Medeski, Martin, & Wood Show Review and Hammonds (with some phish content)
While attempting to fix software bugs and add fields to reports at work, I
was watching ups.com to track the new Hammond xk-3 that had been shipped
from Chicago to Cleveland two days earlier. It was delivered to my local
Hammond dealer, and we hooked it up an old school organ speaker (though not
a leslie) so I could play some tunes. As soon as he heard this latest
Hammond organ he said, "That's the sound." Indeed my first impression of the
Hammond XK3 is that it faithfully reproduces a great deal of the nuances of
the original Hammond tonewheel organ (and some extra goodies). Later that
night, I would be checking out John Medeski's circa early 60's Hammond A-100
(I believe). A few months ago, I'd seen Robert Walter play a variation of
this model that didn't have the woodwork. Both of these models had the same
technology of the "more famous" Hammond B3 (the tonewheel). The XK-3 is a
digital version, allowing you to approximate the sound without the extra 400
pounds and 9 square feet to haul to shows.
I picked up this purchase for a new band. We were trying to come up with a
name. The best consensus at that point is that it would have the word
"groove" in it. On this night, some friends and I were about to see the band
that coined the phrase "groove band," Medeski, Martin, and Wood.
I had seen them four times previously between Cleveland (where I live) and
Pittsburgh (where I grew up). I also witnessed the 2003 Bonnaroo
extravaganza of a show. Most recently, I'd seen them a couple weeks prior in
Pittsburgh, at the arts festival. They are touring with 311 & The Roots. 311
was here a few months ago, so mww had a night off. It was flattering that
they decided to share it with us in Cleveland.
My most recent recruit into the groove band scene is a straight-laced
Jamaican with whom I work. A few months ago, he came along to see Robert
Walter's 20th Congress. He was in awe by RW's virtuosity. I was eager to
hear his evaluation as a friend whose interests I'd deem closer to the norm
(i.e. "Who the F are these people?" and "What is this instrumental music
stuff?")
Before the show, I was attempting to deciper the Medeski rig. In addition to
the Leslie speaker churning out the sounds of the Hammond, there was the
requisite Hohner clavinet on top. He also brought the Wurlitzer (student
model, I believe), a Moog (mini-moog?), and a mellotron. I'd thought I'd
seen him at a show a few years back with another mellotron that played stuff
backwards.trippy. Finally, there was an old-school analog synth atop the
Wurli which I couldn't figure out. Tonight, he was also playing the house
piano (which was tuned by a roadie before the show).
In the first set, Medeski showed great showmanship on the Wurli. He also
switched frequently instruments like the madman he is. A buddy asked me how
one might acquire so many keyboards. I assured him that they were acquired
over a long time (I can only imagine the goodies I might have 10 years from
now). He quipped that soon, Medeski would need to run back and forth across
an entire stage to play his rig. Over the course of the night, you could see
he was very comfortable, whether doing laps or just standing at the
Hammond/Hohner or sitting at the Wurli or Piano.
I had seen the tangents that this band has put forth over the years. I own
the tangential album (vintage reserve or something like that?). The general
consensus is that regularly, mmw gets pretty far out there, and sometimes,
the groove is lost.
However, over this first set, they were able to merely stretch the groove.
It served to stretch the mind beyond the normal syncopated division of time,
and allowed you to teeter from what was the groove, yet still is part of the
collective unconscious mind in the room. This is a talent mmw has evolved,
likely because of their willingness to explore new territory.
The first set included a jam that I had heard in Pittsburgh. It is obviously
from the new album (waiting in anticipation). When I first heard it in the
burgh (on that 70s synth above the Wurli with the melody that sounds
slightly like the one from a Galactic's "Tiger Roll"). I thought it was kind
of plain for Medeski, but there's always a willingness to explore. Tonight,
they jammed it way out in the middle. It was the highlight of the first set,
along with some good Clave/Montunos! They also explored the blues (which is
news to me). It was an experimental set, and a solid one at that.
As Chris Wood headed backstage with his glass of whiskey, my friends and I
discussed the set. Due to this ever-so slight bend from total musicianship,
my Jamacian buddy was up on the 20th Congress. From this, my evaluation was
that Robert Walter is to Beethoven as Medeski is to Mozart. The tangents are
part of the nature of the music. From my experience, mmw are made for a
two-set show, so I knew that we were in store for some good stuff. The
Pittsburgh show a few weeks back was one set; they just started really
grooving as it got closer to the very end.
Chris Wood came out for the second set with his whiskey (probably the same
glass, now with the addition of water) to tear the roof off. It started with
a really fresh tune (I guess from the new album?). It was really written out
and tight. This kicked off one of the greatest sets I'd seen ever, which
went from oldies but goodies, to tight new jams. They even played an altered
version of "I Wanna Ride You" (a song I am presently attempting to
transcribe the album version to sheet music to play on my horn in its
entirety).
I used to really enjoy Phish. They had the groove. Now, mmw has filled that
void in a way that is not so completely different. However, the focus is on
the unbelievable musicianship of less musicians (and nobody sings). It is
simple, yet challenging to keep fresh. I am a jazz fan, but all my life, I
was turned off by the simplicity in frequencies and harmonics. MMW expands
the realm of jazz with a wide variety of instrumentation.
The second set was filled to the rim with two-chord progressions. The
two-chord progression is something to which I aspire. There are limitless
possibilities. Medeski, Martin, and Wood live the groove over the two chord
progression. It is as if people like me (passionate hobbyist musician since
I was 10) are "taught" this type of thing. People like mmw live it.
After Medeski played some "alone" tunes (from what I've seen, a rarity), he
was ready for a sit-down after the hard work. In the past, I have often seen
Chris Wood abandoned on upright by his cohorts. Tonight, he was almost
abandoned to play solo on the Fender 4 string. It was definitely tight.
Billy Martin kicked in to help out. In the past, it looked as though Chris's
fingers were getting a bit chaffed on the upright, so he played it less.
Now, he must have some Flea-sized calluses, because he seems to be
effortlessly digging into those huge strings, relying on the electric bass
far less, but yet sticking with it enough to play alone.
Billy Martin now tours with squeaky toys. As always, he can bang the shit
out of stuff. In previous shows, I'd visualized his childhood, vigorously
touching everything around him repeatedly. I would guess he led an isolated
life as a noise maker. He now found his niche. He is a sick man. Thank God.
As you see mmw, whom I believe are totally in their prime, are still getting
better. Like Morphine, a band whom first introduced me to mmw in Pittsburgh
back in the spring of my senior year of high school in 1995 (when Mark
Sandman gave my friends and I tickets to the show after hanging out to
bullshit that afternoon). MMW opened. Like Morphine a couple years after
this show, mmw seem to be on the brink of a new sound. The new album will
give us a better idea.
With some bands (especially those with a limited number of musicians, like
Morphine and mmw), if you aren't careful, all the songs can start to sound
the same. It is like when you go to see Phish nowadays. It's just Phish.
There isn't any particular song, it's just a medley of these musicians
playing their style. There is nothing wrong with this. In fact, it is rather
comforting. It is something that flows through these cats like a river. MMW
have managed to let it flow, and still keep it fresh. This is in large part
due to their enormous talent.
After the second set, the consensus was that it was a great night of music.
I'm looking forward to the next show. Oh, we decided to name our band "The
Groove Theory" http://www.thegroovetheory.com. Our next goal (beyond
practicing our tunes so they are tight enough to play out) is to come up
with a symbol. Just as mmw have separated themselves from vocal music with
their instrumental nature, they also have trademark symbol of some sort
without words (looks like a little dude with three things coming out of his
head or something). In effect, this separates them even further from the
need of verbal expression. It is a cool concept (even though we don't mind
singing a little).
russ
was watching ups.com to track the new Hammond xk-3 that had been shipped
from Chicago to Cleveland two days earlier. It was delivered to my local
Hammond dealer, and we hooked it up an old school organ speaker (though not
a leslie) so I could play some tunes. As soon as he heard this latest
Hammond organ he said, "That's the sound." Indeed my first impression of the
Hammond XK3 is that it faithfully reproduces a great deal of the nuances of
the original Hammond tonewheel organ (and some extra goodies). Later that
night, I would be checking out John Medeski's circa early 60's Hammond A-100
(I believe). A few months ago, I'd seen Robert Walter play a variation of
this model that didn't have the woodwork. Both of these models had the same
technology of the "more famous" Hammond B3 (the tonewheel). The XK-3 is a
digital version, allowing you to approximate the sound without the extra 400
pounds and 9 square feet to haul to shows.
I picked up this purchase for a new band. We were trying to come up with a
name. The best consensus at that point is that it would have the word
"groove" in it. On this night, some friends and I were about to see the band
that coined the phrase "groove band," Medeski, Martin, and Wood.
I had seen them four times previously between Cleveland (where I live) and
Pittsburgh (where I grew up). I also witnessed the 2003 Bonnaroo
extravaganza of a show. Most recently, I'd seen them a couple weeks prior in
Pittsburgh, at the arts festival. They are touring with 311 & The Roots. 311
was here a few months ago, so mww had a night off. It was flattering that
they decided to share it with us in Cleveland.
My most recent recruit into the groove band scene is a straight-laced
Jamaican with whom I work. A few months ago, he came along to see Robert
Walter's 20th Congress. He was in awe by RW's virtuosity. I was eager to
hear his evaluation as a friend whose interests I'd deem closer to the norm
(i.e. "Who the F are these people?" and "What is this instrumental music
stuff?")
Before the show, I was attempting to deciper the Medeski rig. In addition to
the Leslie speaker churning out the sounds of the Hammond, there was the
requisite Hohner clavinet on top. He also brought the Wurlitzer (student
model, I believe), a Moog (mini-moog?), and a mellotron. I'd thought I'd
seen him at a show a few years back with another mellotron that played stuff
backwards.trippy. Finally, there was an old-school analog synth atop the
Wurli which I couldn't figure out. Tonight, he was also playing the house
piano (which was tuned by a roadie before the show).
In the first set, Medeski showed great showmanship on the Wurli. He also
switched frequently instruments like the madman he is. A buddy asked me how
one might acquire so many keyboards. I assured him that they were acquired
over a long time (I can only imagine the goodies I might have 10 years from
now). He quipped that soon, Medeski would need to run back and forth across
an entire stage to play his rig. Over the course of the night, you could see
he was very comfortable, whether doing laps or just standing at the
Hammond/Hohner or sitting at the Wurli or Piano.
I had seen the tangents that this band has put forth over the years. I own
the tangential album (vintage reserve or something like that?). The general
consensus is that regularly, mmw gets pretty far out there, and sometimes,
the groove is lost.
However, over this first set, they were able to merely stretch the groove.
It served to stretch the mind beyond the normal syncopated division of time,
and allowed you to teeter from what was the groove, yet still is part of the
collective unconscious mind in the room. This is a talent mmw has evolved,
likely because of their willingness to explore new territory.
The first set included a jam that I had heard in Pittsburgh. It is obviously
from the new album (waiting in anticipation). When I first heard it in the
burgh (on that 70s synth above the Wurli with the melody that sounds
slightly like the one from a Galactic's "Tiger Roll"). I thought it was kind
of plain for Medeski, but there's always a willingness to explore. Tonight,
they jammed it way out in the middle. It was the highlight of the first set,
along with some good Clave/Montunos! They also explored the blues (which is
news to me). It was an experimental set, and a solid one at that.
As Chris Wood headed backstage with his glass of whiskey, my friends and I
discussed the set. Due to this ever-so slight bend from total musicianship,
my Jamacian buddy was up on the 20th Congress. From this, my evaluation was
that Robert Walter is to Beethoven as Medeski is to Mozart. The tangents are
part of the nature of the music. From my experience, mmw are made for a
two-set show, so I knew that we were in store for some good stuff. The
Pittsburgh show a few weeks back was one set; they just started really
grooving as it got closer to the very end.
Chris Wood came out for the second set with his whiskey (probably the same
glass, now with the addition of water) to tear the roof off. It started with
a really fresh tune (I guess from the new album?). It was really written out
and tight. This kicked off one of the greatest sets I'd seen ever, which
went from oldies but goodies, to tight new jams. They even played an altered
version of "I Wanna Ride You" (a song I am presently attempting to
transcribe the album version to sheet music to play on my horn in its
entirety).
I used to really enjoy Phish. They had the groove. Now, mmw has filled that
void in a way that is not so completely different. However, the focus is on
the unbelievable musicianship of less musicians (and nobody sings). It is
simple, yet challenging to keep fresh. I am a jazz fan, but all my life, I
was turned off by the simplicity in frequencies and harmonics. MMW expands
the realm of jazz with a wide variety of instrumentation.
The second set was filled to the rim with two-chord progressions. The
two-chord progression is something to which I aspire. There are limitless
possibilities. Medeski, Martin, and Wood live the groove over the two chord
progression. It is as if people like me (passionate hobbyist musician since
I was 10) are "taught" this type of thing. People like mmw live it.
After Medeski played some "alone" tunes (from what I've seen, a rarity), he
was ready for a sit-down after the hard work. In the past, I have often seen
Chris Wood abandoned on upright by his cohorts. Tonight, he was almost
abandoned to play solo on the Fender 4 string. It was definitely tight.
Billy Martin kicked in to help out. In the past, it looked as though Chris's
fingers were getting a bit chaffed on the upright, so he played it less.
Now, he must have some Flea-sized calluses, because he seems to be
effortlessly digging into those huge strings, relying on the electric bass
far less, but yet sticking with it enough to play alone.
Billy Martin now tours with squeaky toys. As always, he can bang the shit
out of stuff. In previous shows, I'd visualized his childhood, vigorously
touching everything around him repeatedly. I would guess he led an isolated
life as a noise maker. He now found his niche. He is a sick man. Thank God.
As you see mmw, whom I believe are totally in their prime, are still getting
better. Like Morphine, a band whom first introduced me to mmw in Pittsburgh
back in the spring of my senior year of high school in 1995 (when Mark
Sandman gave my friends and I tickets to the show after hanging out to
bullshit that afternoon). MMW opened. Like Morphine a couple years after
this show, mmw seem to be on the brink of a new sound. The new album will
give us a better idea.
With some bands (especially those with a limited number of musicians, like
Morphine and mmw), if you aren't careful, all the songs can start to sound
the same. It is like when you go to see Phish nowadays. It's just Phish.
There isn't any particular song, it's just a medley of these musicians
playing their style. There is nothing wrong with this. In fact, it is rather
comforting. It is something that flows through these cats like a river. MMW
have managed to let it flow, and still keep it fresh. This is in large part
due to their enormous talent.
After the second set, the consensus was that it was a great night of music.
I'm looking forward to the next show. Oh, we decided to name our band "The
Groove Theory" http://www.thegroovetheory.com. Our next goal (beyond
practicing our tunes so they are tight enough to play out) is to come up
with a symbol. Just as mmw have separated themselves from vocal music with
their instrumental nature, they also have trademark symbol of some sort
without words (looks like a little dude with three things coming out of his
head or something). In effect, this separates them even further from the
need of verbal expression. It is a cool concept (even though we don't mind
singing a little).
russ
Copyright © 2013 Russell E D
