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FAITU#51

FRIDAY AFTERNOON IN THE UNIVERSE
(FAITU#51)
2018-03-23

MMW Listen to playlist
  • MEDESKI MARTIN & WOOD
    w/ Marc Ribot & Ned Rothenberg

    Big Ears Music Festival – Tennessee Theatre, Knoxville, TN
    Friday, March 23, 2018


    One Set: Open Improv > Improv > Open Improv/Bass’n’Drums > Improv > Open Improv > Improv > Open Improv > Improv > Improv > Improv > Improv# > Open Improv#* > Improv#* > Improv#* > Wood’n’wind Bass Improv* > Improv#* > Improv#* > Dracula#*

    One Set Only
    # w/ Marc Ribot – guitar
    * w/ Ned Rothenberg – bass clarinet

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Medeski, Martin and Wood, Big Ears Festival, Tennessee Theatre, Knoxville, March 2018

Medeski, Martin and Wood, Big Ears Festival, Tennessee Theatre, Knoxville, March 2018

Source info:
2018-03-23.shure-mv88.141601.t-flac16 [TSP2018#1]

– ONE SET (tracks 1-4) –


– SHACK THOUGHTS –
FRIDAY AFTERNOON IN THE UNIVERSE (FAITU#51)

This gig is EXACTLY what I wanted to hear. Hot Damn.

Set opens with about 50min of trio bliss … the band explores some open space for the first 5min or so, seeming like they are on the brink of developing more of a groove but the sound resists … then Billy and John pull back and Chris emerges with this stellar acoustic bassline, the other two join in and this works into an incredible melodic improvisation – wow! This Improv moves for almost 10min before the trio breaks the sound down again into some Open Improv and minor Bass’n’Drums interplay — all pretty loose for the next few minutes … and then again, Chris gets us going on our way towards a more cohesive groove and by the time we reach 22min into this set these guys are just ROCKIN’! Then again, the mood simmers down and we’re treated to further open exploration although with a bit of a pulsing beat that Medeski tinkers over with an electric piano sound … Chris is bowing an odd little repetition … illyB is playing around with some of his toolbox toys … John closes this out with some trills then hits a heavy organ chord to begin the next Improv development with Chris jumping right on top of Medeski’s sound, but Wood has moved to the Hofner and is doing some of that awesome pick work we hear on a number of tunes, but he’s flying free here on top of the keys for a while before Medeski adds another sound to the mix — it’s 2min before illyB kicks in a beat on the kit and Chris opens up his playing to be a bit more groovy and interactive, John finds a melody (from where? Where do these sounds come from?!?), and they’ve now spontaneously created yet another incredible piece of music … and we’re only 30min into a set lasting 1hr 47min … oh these sweet sounds!

Medeski, Martin and Wood, Big Ears Festival, Tennessee Theatre, Knoxville, March 2018

Medeski, Martin and Wood, Big Ears Festival, Tennessee Theatre, Knoxville, March 2018

As the groove dissolves the band makes a more aggressive and electric exploration of Open sounds for a few minutes and just before the 36min mark of the set and this first track, illyB lands on some metallic percussive sounds that are the beginning of the next groove with Medeski whirling underneath like a wind tunnel … again, Chris emerges with yet another stellar line somewhat reminiscent of the tune Nocturne, but this is something new and different … Billy fades out as John comes in, then illyB begins a soft shuffle of sorts, searching for a rhythm, start/stop on the kit, and driving us along … then we spin into more open space which comes back to a groove c.36min via illyB on his metal toys tapping out a rhythm that Chris then joins, once again carving out the melodic structure of the improvisation, and then Medeski jumps on board this Norturne-ish sounding jam building — VERY cool shit! The pace picks up as we head towards 43min thanks to some swirls signalled by John, Billy and Chris both latch onto this energy and we’re in a bit higher gear now, still led by Wood’s incredible lead bass inventions (similar to how Chris controls the carnivalesque tune Back & Forth), but not to be outdone Medeski spins some craziness off the mellotron before the pace dramatically shifts once again c.45min, but slowing by half, with the keys and drums laying down a bed (very nice work from Billy at this point) which the bass just oozes into gradually, making itself known, but complimenting the groove perfectly. This latest groove has a couple shifts along the way, all very organic, as we ever so smoothly make our way to …

Medeski, Martin and Wood, Big Ears Festival, Tennessee Theatre, Knoxville, March 2018

Medeski, Martin and Wood, Big Ears Festival, Tennessee Theatre, Knoxville, March 2018

The entrance of Marc Ribot, guitar god extraordinaire! Ribot enters for track #2 of the recording and remains until the end of the set — so we get almost an hour of Ribot w/ MMW which is just the best. The guitar emerges through a caucophony of sound building out of that last Improv and as the track time moves towards 2min the sound settles down a bit, the trio establish a groove and Ribot begins to find his place in this spontaneous composition being developed. I think these 10min or so when the groove begins to the end of the track work into a single piece of music the quartet has created.

Medeski, Martin and Wood, Big Ears Festival, Tennessee Theatre, Knoxville, March 2018

Medeski, Martin and Wood, Big Ears Festival, Tennessee Theatre, Knoxville, March 2018

When Ned Rothenberg enters, everyone opens up to give him space without giving up their input — this gets almost tribal sounding over the Open Improv that welcomes Ned and his bass clarinet to the stage. A groove settles out of the drums-heavy opening with everyone connecting and just a real nice vibe here … 5min later the pace picks up as a new Improv develops — Chris is very much leading the affairs this evening, at least to my ears, being the strongest voice with everyone reacting mostly to his playing (most often it’s Medeski that fills this role, I think, and not that Chris doesn’t ever step up but it just seems even more so over this set). Ribot really steps up at this point too, and this “tune” builds to a wonderful crescendo — Ribot is just wailing around the 15min mark and keeps pushing and pushing over the next couple minutes! Medeski and Rothenberg are each wailing as well with Martin & Wood pushing the underlying rhythm more and more — BOOM! This explodes into more caucophony for a moment before settling into an eerie and wonderful interplay of the basses on stage: Stand-up and Clarinet. Wood and Ned sound like they’re having a lot of fun, with Chris beginning the exchange bowing his bass and Ned soloing over these sounds. Chris gradually moves into some finger plucking via some percussive beating of his wood, and Ned keeps reacting to Chris and Chris to Ned — check it out! As the two settle into a plodding interplay, illyB joins on the kit with a sparse beat, John and Marc add some chordal sounds and the creation continues to rise up in energy as we hit 22min in the track. The Improv gets more and more heavy — Billy is really beating those damn drums in this set and I dig it! He’s joining into that “bass” sound that is permeating the stage … oh yeah, this is a HEAVY THICK wall of sound from the quintet as we approach 25min — and there’s Ribot calling out above the thick bed! The build is peaking and peaking! After the sound hits the blind hill and comes down the quintet slides into yet another Nocturne-ish sounding Improv — this will take us towards the song the sound almost seems to have been moving towards all night. I love it when these Improv heavy sets seem to build into a song at the set’s end — it really ices the sound cake, if you know what I mean.

Medeski, Martin and Wood w/ Marc Ribot & Ned Rothenberg, Big Ears Festival, Tennessee Theatre, Knoxville, March 2018

Medeski, Martin and Wood w/ Marc Ribot & Ned Rothenberg, Big Ears Festival, Tennessee Theatre, Knoxville, March 2018

And so we hit the familiar opening chord of Dracula – a perfect choice. Ribot always adds a delicious flavour to this track, and Rothenberg’s bass clarinet sound fits so well with Dracula’s vibe — just listen, you’ll love it.

Hard to believe this is a festival set — usually this level of MMW-magic is saved for proper MMW gigs where they have their audience contained. I’m sure those ears in attendance at Big Ears soaked up these darkly groovy sounds with much pleasure … and now your ears can enjoy the sounds too, on this beautiful spring Friday Afternoon In The Universe

enjoy the grooves,
dug


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MMW Shack Selections

THE SHACK STREAM
LISTEN/DOWNLOAD ANOTHER SHOW!


FAITU#44+#45+#46+#47+#48

FRIDAY AFTERNOON IN THE UNIVERSE
(FAITU#44) ~ 1999-01-13
(FAITU#45) ~ 1999-01-14
(FAITU#46) ~ 1999-01-15
(FAITU#47) ~ 1999-01-16
(FAITU#48) ~ 1999-01-17

MMW Listen to playlist
  • MEDESKI MARTIN & WOOD
    w/ DJ Logic + Daniel Carter

    The Bowery Ballroom, New York, NY
    Wednesday, January 13, 1999


    Set 1: Wig Wise, Improv > Open Improv > Bass’n’Drums > Note Bleu* > Latin Shuffle > Drum Solo > Drum Intro > Improv > Brigas Nunca Mais*, Percussion Improv, Start/Stop

    Set 2: Open Improv > Improv > Improv > Toy Dancing > Open Improv > Improv > Open Improv > Whatever Happened To Gus Improv > Buster Rides Again > Drums’n’DJ, Psychedelic Sally > Improv > Drum Solo > Bass’n’Drums > Everyday People

    * 1st known performance
    w/ DJ Logic, last 2 songs of set one, and all of set 2
    w/ Daniel Carter (sax, flute, trumpet) all of set 2

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  • MEDESKI MARTIN & WOOD
    w/ DJ Logic + Jay Rodriguez + Charlie Hunter

    The Bowery Ballroom, New York, NY
    Thursday, January 14, 1999


    Set 1: Open Improv > Improv > Note Bleu > Drum Solo > Improv# > Bass’n’Drums > Bass Solo, Brigas Nunca Mais, Psychedelic Sally (w/Drums’n’DJ breakdown)*

    Set 2: Percussion Improv > Improv > Combustication Improv > Whatever Happened to Gus (w/?? melody) > Drum Solo > Seven Deadlies (Bridge)#* > Toy Dancing#* > Open Improv#* > Church of Logic#* > Hey Joe#*

    # with Jay Rodriguez – tenor sax & flute
    * w/ Charlie Hunter – guitar
    Last track of 1st Set & all of Set 2 with DJ Logic

    NOTES:
    – Whatever Happened to Gus contains an unknown melody mixed in (much like when they play Creole Love Call (w/ Snake Anthony bassline))

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  • MEDESKI MARTIN & WOOD
    w/ DJ Logic + Josh Roseman + Chris Whitley + Vernon Reid + Danny Blume

    The Bowery Ballroom, New York, NY
    Friday, January 15, 1999


    Set 1: Improv > Note Bleu > Bass Solo, Improv, Cape Verdean Blues#, Brigas Nunca Mais, Home Is Where You Get Across*

    Set 2: Percussion Improv > Open Improv > Buster Rides Again (w/ Drum Solo) > Start/Stop > Toy Dancing#+ > Improv#+ > Psychedelic Sally#+, No Ke Ano Ahiahi > Church of Logic^ > Open Improv^, Hey Joe^

    # with Josh Roseman – trombone
    * with Chris Whitley – guitar and vocals
    + with Vernon Reid – guitar
    ^ with Danny Blume – guitar
    All of 2nd set with DJ Logic

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  • MEDESKI MARTIN & WOOD
    w/ DJ Logic + Oren Bloedow

    The Bowery Ballroom, New York, NY
    Saturday, January 16, 1999


    Set 1: Open Improv, Scrontch Meister, Improv > Open Improv, Brigas Nunca Mais, Sugar Craft > Improv#, The Love Bug#

    Set 2: Psychedelic Sally > Hey-Hee-Hi-Ho, Improv > Caravan, Improv > Percussion Improv, Drum Solo > Whatever Happened To Gus (w/?? melody) > Toy Dancing > Bass Solo, Note Bleu > Hey Joe

    # with Oren Bloedow on guitar and vocals
    All of 2nd set and much of Set 1 with Logic (enters for Sugar Craft)

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  • MEDESKI MARTIN & WOOD
    w/ many guests

    The Bowery Ballroom, New York, NY
    Sunday, January 17, 1999


    Set 1: Psychedelic Sally#, Improv#, Whatever Happened to Gus*, Open Improv+ > Seven Deadlies (Bridge)+, Note Bleu, Have Mercy NJ^, Brigas Nunca Mais

    Set 2: Percussion/Violin Improv$ > Improv$ > Open Improv$, Sand, Scrontch Meister (w/ Drum Solo), Toy Dancing%&, Love in Outer Space@, Angel Race (I’ll Wait for You)@# > Open Improv@# > Hey Joe#

    # w/ Marc Ribot on Guitar/Vocals
    * w/ Steve Cannon on Vocals
    + w/ Doug Yates on Bass Clarinet
    ^ w/ Oren Bloedow on Guitar/Vocals
    @ w/ Eric Hipp on Tenor Sax
    $ w/ Eyvind Kang on Violin
    % w/ Jay Rodriguez on Tenor Sax
    & w/ John Dirac on Guitar
    All of 2nd set and last tune of set 1 w/ DJ Logic (enters for Brigas Nunca Mais; absent from Sand)

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1999-01-13

Chris Wood c.1999

Source info:
1999-01-13.unknown.22.t-flac16

– SET I (tracks 1-8) –
– SET II (tracks 9-16) –

– SHACK THOUGHTS –
FRIDAY AFTERNOON IN THE UNIVERSE (FAITU#44 + #45+ #46 + #47 + #48)

MMW @the Bowery Ballroom, Jan 13-17, 1999. What can I say? LOTS! Read below – HA! But honestly, *listen*. Just do yourself a favour and soak up EVERY NIGHT OF THIS RUN. Then, *YOU* tell me which is the best of the run – huh? I can’t decide! I’ve listened to all these gigs, so many times … and just did again, a number of times over the past few weeks. Again, was blown away, heard some sounds I hadn’t noticed before or had forgotten about, and simply had a VERY rewarding time listening through these 5 nights. We get a taste of so much different MMW, and the guys have gotten nothing but stronger as a trio by ’99 so bringing in the guests finds them wielding their trio power underneath with perhaps a little more control than we hear, by comparison, in the edgy sounds of the ’96 SHACK PARTIES — not that one run is “better” than the other, just different. Listen to both! But for now, let’s dig into these ’99 MMW sounds, and the audible space they shared so joyously with their musical guests on this 5 night Bowery Ballroom run in mid-January ’99 …

MMW c.1999

** WEDNESDAY, JANUARY 13, 1999 **
Wig Wise to start is a nice way to get the 5-night Bowery Ballroom run underway as it echoes back to an earlier time in jazz history, and thus Blue Note history — the run’s impetus being a celebration of Blue Note’s 60th anniversary. It’s a Duke Ellington tune from the album MONEY JUNGLE, played by a trio of Ellington on piano, Charles Mingus on bass, and Max Roach on drums — it’s not a Blue Note album, but it is an old school jazz album we know the trio loves, is in some sense modeled after, and Billy has professed his love from the stage for the album — CHECK IT OUT if you haven’t! But here’s the Ellington trio playing Wig Wise:

– Then we jump ahead to the late ’90s and the full electric MMW sound with a darkly sinister improvisation — these next 10min or so are insanely tight and groovy with the trio just locked right in, leading to a Bass’n’Drums breakdown that takes us into the first known performance of Note Bleu — really cool to hear, and they play it each night of the run along with a few other tunes they focus on, but which is also a perfect example of how the band can play the same song each night and really make something new of it, for real.

Latin Shuffle, followed by some Drum work that opens into another Improv section, with again the trio riding high together and taking us to the sweet sounds of Brigas Nunca Mais, a short percussion Improv, and then a KILLER Start/Stop to close the set — they really know how to work this tune by this time, and Logic adds a nice layer.

– 2nd set opens with some very loose open space exploration — I always wonder what’s going through the musicians’ heads in these sections? Especially some of the guests … ? I love following through these open improvisations into the more solid grooves and spontaneous compositions the band creates, but if they didn’t *lead* somewhere, I’m not sure I’d be as big of a fan … like, if this is all the band came out and did … well, maybe once in a while, but if this was there main “thang”, I couldn’t dig in as much, I don’t think. The beauty and fun in the grooves is what I love those open spaces helping to find.

Daniel Carter

Toy Dancing comes out of the opening improvisations, and is another tune that’s featured each of these 5 nights, and we should be glad it is because EACH VERSION of this tune over the run is INCREDIBLE. Start with this one and move forward … Daniel Carter on sax is extra cool on this one …

– More Open Improvisation follows, along with some more groovy vibes, before we get what I’ve labelled as a Whatever Happened To Gus Improv because it’s not quite the tune, and it doesn’t utilize the alternate melody that the other versions do over the course of this run. Love that bassline …

Buster Rides Again moves us into a Drums’n’DJ jam, which stops and then Psychedelic Sally (another run staple) launches out in groovy form (what happened to this tune? They don’t play it beyond spring ’99 … ?), another short Improv, leading to some further Drum and Bass work, and finishing us on a gospel vibe, as they do each night of the run (although with a different tune for the other 4 nights), we get treated to a lovely cover of Sly’s Everyday People.

~ JANUARY 14, 1999 ~ SHACK page >>>

~ JANUARY 15, 1999 ~ SHACK page >>>

~ JANUARY 16, 1999 ~ SHACK page >>>

~ JANUARY 17, 1999 ~ SHACK page >>>

A legendary historic run by some of the greatest improvisers to hit the live stage. MMW were helping Blue Note celebrate its anniversary, but now we can use these recordings — THANK YOU TAPERS!!! — to celebrate MMW any time with 5 outstanding shows, 10 sets of music, splattered with musical guests who all seem to be of like mind … yeah, a good way to start your Friday Afternoon In The Universe

enjoy the grooves,
dug


BACK TO TOP OF PAGE


1999-01-14

Billy Martin @Seaport Atrium, New York, NY
1999-06-07

Source info:
1999-01-14.mg3000.112708.t-flac16

– SET I (tracks 1-5) –
– SET II (tracks 6-9) –

– SHACK THOUGHTS –
FRIDAY AFTERNOON IN THE UNIVERSE (FAITU#44 + #45+ #46 + #47 + #48)

MMW @the Bowery Ballroom, Jan 13-17, 1999. What can I say? LOTS! Read below – HA! But honestly, *listen*. Just do yourself a favour and soak up EVERY NIGHT OF THIS RUN. Then, *YOU* tell me which is the best of the run – huh? I can’t decide! I’ve listened to all these gigs, so many times … and just did again, a number of times over the past few weeks. Again, was blown away, heard some sounds I hadn’t noticed before or had forgotten about, and simply had a VERY rewarding time listening through these 5 nights. We get a taste of so much different MMW, and the guys have gotten nothing but stronger as a trio by ’99 so bringing in the guests finds them wielding their trio power underneath with perhaps a little more control than we hear, by comparison, in the edgy sounds of the ’96 SHACK PARTIES — not that one run is “better” than the other, just different. Listen to both! But for now, let’s dig into these ’99 MMW sounds, and the audible space they shared so joyously with their musical guests on this 5 night Bowery Ballroom run in mid-January ’99 …

MMW c.1999

~ JANUARY 13, 1999 ~ SHACK page >>>

** THURSDAY, JANUARY 14, 1999 **
– Exploration of Open space by the trio gets the 2nd night going at the Bowery Ballroom run celebrating Blue Note’s 60th Anniversary, which moves into some great Improv from the trio, beginning this night in fine form and setting the vibe for what will be an experimental evening of music — arguably the best of the run, but honestly *EACH NIGHT* can make that case for different reasons.

Note Bleu follows, making its 2nd appearance of both its life and the run, indicating the guys are digging this new groove, which opens into a short Drum Solo leading to an Improv featuring Jay Rodriguez on sax and he KILLS it! This Improv dissolves into a Bass’n’Drums jam, then Bass Solo, into yet another appearance by Brigas Nunca Mais — it too making its 2nd appearance of both its life and the run, having debuted the night before. The super groovy Psychedelic Sally closes the set with Logic joining the trio, allowing he and illyB to get down a bit mid-tune, with Charlie Hunter filling into the groove with his super sweet guitar sounds (if you like Charlie on this gig, be sure to check out his sit-in during MMW’s 2002 Montreal Jazz Fest performance.

Billy Martin @Seaport Atrium, New York, NY 1999-06-07

– A Percussion Improv > Improv begins the 2nd set, a further exploration into the wild vibes of this night, and this is a weird borderline-Open-groove that explodes into a HEAVY Combustication Improv — SO GOOD! — and then Whatever Happened to Gus saunters in, accompanied by an UNKNOWN MELODY that appears in live versions of Gus … if anyone recognizes this, I’d love to know what it is! (The band does a similar treatment with live versions of Your Name Is Snake Anthony which they couple with the melody from Creole Love Call.)

– A Drum Solo follows Gus and serves as an intro to the Seven Deadlies (Bridge), a piece MMW seemed to debut over the course of the end of the fall ’98 tour, it was like it appeared in an improvisation on 11/19/98 and then later developed into what we labelled Seven Deadlies (Bridge), an incomplete composition that will eventually be more fleshed out to become the full tune we know as Seven Deadlies. Anyway, it’s at this point that Jay Rodriguez and Charlie Hunter return to the stage, and the two jump right into this wacked groove.

Charlie Hunter

– Another Toy Dancing comes next, 2nd of the run (there will be 3 more), and again VERY cool to hear them twist this tune around and open up so much room to the guests. Super nice flute sounds from Rodriguez during this one and Hunter adds lots of little flavours throughout, so the trio and Logic dig in and rock this tune hard. The dancing then blurts out to just some Open exploration and tinkering before we feel the power from the Church of Logic — LOVE that tune, its groove, and this version is HOT with what the guests add … then things cool down nicely as we slide into the gospel-zone of Hey Joe, with this being the first known performance of the Hendrix cover … a nice finish to the evening, showcasing the guests, and setting a precedent for the closing of the next 3 nights … Hey Joe gospelized will be their final notes …

~ JANUARY 15, 1999 ~ SHACK page >>>

~ JANUARY 16, 1999 ~ SHACK page >>>

~ JANUARY 17, 1999 ~ SHACK page >>>

A legendary historic run by some of the greatest improvisers to hit the live stage. MMW were helping Blue Note celebrate its anniversary, but now we can use these recordings — THANK YOU TAPERS!!! — to celebrate MMW any time with 5 outstanding shows, 10 sets of music, splattered with musical guests who all seem to be of like mind … yeah, a good way to start your Friday Afternoon In The Universe

enjoy the grooves,
dug


BACK TO TOP OF PAGE


1999-01-15

MMW @ Bowery Ballroom, NYC, NY 1999-01-15

Source info:
1999-01-15.akg-c100.984.t-flac16

– SET I (tracks 1-7) –
– SET II (tracks 8-17) –

– SHACK THOUGHTS –
FRIDAY AFTERNOON IN THE UNIVERSE (FAITU#44 + #45+ #46 + #47 + #48)

MMW @the Bowery Ballroom, Jan 13-17, 1999. What can I say? LOTS! Read below – HA! But honestly, *listen*. Just do yourself a favour and soak up EVERY NIGHT OF THIS RUN. Then, *YOU* tell me which is the best of the run – huh? I can’t decide! I’ve listened to all these gigs, so many times … and just did again, a number of times over the past few weeks. Again, was blown away, heard some sounds I hadn’t noticed before or had forgotten about, and simply had a VERY rewarding time listening through these 5 nights. We get a taste of so much different MMW, and the guys have gotten nothing but stronger as a trio by ’99 so bringing in the guests finds them wielding their trio power underneath with perhaps a little more control than we hear, by comparison, in the edgy sounds of the ’96 SHACK PARTIES — not that one run is “better” than the other, just different. Listen to both! But for now, let’s dig into these ’99 MMW sounds, and the audible space they shared so joyously with their musical guests on this 5 night Bowery Ballroom run in mid-January ’99 …

MMW c.1999

~ JANUARY 13, 1999 ~ SHACK page >>>

~ JANUARY 14, 1999 ~ SHACK page >>>

** FRIDAY, JANUARY 15, 1999 **
– Sounds begin slow and exploratory, seeking comforts of other sounds … illyB adding metal, John organ swirls, and then Chris comes in with a steady quiet plunk on the acoustic. The sounds separate and converge in various forms over the next few minutes, creating a beautiful soundscape of sorts … with that wacky MMW edge … with that harsher edge creeping a bit more a few minutes into this journey. Then the edge drops off a bit, things get a bit more open and chaos builds as John swirls on the piano, illyB is now on the kit and Chris is following right along, until we land in the sounds of Note Bleu, as noted clearly a favourite of the band’s being brand new, and opens interestingly into a Bass Solo — they kind of toy with how to surround this groove over the course of the run and later spring tour.

MMW @ Bowery Ballroom, NYC, NY 1999-01-15

– A groove begins from nothing and they are ready to groove begins things solidify pretty quickly into a REALLY nice bouncing Improv. John working the clav and organ together, tweaking cool sounds among his melody, while Chris and Billy propel the beat along. John is really leading this here and the other guys are happy to follow his lead, adding their responses to his shifts. Then close to 5min or so the groove downshifts a bit to something more intimate and less celebratory. The 3 working as 1 — this is the MMW improvisations we all love, me thinks. VERY much a group mind at work, tension builds with a heavier vibe taking root and pushing out until it deflates to a metronomic lullaby feel, then an open feel, and the improvisation finishes up as a stand alone piece.

Josh Roseman

Josh Roseman is invited to the stage after Billy’s welcome to night #3, and the players kick into Horace Silver’s classic Cape Verdean Blues

… and this is just great jazzy fun. A cool treat in the MMW repertoire as they’ve never played this much — just during HOT gigs! (Yes, this night could also be the *best* of the run … depending on what you’re listening for!)

– Roseman leaves the stage, the trio jives through the beautiful Brigas Nunca Mais, one of the regular tunes on this run, and then Chris Whitley hits the stage for a rockin’ Home Is Where You Get Across.

– Some Percussive sounds get the 2nd set going, moving into some Open Improv exploration, before we start hearing some piano tinkering and suddenly Buster Rides Again! Buster is always a hoppin’ tune, never disappoints. Check out the original by Bud Powell if you haven’t:

– The band rides Buster out into the slinky groove of Start/Stop — oh, the Stops! Oh, the Starts! DIG IT!

– Sounds emerge from the end of S/S, and once again Toy Dancing shakes its ass, with Josh Roseman’s trombone and Vernon Reid’s guitar blowing this version WIDE OPEN! This is a great tune for guests!

Vernon Reid

– Toy Dancing spills into the start of the subsequent Improv with Roseman and Reid remaining on stage. The slide into improvisation takes on a bit of an ambient open feel as the players search for where to go. The sounds remain pretty open until around 4min when a quirky groove emerges, seemingly with everyone morphing at the same time — good listeners on stage! This is a very weird thing that’s growing here, cool playful back and forth between the trombone and guitar, and eventually turns into something you can REALLY DANCE to — I just sat down, myself! Slows down into a walking bassline with Logic mixing against it, then the trombone takes lead as things wind down into yet another SMOKIN’ Psychedelic Sally, again Roseman and Reid adding super nice flavours.

Danny Blume

– Roseman and Reid leave the stage, and trio + Logic strike into the beauty of No Ke Ano Ahiahi, which drifts into the always welcome Church of Logic groove! Danny Blume has hit the stage for Church and he is KILLING it! This moves into an Open Improv, before once again the gospelized Hey Joe takes us to the end of the evening …

~ JANUARY 16, 1999 ~ SHACK page >>>

~ JANUARY 17, 1999 ~ SHACK page >>>

A legendary historic run by some of the greatest improvisers to hit the live stage. MMW were helping Blue Note celebrate its anniversary, but now we can use these recordings — THANK YOU TAPERS!!! — to celebrate MMW any time with 5 outstanding shows, 10 sets of music, splattered with musical guests who all seem to be of like mind … yeah, a good way to start your Friday Afternoon In The Universe

enjoy the grooves,
dug


BACK TO TOP OF PAGE


1999-01-16

Chris Wood, DJ Logic & Billy Martin c.1999

Chris Wood, DJ Logic & Billy Martin c.1999

Source info:
1999-01-16.akg391.112712.t-flac16

– SET I (tracks 1-7) –
– SET II (tracks 8-17) –

– SHACK THOUGHTS –
FRIDAY AFTERNOON IN THE UNIVERSE (FAITU#44 + #45+ #46 + #47 + #48)

MMW @the Bowery Ballroom, Jan 13-17, 1999. What can I say? LOTS! Read below – HA! But honestly, *listen*. Just do yourself a favour and soak up EVERY NIGHT OF THIS RUN. Then, *YOU* tell me which is the best of the run – huh? I can’t decide! I’ve listened to all these gigs, so many times … and just did again, a number of times over the past few weeks. Again, was blown away, heard some sounds I hadn’t noticed before or had forgotten about, and simply had a VERY rewarding time listening through these 5 nights. We get a taste of so much different MMW, and the guys have gotten nothing but stronger as a trio by ’99 so bringing in the guests finds them wielding their trio power underneath with perhaps a little more control than we hear, by comparison, in the edgy sounds of the ’96 SHACK PARTIES — not that one run is “better” than the other, just different. Listen to both! But for now, let’s dig into these ’99 MMW sounds, and the audible space they shared so joyously with their musical guests on this 5 night Bowery Ballroom run in mid-January ’99 …

MMW c.1999

~ JANUARY 13, 1999 ~ SHACK page >>>

~ JANUARY 14, 1999 ~ SHACK page >>>

~ JANUARY 15, 1999 ~ SHACK page >>>

** SATURDAY, JANUARY 16, 1999 **
– A stand alone Open Improv gets this 4th night underway on a wacky note …

– The Scrontch Meister rises and gets the groove portion of the evening going, and the Meister nails it!

Chris Wood, DJ Logic & Billy Martin c.1999

– Next up a dark distorted keys chord begins things with a fuzzy bassline and weighted drum beat — the trio is NOT messing around with the time they’re allotting to improvisation during these nights. This Improv cooks along in super groovy mode for about 6min, some cool funking by Chris in here, takes a darker turn just before that 6min mark (Chris is just thumping his bass!) lasting about a minute, and then the space Opens up, led by Billy, and the sounds of the room are explored for a few minutes before coming to a stop.

Brigas Nunca Mais, boppin’ out again on this run, is a beat the band loves.

Sugar Crafts itself down into an illyB groove, with Chris adding a cool sound, Logic sampling, and John’s murky keys, as Oren Bloedow hits the stage, and this turns into a nice raucous bluesy jam. Set closes with one of Oren’s tunes, The Love Bug, which is a fun bluesy rock tune.

– 2nd set = best of the run? Maybe … ? Again, not the lone contender for the title … but we’ve just got the trio and Logic for this set and lots of room to move! Psychedelic Sally > Hey-Hee-Hi-Ho begins the set in a SUPER GROOVY vibe that permeates what follows, giving us some stellar improvisations as a result.

Logic sounds out a siren (that’s him, right?), and some watery percussion begins, more murky keys from John, and I think Chris is doing some bow work before switching to some plucking — which is a sweet sound to emerge from this dark-ish vibe. Billy picks up the pace with his percussive shell work, John adds some odd quick piano, while Chris continues to plunk along and Logic adds atmosphere. Things are pretty loose, but something is brewing … the band is tinkering a bit, sounding a bit open, and perhaps these last few minutes are better heard as an introduction of sorts as Chris slides into the bassline after about 5min, Billy starts that familiar beat on the toms, and John brings in the piano melody I’m sure we all love: Caravan moves across our ears. The trio doesn’t play this often, clearly an homage to the Money Jungle trio of Ellington/Mingus/Roach, which I’m sure was a bit of a model for the MMW trio.

John Medeski c.1999

– We get some hilarious stage replies from Billy to what I’m sure sounds like nonsense as some of the audience shouts/demands requests — love it! HA!

– Suddenly another dark groove begins with John on some unique key sounds compared to what we’ve been hearing; Chris on some bowing; Billy tinkering and Logic inserting some scratches, until Billy moves to the kit and this picks up a bit but then takes a bit of a sudden shift between 4-5min, getting almost Worms-like — oh yeah, this is cool! The tempo picks up more and more, pulsing, until it crashes a bit, and then (just like Worms) it re-starts and we’re swirling again. I’ve found this behaviour to be something the band uses at times, where an improvisation is modelled after a song’s structure … but maybe that’s me listening in too much? Nah, I think they do this at times … which is fine by me, and has created lots of cool grooves … not a crutch, just another improvisation tool, I think; they’re also completely original in at times in their improvisation, so I think the modelling is just a mode. Anyhoo, this boils down to some percussive sounds leading into a Percussion Improv to finish out the moment.

– A Drum Solo > Whatever Happened To Gus (w/?? melody) follows, and it’s cool to hear the guys toy with this tune but WHAT IS THAT MELODY John plays along with an instrumental Gus!? Anyone?! Bueller? Man, I wish I could place that … I’m sure it has to be something we know, a melody from an old jazz tune or …

Toy Dancing is up next, no real guest solos on this one, just the trio and Logic tearing up the Dancing groove — yep, they dig this and I love the Toy Dancings from ’99 … I guess the tune got off on a good foot happening every night of this year’s opening run … good vibes! Bass Solo bumps out the end, with a soothing Note Bleu > Hey Joe to settle down the grooves a bit, with no less intensity, and close out the night …

~ JANUARY 17, 1999 ~ SHACK page >>>

A legendary historic run by some of the greatest improvisers to hit the live stage. MMW were helping Blue Note celebrate its anniversary, but now we can use these recordings — THANK YOU TAPERS!!! — to celebrate MMW any time with 5 outstanding shows, 10 sets of music, splattered with musical guests who all seem to be of like mind … yeah, a good way to start your Friday Afternoon In The Universe

enjoy the grooves,
dug


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1999-01-17

Bowery Ballroom

Source info:
1999-01-17.akg-c3000.986.t-flac16

– SET I (tracks 1-8) –
– SET II (tracks 9-16) –

– SHACK THOUGHTS –
FRIDAY AFTERNOON IN THE UNIVERSE (FAITU#44 + #45+ #46 + #47 + #48)

MMW @the Bowery Ballroom, Jan 13-17, 1999. What can I say? LOTS! Read below – HA! But honestly, *listen*. Just do yourself a favour and soak up EVERY NIGHT OF THIS RUN. Then, *YOU* tell me which is the best of the run – huh? I can’t decide! I’ve listened to all these gigs, so many times … and just did again, a number of times over the past few weeks. Again, was blown away, heard some sounds I hadn’t noticed before or had forgotten about, and simply had a VERY rewarding time listening through these 5 nights. We get a taste of so much different MMW, and the guys have gotten nothing but stronger as a trio by ’99 so bringing in the guests finds them wielding their trio power underneath with perhaps a little more control than we hear, by comparison, in the edgy sounds of the ’96 SHACK PARTIES — not that one run is “better” than the other, just different. Listen to both! But for now, let’s dig into these ’99 MMW sounds, and the audible space they shared so joyously with their musical guests on this 5 night Bowery Ballroom run in mid-January ’99 …

MMW c.1999

~ JANUARY 13, 1999 ~ SHACK page >>>

~ JANUARY 14, 1999 ~ SHACK page >>>

~ JANUARY 15, 1999 ~ SHACK page >>>

~ JANUARY 16, 1999 ~ SHACK page >>>

** SUNDAY, JANUARY 17, 1999 **
– Another performance of Psychedelic Sally begins this 5th and final night at the Bowery, featuring Mr. Marc Ribot on guitar — need I say more. DIG IT!

– A GROOVIN’ Improv is up next with Ribot once again adding that Ribot-esque touch — LOVE IT! Seems like a basic bluesy jam, but super fun to hear these 4 cats get down. Cool interplay over the jam and some nice patience over the last couple minutes as it winds down.

Marc Ribot c.2001

– Then the band invites up Steve Cannon for a wicked fun full version of Whatever Happened To Gus — love the spoken word! Cannon is clearly having a ball, as are the guys themselves.

– The trio then invites up Doug Yates on bass clarinet and start off into some Open Improv, giving Doug some room to explore before they hit into the Seven Deadlies (Bridge), and Doug’s deep sounds add a very cool vibe.

Doug Yates

– Another run through the new-at-the-time Note Bleu finds the trio jiving with the tune’s groove more and more, followed by another fun Oren Bloedow tune with Have Mercy NJ, and then one of the run’s popular tunes, Brigas Nunca Mais, finishes out the set with Logic joining for the groove.

– The gig’s 2nd set, the final of the run, may well be the best — who can say for sure?! I’ve said that about much of this run because it is ALL SO GOOD! This last set isn’t the most fluid, as there are plenty of pauses as the guests switch up throughout, but when the ensembles are playing they are creating OUTSTANDING sounds. The opening Percussion/Violin Improv with Eyvind Kang on violin, and Logic on stage as well, is a percussive journey moving nicely into the more full Improv to follow, Kang still on stage, but this is still very loose and gets even looser as it moves into even more Open space.

Bowery Ballroom

– The trio takes a moment to treat our ears to the sounds of Sand, so beautiful, then just the three of them groove out to Scrontch Meister one more time on this run, allowing Billy a Drum Solo mid-tune, which is a really fun tune that only stays in the repertoire briefly, unfortunately.

Jay Rodriguez

– The rest of this set is tops! Jay Rodriguez, back again with his sax on this night, and John Dirac on guitar hit the stage and BLOW UP Toy Dancing! Seriously, check out these cats! Dirac has a sweet tone and is nice to hear … but he and Rodriguez leave the stage, and Eric Hipp enters on tenor sax for a take on the wild Sun Ra composition, Love In Outer Space — check out Sun Ra’s version for some fun comparison — so many players, so thick and layered:

– Hipp remains on stage for the first portion of this show/run closing sequence of Angel Race (I’ll Wait for You) > Open Improv > Hey Joe, joined by Marc Ribot, but Hipp leaves for the final number leaving just Ribot with Logic and MMW. Wow. Both Hipp and Ribot are on fire in Angel Race, another crazy and incredible Sun Ra tune — first known performance, I believe. I had the pleasure of catching an Angel Race in May of ’99 and loved it, before it gets mashed up in the medley with Nostalgia For Times Square, which is cool too … but hearing MMW bust this open with the guests on stage is really nice, and of course leads to some more Open Improv, carrying us over to the final gospelized closing of Hey Joe, with Ribot laying it out in fine fashion intermixing so well as he does with MMW …

A legendary historic run by some of the greatest improvisers to hit the live stage. MMW were helping Blue Note celebrate its anniversary, but now we can use these recordings — THANK YOU TAPERS!!! — to celebrate MMW any time with 5 outstanding shows, 10 sets of music, splattered with musical guests who all seem to be of like mind … yeah, a good way to start your Friday Afternoon In The Universe

enjoy the grooves,
dug


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MMW Shack Selections

THE SHACK STREAM
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FAITU#43

FRIDAY AFTERNOON IN THE UNIVERSE
(FAITU#43)
1998-11-19

MMW Listen to playlist
  • MEDESKI MARTIN & WOOD
    w/ Thundercloud Bros, DJ Logic, Clyde Stubblefield, & Marc Ribot

    Barrymore Theatre, Madison, WI
    Thursday, November 19, 1998


    One Set: Chanting/Improv Intro# > Church Of Logic > Start/Stop > Tubby > Sugar Craft, Latin Shuffle > Bass Solo, Drum Intro* > Toy Dancing Improv*, Just Like I Pictured It, Hey-Hee-Hi-Ho, Open Improv+ > Improv+^ > C-Jam Blues+ > Spy Kiss+ > Combustication+

    Encore: No Ke Ano Ahiahi+

    One Set Only

    w/ DJ Logic for most of show
    # w/ Johnny Thundercloud and his brothers
    * w/ Clyde Stubblefield on Billy’s set (Billy on cowbell, talking drum)
    + w/ Marc Ribot
    ^ w/ Seven Deadlies Bridge Bass line; first known performance of music related to this tune

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Medeski @North Sea Jazz Festival, Paulus Hall, Congresce, The Hague, Netherlands 1998-07-11

Source info:
1998-11-19.unknown.26805.t-flac16

– ONE SET (tracks 1-13) –


– SHACK THOUGHTS –
FRIDAY AFTERNOON IN THE UNIVERSE (FAITU#43)

One of my favourite ways to hear an MMW gig open is with the Chanting of the Thundercloud Bros., the blessing. This opening track finds the trio bubbling up underneath the chant after a few minutes, exploring an extended intro of sorts to Church Logic — this is one my favourite COMBUSTICATION tracks, and it’s real nice live. The bassline is infectious, and when the Thunderclouds leave the stage and that bass and drums kick it, it’s perfect. The end of this creeps into Start/Stop, yet another tune enjoying a lengthy opening (and that’s fine by me). S/S is AWESOME any time, and the “Stop” sections go out there nicely, having breathed more and more room into those moments over the past year or so, making the “Start” sections, oh, so much sweeter when they hit …

Wood @North Sea Jazz Festival, Paulus Hall, Congresce, The Hague, Netherlands 1998-07-11

Again, no stopping and the band moves smoothly into Tubby, which brightens the vibe a bit with the opening tunes leaning a little more to the darker side of the scale. A short Drums’n’Bass breakdown in the middle, Billy moves to his tambourine for a bit — damn he can play that thing! Tune wraps up with John and Logic jumping back in and into Sugar Craft, featuring DJ Logic a fair bit — they like to let him groove out on this number, leading the charge at times.

Next up is a beautiful take on Latin Shuffle, including the usual mid-tune Drum Solo, and moving into a Bass Solo out of the song’s ending … the band has loved this tune, seemingly, since its debut in spring ’97, and by this point in ’98 they can really dig deep on this one.

illyB @North Sea Jazz Festival, Paulus Hall, Congresce, The Hague, Netherlands 1998-07-11

Billy takes a moment to welcome out THE FUNKY DRUMMER, Clyde Stubblefield! Clyde filled in for illyB earlier in the fall of ’98 on the Scofield A GO GO tour that also featured Medeski & Wood — Billy’s wife had just had a baby, so he couldn’t do the tour. Anyhoo, Clyde comes out to sit at the kit, Billy moves to some percussion (cowbell, talking drum), and the Stubblefield beat kicks in on what I’ve called a Toy Dancing Improv. Toy Dancing was new in ’98, and some renditions move closer to the song as we know it while a couple performances, like this one, kind of bend the Toy around a bit so the Dancing feels a little different. Nice breakdown c.5min with illyB & Clyde, then John, Chris, and Logic jump back in on the tune’s head and it fires to its finish — GROOVY SHIT, FOLKS! Billy celebrates Clyde one more time, and then the legend leaves the stage …

JLIPI is up next calming the vibe in the room a bit with its slinky bassline, but this will erupt soon enough in the mid-section of the tune when Chris lays it all out in his solo — GEESH! Also some stellar piano work from John here …

Hey-Hee-Hi-Ho gets the blood pumping again — Billy is so tight on this tune! And Logic again has room to maneuver, with he and illyB having some mid-track fun.

Medeski @North Sea Jazz Festival, Paulus Hall, Congresce, The Hague, Netherlands 1998-07-11

And then our MMW-related guitar hero of old (and forever!), Mr. Marc Ribot is invited out. Things start slow and meanderingly through some Open space before settling into the first known performance of music related to the tune Seven Deadlies, using its bassline while the rest of the guys on stage improvise around that. Later in Nov ’98 the band will use the bassline played during that Improv as a more firm beginning to, yet still incomplete, portion of the song we eventually come to know as Seven Deadlies, but during the late ’98-early ’99 period the performances are labelled as Seven Deadlies (Bridge) since it’s just that section of the tune they play during that time, before the more full version comes out in spring ’99 … mind you, the “structure” of the song is always shifting a bit, but by spring ’99 we’ve settled into more of what we know as Seven Deadlies.

C-Jam Blues sneaks out the end of the Seven Deadlies (Bridge) Improv, and we get to hear some sweet wacky blues playing from Ribot — sounds nice!

Wood + Martin @North Sea Jazz Festival, Paulus Hall, Congresce, The Hague, Netherlands
1998-07-11

Spy Kiss busts out the end of that C-Jam Blues, building tension more and more, grooving hard, before exploding into the insanity of the “song”, Combustication! What a finish to the show! Everyone is just giving all they’ve got to this WALL OF SOUND and it’s, well, INSANE!

The No Ke Ano Ahiahi encore is perfect … Ribot’s guitar is always soooooo sweet during this tune, a perfect contrast to the HIGH ENERGY that closed the set, and should nicely take you into this Friday Afternoon In The Universe

enjoy the grooves,
dug


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FAITU#40

FRIDAY AFTERNOON IN THE UNIVERSE
(FAITU#40)
2001-08-25

MMW Listen to playlist
  • MEDESKI MARTIN & WOOD
    w/ Marc Ribot & Marshall Allen

    Saalfelden Jazz Fest, Saalfelden, Austria
    Saturday, August 25, 2001


    One Set: Open Improv#* > The Dropper#*, Partido Alto#, Bass Solo > Shacklyn Knights > Drum Solo, Big Time > Felic#* > We Are Rolling#* > Note Bleu#* > Open Intro#* > Angel Race (I’ll Wait For You)#*

    Encore: Bubblehouse#*

    One Set Only
    # w/ Marc Ribot – guitar
    * w/ Marshall Allen – horns

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Marshall Allen c.2001

Source info:
2001-08-25.sbd.12422.t-flac16

– ONE SET (tracks 1-10) –


FRIDAY AFTERNOON IN THE UNIVERSE (FAITU#40)
– SHACK THOUGHTS –

It’s like the band decided to peripherally perform the album, THE DROPPER, in this live setting since Marc Ribot and Marshall Allen were both there. This set is EXACTLY why I listen to MMW. Not the only reason, but one of many that are all EXACTLY why I listen to MMW … while spontaneous composition/improvisation isn’t heard much in this gig, what these musicians do with the songs played is absolutely stunning … let’s dig in!

MMW w/ Marc Ribot @Umbria Jazz Festival,
Teatro Mancinelli, Orvieto, Italy 2001-12-31

– ONE SET –

The set begins with an Open Improv, exploring the space — I think just the trio until about 2min in and then you can hear Ribot’s guitar howl out, and we’re getting some squawks and squeals from Marshall Allen as well … it’s all very abstract, but also sort of a loose introduction to The Dropper (the song) — we get John’s key sound signifying the tune @3:22 on the first track, but then it all sort of falls apart a bit — it seems — simply as a way to restart into The Dropper and get it rolling. So when the track rolls over, this time John’s keys hold the line, Billy kicks in the beat and we are grooving along by the time Chris brings in the base to punctuate things, and essentially hold the melody and foundation of the tune for us. Oh yeah, and then Marc starts letting out some rhythmic spatters and joins the fray nicely. @2:45 Allen asserts himself in the mix — it’s hard to tell if some of the sounds preceding this were coming from him or the keys, but at this point he’s getting horny and we can dig it — listen to Ribot strumming off those spaces in the back of the sound! Things just get MORE CRAZY from here, so just after 7min when John is bringing back the head of the tune (if you can call it that), he’s really wrestling for space in the cacophony of Ribot and Allen — WHOAH! Tune boils down to nothing …

And the Partido Alto groove emerges, feeling so good and about to get super rockin’ as a result of one of the guests — but I ain’t complaining! Ribot comes in with a nice sweet rhythmic pattern again, interjecting some solo lines … the beat picks up as illyB moves to the kit from the percussion, and we are cooking now — and Ribot basically takes over driving this one, I think. He ROCKS this tune HARD … until it simmers down through a drum interlude of sorts, sweetened by John’s piano tinkering in the final moments of the track …

Marc Ribot c.2001

Chris gets us going with a Bass Solo next — fast fingers here! Beats his wood for a while here with high energy until he hits those sweet descending notes leading into Shacklyn Knights, and the Knights step right into the groove and we are moving with the trio only at this point — love the groove/feel of this tune! A Drum Solo comes out of Shacklyn, leading us to Big Time, again with just the trio — heavy vibe on this tune, always fun. In the final noise moments of the tune, just as it’s becoming Felic, Allen and Ribot can be heard again in the mix helping along with the open wacky sounds.

Felic is SOOOOOOOOO f#$kin awesome! And with Ribot and Allen throwing down in the mix, this is some HEAVY shit! Lovin’ it! Chris keeps pulsing that bass line, keeping it together. This tune erupts even more over time, pushing and pushing until we are

ROLLING! We Are Rolling kicks in, and just when it seemed like Felic was the “heavy” tune, our heads are pushed that much further to the brink — the 5 voices on stage are all clamouring for space in the sound and it is INTENSE! Until we hit that space break with a reggae tinge … but it’s all about to explode again! And AGAIN!

Note Bleu is the soothing sound to follow the previous chaos, but keeps an edge due to Marshall’s sound — such bite to his playing!

MMW @The O’Shaughnessy, St. Paul, MN 2001-10-18

A short Open Intro and we are vibing to Sun Ra’s Angel Race (I’ll Wait For You), a tune MMW had been playing for a couple years at this point. Having become part of a medly with Nostalgia In Times Square in the spring 2000 acoustic tour and throughout the remainder of that year, here we get a full treatment of the tune with one of Sun Ra’s band members and Marc Ribot — yeah, this is pretty damn sweet! (I’d heard the trio play Angel Race in ’99, just after it entered the live repertoire, and it was wild with just the three of them — these 5 on stage are wild!) There is what seems like digi-noise c.4min and at times after that, but I think it’s what Allen is doing on his horn! How he’s playing it is eliciting that sound, and then you hear him come in more melodically, but those staccato breaths are breaking the peak!</p

Bubblehouse — does Chris tease the melody from Zappa’s Peaches En Regalia c.6:48?!?! NO! It’s Jelly Belly – RIGHT? Or is it? You decide! Bubblehouse is always grooving and welcome by the crowd, but Ribot and Allen raise the stakes a bit more — you’ll like it, trust me.

You can tell MMW love playing with Ribot, it just shows, and then the addition of Allen finds everyone playing at their tops! Not that the trio ever sounds like they’re slacking on other nights, but this gig just has a VERY special vibe … perfect for a wacky Friday Afternoon In The Universe

enjoy the grooves,
dug


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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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Read MMW txt file
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
Download MMW gig
Download MMW gig
Read MMW txt file
Stream MMW gig
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
Download MMW gig
Download MMW gig
Read MMW txt file
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
Read MMW txt file
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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Download MMW gig
Read MMW txt file
Stream MMW gig

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