Medeski Martin & Wood
Uninvisible

THE REVIEW

New album from a trio that seeks to find the balance between the experimental jazz-rock sounds of the seventies (take "Spectrum" by Billy Cobham, as an example), where the guitar is replaced by the creative and inventive capacity of Madeski, the true soul of the trio and majestic on the Hammond, and more modern concepts of sonic wandering.

If it weren't too banal, one could define it as an "old new album," or, if you prefer, a "new old album." But beware: it doesn't feel old! On the contrary, it's a great production, with intelligent and captivating solutions.

Let's review some tracks:

• "Nocturnal transmission": a continuous and uniform tempo, a bass line with few embellishments, keyboard noises, and minor scales for an unusual track. Seamless change of rhythm with a transition to a very dry funky-style snare. The keyboard variations continue, interspersed with interesting and violent rhythm interruptions (an almost overused solution throughout the album). Finale with snare plays where Martin has fun creating interlocks. There's a strikingly sparse use of cymbals. The drums fade away, leaving behind a shrill keyboard whine.
  
• "Take me nowhere": a dry, compact drum-set and double bass that ties together the wandering keyboards and the pleasant monotony of the rhythm. Some percussion. Jungle sounds conclude the piece's progression.
  
• "Pappy check": early-dance sound reminiscent of a Quentin Tarantino movie. A DJ plays with an effective scratch, anachronistic compared to the recreated sound, yet well-integrated into the musical context.
  
• "First time long time" is for me the best track on the album. It evokes the sounds of the magnificent "Tribute to Jack Johnson" by Miles Davis: Medeski plays Herbie Hancock and Martin plays the Billy Cobham of the situation, resulting in an enticing mix of scents and colors.
  
• "Where have you been": skilled equalization for a piece with very "urban" characteristics.
  
• "Your name is Snake Anthony" is a musical tapestry woven to host the recitation of a text by a grave and assured voice.
  
• "Off the table": the pipe organ introduces us to a terrifying scenario where shrieks of terror mix with desolate sounds, while some harmonic minor scales increase the internal tension of the track. Don't think of blood; think rather of fog and smoke. Then everything becomes smoother.

In my humble opinion, I have no fear in recommending the purchase of this little gem, especially if you are fond of the sound of bands like the Mahavishnu Orchestra but at the same time do not want to give up the new solutions of modern instrumentation. It's hard to explain how the trio could wisely mix such different genres; you just have to listen to it.

A long, complex, and refined album suitable for both the more advanced listener and the newcomer to the field. Heterogeneous.