion in the live repertoire. Curtis is a hard groove resolving to the soothing wackiness of ITAHTLMJ to close the set, a tune benefiting nicely from Medeski’s ’05 key sounds.

2nd set gets going with a solid (as always) EOTWP (love that bowed bass!), with a HUGE Reflector close on its heels containing a Drum Solo which is fairly common for the tune but not a given, so I like to note it, and this jams into the nice combo of New Planet > The Lover, leading to a Bass Improv Outro that takes us to the slink of Sasa. The quietness of Everyday People follows (ya know, I honestly hardly recognize this cover!), and Queen Bee (a common closer) rocks us out to end with the cries of Whiney Bitches — what a pairing to wrap-up the set! Every version of Whiney Bitches is worth hearing as well …

Who The Fuck? is a short but VERY sweet encore — FRICKIN’ LOVE THIS PJ Harvey tune! Never listened to the original because I’m afraid how much it might ruin my love for MMW’s version … it rocks SO HARD!

enjoy the grooves,
dug


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2013-04-20

Wood @Mondavi Center, Jackson Hall, Davis, CA 2013-04-20

Wood @Mondavi Center, Jackson Hall, Davis, CA 2013-04-20

Source info:
2013-04-20.neumann-km140.124444.t-flac16

– SET I (tracks 1-6) –
– SET II (tracks 7-12) –

– SHACK THOUGHTS –
An electric gig drops on 4/20 in the midst of an acoustic run …

– SET I –
Some mildly piercing tweaks of feedback-like noise begin our journey through this 4/20 excursion, I believe the sounds are coming from Chris bowing below his bridge on the stand-up — it makes that kinda uncomfortable sounds. John is filling in some atmospheric sounds while Billy tinkers with some percussive injections. This open space is sifted and mined for groove until just after 5min or so the band allows the groove to emerge — Chris has already been building up the bassline, but @5:20 of track #2 John hits a mild riff and things evolve smoothly from there … this feels nice and welcoming even with its haunted edge. The last couple of minutes of the track sees the band developing what sounds like the beginning of an entirely new piece but it only lasts a couple of minutes … could really just be the outro from the previous improvisation, but I’ve noted it separately and it actually chills down to a very brief skittering from illyB on the kit before we reach silence.

Martin @Mondavi Center, Jackson Hall, Davis, CA 2013-04-20

The next track picks up the energy a bit with an illyBeat kicking hard before John chimes in with a nice and funky Clav riff followed by some nasty slide work from Chris on his electric — and we’re suddenly in a much funkier territory that’s almost feels scary to follow but also so nice. The organ comes in with a complimentary/contrasting riff to the Clavinet and this is a FUNKY TUNE, folks! Too bad we’ll never hear it again … THANK YOU TAPERS!!!

Track #4 I’ve dubbed “Mondavi Piano” — it’s incredible. It’s comprised of a few sections that sound to me like they all work together as a composition — spontaneous? I dunno … but listen and you’ll love it. The intro section moves smoothly into the main piano groove of the song c.3:40 — beautiful work from John here, complimented so perfectly by Chris and Billy. Wicked good. This builds to some chaos, out of which John continues a piano riff as the track rolls over and Billy joins in on percussion …

Medeski @Mondavi Center, Jackson Hall, Davis, CA 2013-04-20

Medeski drops out and illyB keeps playing his mettalic percussives for a spell, and then John slowly joins in with a murky little riff on (what I think is) the Wurlitzer — oh yeah, and Chris starts to compliment John as Billy switches to the kit and things start movin’ and groovin’. This is great and leads us to a Drum Solo closing the set — I recall an old interview where Billy noted the first time they ever did that, close a set with a Drum Solo, and how different it felt and how cool it was … not sure, think around ’03 … anyway, set break!

– SET II –
The 2nd set gets back to tunes, with a great selection, cool to hear, especially since in 2013 we weren’t hearing much else from the band other than the surrounding acoustic gigs that were the thrust of this spring ’13 tour. I think you had to hit some European festivals to catch MMW electric that year — HA! — so, lucky for our friends across the Atlantic. Anyway, great selection of tunes that are all at the top of their game, with a nice loose yet in control and confident feel.

Wood & Martin @Mondavi Center, Jackson Hall, Davis, CA 2013-04-20

Shacklyn Knights is a good slinky way to begin the set, followed by a Bass Solo, while LCTDT(P) is a particular highlight — stellar piano from John. JLIPI takes me back to my first live experience with MMW in ’98, and I’m a sucker for always hearing No Ke Ano Ahiahi for similar reasons — it’s a tune my wife and I both love as well. Heaven on Earth is a tune we could hear more from the band … if/when they play again more …

enjoy the grooves,
dug


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MMW Shack Selections

THE SHACK STREAM
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FAITU#38

FRIDAY AFTERNOON IN THE UNIVERSE
(FAITU#38)
2005-03-07

MMW Listen to playlist
  • MEDESKI MARTIN & WOOD
    w/ DJ Logic & Brahim Fribgane

    Tonic, New York, NY
    Monday, March 07, 2005


    Set 1: Improv > Open Improv > Improv > Improv > Open Improv > Improv > Improv > Bass’n’Drums > Improv > Improv > Improv > Open Improv > Hegaz*, Curtis

    Set 2: Improv > Improv > Open Improv > Improv > Open Improv > Hegaz, Bass Solo/Open Improv > Improv, Queen Bee

    Encore: Swamp Road

    whole show w/ DJ Logic and Brahim Fribgane
    * 1st known performance; Club d’Elf song (written by Brahim?)

    This show was played as Early/Late sets, as opposed to a 2 set single show.

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MMW @Montreux Jazz Festival, Montreux, Switzerland 2005-07-08

Source info:
2005-03-07.schoeps-cmc64.29932.t-flac16

– SET I (tracks 1-10) –
– SET II (tracks 11-20) –


– SHACK THOUGHTS –
FRIDAY AFTERNOON IN THE UNIVERSE (FAITU#38)

This show is SUPER cool! MMW@Tonic=GOOD VIBES!

Throw in Logic and Brahim, and the stakes raise a little higher with the quintet delivering incredible sets of exploration. This really is an AMAZING show. There’s groove in here, but there’s also a considerable amount of out-playing even in the tracks I’ve left noted as Improv, not Open Improv — it’s a spacey show at times. But, the band certainly grounds you in groove at other times, with each set landing in an End Of The World Party (Just In Case) tune.

Medeski @Montreux Jazz Festival, Montreux, Switzerland 2005-07-08

– EARLY SHOW –

The set has a pretty dark overtone throughout, at least to my ears …

A smattering of sounds starts us off on the fileset’s track #2: John banging the piano keys and Chris plunking, as well as Brahim, I think, while illyB colours with some percussive shakes and tinkles (maybe that’s all bass though and Brahim is on percussion?), and Billy eventually moving to the kit initiating some more focused drive towards something more with John on organ now … but the group is staying pretty abstract until just after 3min as that boils down to a little light groove on this opening track with John back on piano (is that Logic colouring the background a bit?). Billy has a nice open beat working, and yeah, there’s Logic in there now for sure — I think that is just Chris on the bass, but the sound is weird to my ears … this all breaks down again into an Open Improv exploring the space in the room for a couple of minutes. Whereas the opening exploration seemed to lead to that melodic section of the track, this latter exploration at the track’s end seems like the musicians are searching …

The search is over when we roll to track #3 which develops very nicely from a sparse groove, where the sums of the parts strangely add up to the groove and by half way we’re in a full on composition with all those parts having jived and shaken to morph into a really solid musical conversation speaking right to me …

The Improv on track #4 breaks back down to a heavy percussive feel, John’s on piano hitting it with some force — tinkering a cool 3rd Stone tease c.1:40min into this groove. The interplay between illyB and Brahim with the beats is hoppin’! By the time we get to around 3:45min Billy moves to the kit and John starts playing a little more fluidly, less harshness, Logic is sratching — which is oddly fitting in well — and Chris has been holding it altogether, as he often does. Oh, this is a real nice tune/improvisation … John is taking us for quite a ride on the piano … eventually this simmers low with a sliding muddy line from Chris, more Logic scratches with some samples, and the illyB/Brahim shaking us down to quiet …

DJ Logic c.2005

Some further space explorations start track #5, John staying on piano but fairly abstract and somebody is on the talking drum (illyB?) … John’s ivories get a little more fluttery, almost pretty, but then a harshness comes in from other angles a bit, bordering on breaking apart, or perhaps introducing a new groove development … this goes on for a few minutes, more shots of sounds that are perhaps not so welcoming mixed with other more soothing sounds … this all pulls together just after 5min into moving together more after the open playing … it’s a slow build, but very nice … cool keys from Mr. Medeski … Billy moves back to the kit c.11min and Chris is plunking out a groovy foundation, Brahim helping the beat and Logic is filling in some of the gaps — gotta give him credit for good listening, that’s for sure; I’m not a big DJ guy, but Logic is by far my favourite. Anyway, this all builds up into a super solid groove/composition with excellent interplay across the stage.

A Bass’n’Drums jam emerges on track #6 from the aftermath of the previous groove, and leads us once again into very cool build as a unit — everyone is really listening, and that’s something I really dig about MMW and who they generally pick to sit-in.

Then a gospel groove begins track #7, and in retrospect it has the same feel as the cover of Suspicious Minds the band busted out in 2012. Anyway, this is a welcome sunshine feel to an otherwise very-night-time-feeling set of music … again Logic is sneaking into some cool spaces and Medeski is moving from organ to piano, Chris is just boppin’ us along with Billy/Brahim — these two are working like one guy with four hands, which reminds me of how Billy and Cyro Baptista groove together. VERY nice! (Brahim has sat in w/MMW a few times over the years, to great effect.) When this groove closes with a bang …

Brahim Fribgane c.2005

We start to hear some more open space exploration at the start of track #8, led mainly by the percussion sounds … Medeski comes in with sssssome lasers from outer space … and we are heading into a FREAKIN’ KILLER TUNE! It’s like the vibe of the entire set has built to this moment (hindsight = 20/20). Just after 3min you hear the melody tinkering on the oud — oh, man, this is such a great tune! Just listen … the oud has such a cool sound! The tune, Hegaz, I think was written by Brahim and is also played in Club d’Elf, a band Brahim also plays in sometimes.

(Those of you who’ve been around a while might recall I was calling this song Ziphim back when these shows were happening because it really reminded me of a slightly altered version of that Zorn tune. Then I just changed it to “Brahim Boogie” after I was convinced it wasn’t Ziphim because I didn’t know the tune.)

Billy chats with the crowd a bit, trying to remember a song title, and then we get a set-closing Curtis which starts off in an unsuspecting manner for a tune that will blow up into a HEAVY GROOVE!

Martin @Montreux Jazz Festival, Montreux, Switzerland 2005-07-08

– LATE SET –

Short intro from Billy as he waits for their guests to return to the stage, and then the sounds of outer space once again fill the air …

An oddly built groove establishes itself on track #1 — like, a random listener would not call this a “groove”, but it is! John moves from piano to clavinet, intermixing, while Billy/Brahim keep the percussive beats busy and Logic adds some bleeps and bloops … where’s Chris? Hard to hear him in this section, but close to 5min in you can hear his low end filling in the groove, Billy’s going crazy and so is John. The chaos subsides as we roll over …

To track #2 with some gentle methodic piano accompanied by some bowed bass and percussive tinkerings, along with Logic zaps. This turns into something hauntingly beautiful as John leads the melodic exploration here.

MMW @Montreux Jazz Festival, Montreux, Switzerland 2005-07-08

Track #3 finds the ensemble falling off into open space … these 5 guys are really digging the open vibes this night! This playfulness reaches some frantically anxious energy by the end of the track …

So track #4’s improvisation has grown out of that previous open exploration, and it is sparse with Chris leading the melody using wacky electric plunking while John interjects with piano, and the percussion brothers keep it all moving. Chris starts digging into his groove a bit more after 2min in but this subsides a bit and the sparse groove continues until Billy moves to the kit and picks up the tempo — everyone else responds. Close to 8min into this track the music splits apart again into more open exploration … yep, they are loving that … and you will love where this once again leads …

Wood @Montreux Jazz Festival, Montreux, Switzerland 2005-07-08

HEGAZ! Track #5 finds the musicians resurrecting Hegaz from the earlier set – SWEET! MMW will go onto play this song numerous times throughout the spring tour, but these performances with Brahim on oud are MUST HEAR! It’s Brahim’s tune, we think, and he leads the ensemble brilliantly through it … love this TUNE! Never disappoints … and the version with MMW’s bus driver, Dominic Placo, on trumpet from April ’05 is outstanding!

Next up we get a Bass Solo intermingled with some open improvisation that lands us in a nice bluesy number — in a similar vein, the EARLY SET offered a nice gospel groove near the end as a ray of sunshine in an otherwise darkly-vibed set of music, and so the LATE SET likewise offers a sunny vibe at this point.

Martin @Montreux Jazz Festival, Montreux, Switzerland 2005-07-08

illyB then introduces the band, and we’ve got time for “one more” … unfortunately, only one more tune, not set.

Queen Bee closes out the gig in fine form — the guys really dug this tune at the time, with lots of stellar performances and variations on it from late ’03-’05 … this one is exceptionally no exception …

A quick break, and the guys come out to lead us down Swamp Road for the encore … and if you haven’t listened to the duet take on that tune which Medeski and Logic recorded years ago, check it out too:

And of course, after hearing this gig I’ve always wanted to hear the next night, 3/8/2005, but alas, it’s never circulated … at least, not that I’ve seen …

Tonic seemed to allow the band to feel some good vibes with nothing but stellar gigs from that space. Never had the opportunity to attend, myself, but all the gigs for which we have recordings are many of my favourite MMW shows, and many involve HUGE DOSES OF IMPROVISATION — like this week’s pick — so soak up this Friday Afternoon In The Universe

enjoy the grooves,
dug


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MMW Shack Selections

THE SHACK STREAM
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MMW Halloween History

– KNOWN/CIRCULATING RECORDINGS FROM HALLOWEEN (2000-2008) –
Trouble playing/downloading tunes?

~ HALLOWEEN Shows ~
~ FLAC & MP3 filesets ~
~ Download and/or Stream ~
2000-10-31.schoeps-m222-mk41.96277.t-flac16
[TSP-Halloween #1]
Beacon Theater, New York, NY
Tuesday, October 31, 2000

# with Whirligig Percussion Ensemble (Paula Potocki, Arno Buzack & Gregg Burrows with Billy Martin & Cyro Baptista)
* with Robert Randolph on pedal steel
with Marc Ribot + Cyro Baptista on entire second set + encore
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2001-10-31.fob.schoeps-cmc64.6158.t-flac16
[TSP-Halloween #2]
The Beacon Theatre, New York, NY
Wednesday, October 31, 2001

w/ Marc Ribot
w/ Kid Koala and DJ P-Love
# w/ Whirligig Percussion ensemble
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MMW - Halloween 2000

MMW – Halloween 2000

2002-10-31.fob.neumann-tlm170.13067.t-flac16
[TSP-Halloween #3]
Hammerstein Ballroom, New York, NY
Thursday, October 31, 2002

# “Stridulations” are a series of independent percussion compositions written by illy B (aka Billy Martin), of which two were performed on this date, one leading right into the other. The five performers were: MMW, Steven Bernstein, and percussionist Carl Nilsen.
* w/ DJ Spooky
+ w/ Mauro Refosco
^ w/ Smokey Hormel
% w/ Uninvisible Horns of NYC:
Steven Bernstein – trumpet, slide trumpet, director
Briggan Krauss – alto sax
Howard Johnson – tuba
Curtis Hasselbring – trombone
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2002-10-31.mbho603.13050.t-flac16
[TSP-Halloween #4]
Hammerstein Ballroom, New York, NY
Thursday, October 31, 2002

# “Stridulations” are a series of independent percussion compositions written by illy B (aka Billy Martin), of which two were performed on this date, one leading right into the other. The five performers were: MMW, Steven Bernstein, and percussionist Carl Nilsen.
* w/ DJ Spooky
+ w/ Mauro Refosco
^ w/ Smokey Hormel
% w/ Uninvisible Horns of NYC:
Steven Bernstein – trumpet, slide trumpet, director
Briggan Krauss – alto sax
Howard Johnson – tuba
Curtis Hasselbring – trombone
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2002-10-31.mg210.112715.t-flac16
[TSP-Halloween #5]
Hammerstein Ballroom, New York, NY
Thursday, October 31, 2002

# “Stridulations” are a series of independent percussion compositions written by illy B (aka Billy Martin), of which two were performed on this date, one leading right into the other. The five performers were: MMW, Steven Bernstein, and percussionist Carl Nilsen.
* w/ DJ Spooky
+ w/ Mauro Refosco
^ w/ Smokey Hormel
% w/ Uninvisible Horns of NYC:
Steven Bernstein – trumpet, slide trumpet, director
Briggan Krauss – alto sax
Howard Johnson – tuba
Curtis Hasselbring – trombone
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2003-10-31.akg393.retracked.122619.t-flac16
[TSP-Halloween #6]
Beacon Theater, New York, NY
Friday, October 31, 2003

One Set
Most of show w/ DJ Le Spam
* w/ Marc Ribot
+ w/ Spam Allstars horn section:
–Mercedes Abal on flute
–AJ Hill on Alto Sax
–John Speck on trombone
–Steve Welsh on Baritone Sax
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2003-10-31.mg200.112716.t-flac16
[TSP-Halloween #7]
Beacon Theater, New York, NY
Friday, October 31, 2003

One Set
Most of show w/ DJ Le Spam
* w/ Marc Ribot
+ w/ Spam Allstars horn section:
–Mercedes Abal on flute
–AJ Hill on Alto Sax
–John Speck on trombone
–Steve Welsh on Baritone Sax
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MMW w/ Ribot - Halloween 2001

MMW w/ Ribot – Halloween 2001

2004-10-31.cad-equitek-e200(d1+d2)+mg200(d3).27302.t-flac
[TSP-Halloween #8]
Hammerstein Ballroom, New York, NY
Sunday, October 31, 2004

One Set
# with Antibalas Horn Section
* cover of a song by Ethiopian keyboardist/composer Mulatu Astatqe, from the album “Liberty” (1974)
^ with Cyro Baptista (exact performance tunes unconfirmed, but sounds like these are the tracks)
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2004-10-31.mg200.112717.t-flac16
[TSP-Halloween #9]
Hammerstein Ballroom, New York, NY
Sunday, October 31, 2004

One Set
# with Antibalas Horn Section
* cover of a song by Ethiopian keyboardist/composer Mulatu Astatqe, from the album “Liberty” (1974)
^ with Cyro Baptista (exact performance tunes unconfirmed, but sounds like these are the tracks)
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2005-10-31.audix-1290-hc.31643.t-flac16
[TSP-Halloween #10]
Hammerstein Ballroom, New York, NY
Monday, October 31, 2005

One Set
Entire show w/ Cyro Baptista
+ w/ SLAM (50+ piece band fronted by Kenny Wolleson & Jonathon Haffner)
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MMW - Halloween 2004

MMW – Halloween 2004

2006-10-31.akg393.80135.t-flac16
[TSP-Halloween #11]
Hammerstein Ballroom, New York, NY
Tuesday, October 31, 2006

One Set
# with Flora Purim (vocals)
* with Sharon Jones (vocals)
with Dave Tronzo (guitar) & Airto Moreira (percussion) for the entire show
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2006-10-31.audix1290.79797.t-flac16
[TSP-Halloween #12]
Hammerstein Ballroom, New York, NY
Tuesday, October 31, 2006

One Set
# with Flora Purim (vocals)
* with Sharon Jones (vocals)
with Dave Tronzo (guitar) & Airto Moreira (percussion) for the entire show
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2006-10-31.schoeps-mk41.79897.t-flac16
[TSP-Halloween #13]
Hammerstein Ballroom, New York, NY
Tuesday, October 31, 2006

One Set
# with Flora Purim (vocals)
* with Sharon Jones (vocals)
with Dave Tronzo (guitar) & Airto Moreira (percussion) for the entire show
Download MMW gig
Download MMW gig
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2008-10-31.senn-k6.95827.t-flac
[TSP-Halloween #14]
Yebisu The Garden Hall, Tokyo, Japan
Friday, October 31, 2008

One Set
# with Cyro Baptista
* with Jamie Cullum
+ WISM? Super Session with Shacho/Motoharu/tabu zombie/Midorin of Soil & “Pimp” Sessions
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FAITU#5

FRIDAY AFTERNOON IN THE UNIVERSE
(FAITU#5)
2005-10-23

MMW Listen to playlist
  • MEDESKI MARTIN & WOOD

    Rialto Theatre, Tucson, AZ
    Sunday, October 23, 2005


    Set 1: Open Improv > Improv > Open Improv > Piano Improv > What’d I Say > Drums’n’Bass > Drum Intro > Toy Dancing > Improv > Improv*

    Set 2: Shackman > Sugar Craft > Shine It, Sasa > End Of The World Party, Nocturne > Who The Fuck?, Bass Intro > Queen Bee

    Encore: Olde Wyne+

    * perhaps a loosely-structured early version of Miles Behind(?)
    + w/ acoustic outro

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Billy Martin c.2005

Source info:
2005-10-23.s1-at943c+s2-akg-c1000.87712.t-flac16

– SET I (tracks 1-3) –
– SET II (tracks 6-9) –


– SHACK THOUGHTS –
FRIDAY AFTERNOON IN THE UNIVERSE (FAITU#5)
The Shack Project celebrates MMW @25 years!

Does anyone else remember how strangely awesome it was to start getting access to shows the day after or shortly after a gig? From 2003-2005 I remember this becoming more common place, certainly some bands are covered more by tapers, but those capturing MMW’s grooves in certain regions became quick to share too — as always, we owe HUGE THANKS TO ANY/ALL TAPERS!!! LOVE YOU GUYS! And so I remember this fall ’05 tour, the last really big tour MMW have played, really, as us getting to hear shows pretty quickly. This particular source didn’t come out at that time, but this is a better capture of the evening thanks to JAZ and Steve!

2005 retained much of the ’04 improvisational spirit, taking us even further at times. LOTS of Improv to soak up from ’05 too and this week’s show gives us a nice taste of that in the 1st set.

Billy Martin @The Garden Theatre/Villa Montalvo, Saratoga, CA 2005-08-25

Billy Martin @The Garden Theatre/Villa Montalvo, Saratoga, CA 2005-08-25

– SET I –

The opening 3min or so find the band in an Open Improv exploring the sound space of the room, searching for a groove which begins to build just around half past 3min, but really kicks in when John introduces some crazy melodies around the 5min mark — he has a wild sounding keyboard arsenal at this time — where do these melodies come from?? How can he and Chris have this endless source to tap into? In a radio interview a few days before this gig John talks a bit about that seemingly endless supply of grooves they seem to have access to, shrugging off he how he doesn’t know where it comes from but they’ve been given this gift so they explore it. Anyway, back to the gig … as this improvisation develops it’s become a full fledged spontaneous composition by the time the first track hits 10min, just building on the open base they started with and creating a purposeful improvisation. Listening to MMW is kind of a religious experience for me when they’re really open and out there, and this gig has that vibe, especially this opening … which climaxes and then disolves into more open space — I find these sections tickle me sometimes, making me giggle or chuckle out loud, like the opening, but this one is a little more methodic as John comes in with the piano leading us into Ray Charles’ What’d I Say, a fun romping blues tune. Love hearing Medeski rock the piano! He’s spoiled me for listening to other players … the blues take us into some Drums’n’Bass and eventual Drums-only action where Billy makes his way to a hand drum to work the transition into Toy Dancing — I love this move! Billy often finds his way to the hand drum to start the “bloops” that signal the Toy Dancing beat, John sounds out that siren-ish call and we’re dancing with toys …

Post-Toy Improv moves into a thumping tribal-ish plomp … Medeski playing this pretty-but-edges-broken melody on the Rhodes, and jabbing with (what I think is??) the Wurlitzer — maybe it’s the Clavinet? Anyway, that builds to John moving to the Organ as the tribal beat grows intensity with Billy just going crazy by the time the last track of Set I peaks over the 12min point — YEAH!!! Then things get really quiet until, BOOM around 15min! This maniacal “groove” erupts — and is this like an early raw version of Miles Behind?? … the band was debuting some tunes this fall that would end up on the Out Louder release with Sco in ’06 — just in time to take us to set’s end where it just seems to bubble over, like it can’t be contained … set break.

MMW @Montreux Jazz Festival, Montreux, Switzerland 2005-07-08

MMW @Montreux Jazz Festival, Montreux, Switzerland 2005-07-08

– SET II –

Shackman kicks off the 2nd set, and this was a brand new tune having debuted earlier in the week during the radio spot mentioned above. It didn’t have a title at the time, was dubbed a few different temp names before Billy called it “After the Onsen” during the Dec ’05 Japan run. Then the track was released in 2011 as part of the 20 singles the band produced, and the title on the track’s release was Shackman. 15 years after the album Shackman, we have a song titled Shackman. Makes sense … this tune just dies down at the end and …

Sugar Craft’s call echoes out and the groove kicks in. I dig this tune without Logic because I like what John fills in for some of the sounds … the energy on this version is nice and full with Billy just giving it — pretty heavy!

Shine It’s bass kicks in as the Sugar melts — kind of abruptly, but we’re off in the happy Shiney groove now — John’s on piano! Tune doesn’t differ a whole lot each time, but this is a tight performance. They’re playing the song a lot at this time, so no wonder … playful throughout.

Sasa is always cool, although no other performance has hit the heights the 2/28/04 version w/Ribot hit — transcendent around 6min in on that one! But, this one, as usual, bites nicely into the groove.

The move from Sasa > End Of The World Party is crunchy in a good way! Listen to those sounds morph out of the Sasa groove into the haunting opening of EOTWP — love this shit! If this is the end of the world, these are the tunes for me.

John Medeski @Toronto Jazz Festival, Toronto, ON 2005-06-27

John Medeski @Toronto Jazz Festival, Toronto, ON 2005-06-27

We get some playful tinkering and jabs from Billy and John as Chris really sets up to take us into the main melody of: NOCTURNE! I REALLY LOVE THIS TUNE! And I most especially dug it’s resurgence around the 2005-2007 time period, and this gig is actually the first performance of the song since ’99. Not that it wasn’t great when it debuted in ’98, but John has some new sounds by this time, Chris’ tone is a wee different and I think Billy’s toolkit is expanded as well. Anyway, I can bop my head to this groove for hours — sometimes I’ll just put on a playlist of a bunch Nocturne performances and listen through … love when Billy finally gets to the kit and kicks in a beat as John fills in his end a bit more, all while Chris keeps plucking that beautifully agonized bassline …

Following the drift out of Nocturne with the pumpin’ pluckin’ of Who the Fuck? is a SUPER SWEET pairing. This PJ Harvey tune had been around for almost a year by this point, played at probably over half the band’s shows since that time (if not more!), I remember hearing folks wanting more variety in the setlists, but where the fuck is Who the Fuck? now? Huh?! Enjoy these tunes while they’re in rotation, I say! MMW have often made large shifts in their repertoire and seemingly milked certain tunes for concentrated periods of time, but then those songs can suddenly disappear from rotation and that’s that. This tune simply rocks. HARD. I dig it.

The set wraps up with a common closer for this era, Bass Solo > Queen Bee — love this slinky groove! My wife and I love dancing to this tune, and it reminds me of her groove — I like it! Think I’ll put the tune on when we get home and crack a couple beers …

The evening’s encore is Olde Wyne — love that old school spelling! I always knew the song was a cover, but just looked it up and discovered the original artist to be Afo Executives & Tammy Lynn – who knew? This is not an unusual spot to find some Olde Wyne, and it sooths us nicely as the gig winds to a close.

And that’s another groovy Friday Afternoon In the Universe

enjoy the grooves,
dug


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