At least on first listening, the simplicity of the approach at the heart of Juice camouflages its intricate balance. But, all truly great albums, LP, successive listenings reveal the wealth of nuance within and, in turn, compel repeated playings that will be equally satisfying sitting still between headphones or in a free dance around the house. Each event elevated him to a greater passion for music, his understanding of which, and curiosity about, grows exponentially each year.
July 31, am. February 27, am. Collette of Louie Louie is Juicy Lucy. While funk-jazz music sets the guidelines for the foursome they use each meeting as an opportunity to find a new way to skin that cat, and here is no exception. Most everyone brought tunes into the studio and they borrowed four from others, all imbued with a Latin feel from the Caribbean all the way down to Brazil. All the same, they kept the parameters shoved out far, too far to strictly call this a Latin-jazz record.
Using Afro-Latin styles as a starting point but ending up wherever the songs took them means that the improvisational zeitgeist carries over intact from their prior collaborations. But in finding new ways to create on the spot, Medeski, Scofield, Martin and Wood LP to recreate the freshness of their occasional partnership, and Juice is about a prominent acid jazz trio and an elite jazz guitarist discovering each other all over again. September 10, by S.
Victor Aaron. Share this:. How they did it is a long story, but it is part extremely hard work, part undeniable and distinctive talent, part savvy about the new models of how to build an audience as an independent artist, and part the fact that MMW is genuinely drawn to authentic grooving rhythms -- the kind of greasy funk, say, that the Meters exude. For MMW, this is not commercial compromise at all -- it's great music that happens to set asses in motion. But that doesn't change the fact that some MMW projects such as April's Woodstock Sessions, Volume 2 with guitarist Nels Cline are more forbidding or challenging to the average ear while others are more akin to pure pleasure.
The new recording, this time an outing with guitarist John Scofield, is the latter -- a delight, a stroll in the park on a sunny day, a toe-tapper, a glass of lemonade.
That is not meant to be a left-handed compliment. Making such a delightful jazz record is no simple task. If it were, almost everyone would do it. Uniting with Scofield usually brings out the grooving best in MMW. They first played together on the guitarist's A Go Go in It was one of Sco's most snappy records, and it came out on Verve, giving MMW a new kind of exposure at the time.
The four players fit like lost puzzle pieces, with the guitarist never pushing to outshine the trio, nor the other way around. Scofield's tunes on that first disc were built around nuggets of appealing melody, but they were also finely built as "songs".
By then, the quartet was touring to huge crowds, the "jam" content of the music was a little higher than the pure "song" content, but it was also a more well-integrated band, Album) there more moments of magic. Juice sits somewhere in the middle of those two efforts. It is full of catchy and funky tunes that would have sat well on A Go Gobut there is Light My Fire - Medeski Scofield Martin & Wood - Juice (Vinyl New Orleans funk and reggae in the mix.
And the band returns to some classic rock, with a cover of The Doors' "Light My Fire", a contemplative meditation on "The Times They Are A-changin'" LP I would not have seen coming from this group, and a rock-steady version of Cream's "Sunshine of Your Love" that I'd wager few fans will even recognize for what it is.
The Dylan tune might seem almost too easy, with Medeski giving us his churchiest organ sound, Chris Wood on a fat-toned acoustic bass, and Billy Martin laying in quiet brushwork under Scofield's almost reverential lead on LP line. But, in fact, it is marvelous. The musicians don't fancy anything up, having the courage to play the song simply and with an emphasis on feeling and melody.
He then switches to B3 organ for a spiky, super-rhythmic solo, continuing the washes of organ as Scofield plays a gorgeous solo that continually references the tune's famous "baroque" opening lick. What's great about both tunes is that MSMW doesn't revert to its loose, funky shtick on either one, instead giving each a treatment that serves the song while also bringing out great playing.
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