Medeski Martin & Wood
Combustication

After having dedicated myself to reviews of the sacred monsters of jazz-fusion, I wish to talk about this well-known group on the acid jazz and nu jazz scene of the '90s.

Medeski Martin & Wood, in their style that was nothing short of innovative for those years, gather influences from electric jazz, the most distorted fusion, hip-hop thanks to the presence of a DJ and many sampled and scratch parts, the most studied funk, but above all acid rock. This 1998 album "Combustication" is almost entirely based on Medeski's keyboard runs and his organ, sometimes warm, sometimes avant-garde, sometimes deeply distorted. The group has a particular taste for the "groove" dictated by Billy Martin (a close collaborator, like all members of the band of John Scofield but also the versatile John Zorn); the sound of the bass is decidedly vintage and nasal thanks to the use of the Hoffner, the so-called "Beatles' bass". But let's start with the tracks:

"Sugar Craft" with its hip hop gait and oriental sounds, positively opens the album. The rhythmic mastery of the three is immediately noticeable, and thanks to perfectly mixed electronic sounds, the mood is almost fun and playful.

In the next two tracks "Just Like I Picture It" and "Start/Stop" Medeski's organ begins to break away from the rhythmic patterns of the bass and drums, which, to give a modern effect and an almost lounge taste, loop their phrases.

"Nocturne" has a relaxed avant-garde jazz background overlaid with psychedelic openings and digressions, making the atmosphere curious and alluring. Notable is the almost contrapuntal bass line responding to the keyboard rhythms. Perhaps the least artificial and least contaminated track by other genres, but at the same time, not at all trivial.

"Whatever Happened to Gus" sinks into the atonality and dissonances of which the three are pioneers. The entire track is structured on Wood's free and almost improvised lines (in this track he switches to double bass); it feels as if the group wants to literally "dazzle" the listener, because at certain points it is almost impossible to find a logical explanation for certain sound solutions.

"Latin Shuffle" starts precisely with a very syncopated and almost danceable Afro-Latin percussion rhythm and continues with a beautiful piano solo by Medeski, one of the most beautiful of his production. This is perhaps the piece most related to jazz standards, as there are few incursions into electronics and in general sound changes.

After three tracks that reprise the group's styles I've just described, "No Keno Ano Ahiahi" arrives, in which the oriental sounds are again prominently featured. This time the sound is more meditated and less bizarre, and a sense of tenderness is felt thanks to the soft sound of the organ; this track can also be very reminiscent of cinematic sounds.

The trio's skill lies precisely in proposing very different musical situations, as if they wanted to "play" with the listener's heart, fully succeeding in their endeavor.

The last track "Hypnotized" freezes and hypnotizes the listener with long, heavily synthesized, and electronically modified phrases. The tone of the track is almost nostalgic, and at times one truly senses an increasing detachment between the work and the listener, caused by the continuous changes in atmosphere.

The group's entry into the ranks of the well-known jazz label Blue Note caused a decidedly interesting change of direction. The only flaw of the group is that sometimes it does not manage to resolve certain tonal situations, sinking into sounds that are sometimes too difficult for a normal listen. Nevertheless, the sound always keeps the listener attentive, rarely tiring them. Recommended for lovers of more mature experimentation, hoping that this album will also be appreciated by jazz purists (nothing against them).