New album: Woodstock Sessions, Vol. 2
Artsit: Medeski, Martin & Wood w/Nels Cline
Label: Burnside/Code 7
Rating: 4.5 stars out of 5
Since their formation in 1991, Medeski, Martin and Wood have pushed the bounds of what can be done within the framework of a keyboad/bass/drum trio. Like a Blue Note version of Rush, the MM&W have become masters of their instruments and together they create a sound that is solely their own.
Occasionally, MM&W have worked with guitar legend John Scofield, yielding predictably glorious results. The band’s decision to record with Nels Cline was a daring pairing that could have very easily devolved into the type of art-noise drivel that the editors at SPIN would praise till they drowned in their own saliva.
Taking all of their influences into account, MM&W are essentially a funky jazz/rock trio that can out-weird Radiohead any day of the week. Cline’s guitar work for the likes of Mike Watt and Wilco has rarely if ever been described as funky or jazzy, although he is regarded as one of the most innovative rock guitarists of the last 20 years. Thankfully, the fruits of the MM&W/Cline summit - “Woodstock Sessions , Vol. 2” - is an adventuresome, entertaining set.
Recorded live last August in front of a studio audience, the album was apparently improvised on the spot. Open salvo “Doors Of Deception” is an intriguing sound collage that oozes into existence rather than starting or stopping. “Bonjour Beze” follows with creepy Farfisa sounds from John Medeski and ancient, otherworldly percussion from Billy Martin. By the time the ensemble reaches “Mezcal,” Chris Wood’s barbed bass lines are beautifully entangled with Cline’s jagged guitar runs.
The ghost of “Ummagumma”-era Pink Floyd pops up throughout “Woodstock Sessions, Vol 2,” especially on the dense “Los Blank” and “Looters.” Part drive-in movie soundtrack, park Stockhausen homage, the entire album works if you’re looking for something beyond rigied toe tappers.
Hopefully the boys will see fit to release volume one of these sessions someday. Until then, grab a copy of “Woodstock Sessions, Vol. 2” and pull the shades; it’s about to get weird.
Classic album: Climbing
Artist: Mountain
Label: Columbia
Rating: 4 stars out of 5
Conceived in part as a band that would fill the power trio void left in the wake of the Cream’s demise, Mountain’s debut album is a snarling, vicious take on electric blues rock.
Fronted by Leslie West on vocals and guitar, Mountain also featured Cream collaborator Felix Pappalardi on bass and drummer Corky Laing. Although it’s been played to death by classic rock radio, the “Climbing” lead-off track “Mississippi Queen” is the best example of Mountain at their best. Featuring a monolithic riff that could knock a pachyderm on its butt and a howling vocal from West, “Mississippi Queen” would form the blueprint for Gov’t Mule and other heavy blues trios that followed.
Other album highlights include the Jack Bruce/Pete Brown semi-ballad “Theme From An Imaginary Western” - a song that was originally intended for Cream. More in line with the zap of “Mississippi Queen” is “Never In My Life,” another slab of bluesy brutality.
West shows his versatility on the acoustic “To My Friend,” a dreamy 12-string workout that provides a nice respite amongst the furious sounds. “Sittin’ On A Rainbow” kicks the album back into throttle mode with Laing’s deep grooves and Wests squalling guitar and vocals.
“Boys In The Band” closes out the album with a bit of a wimper, but what came before it is so strong it almost doesn’t matter. “Climbing” is an example of blues-rock at its finest, ranking just behind other blues-rock gems of the time by The Allman Brothers Band and Johnny Winter.
Jon Dawson’s album reviews appear every Thursday in the Free Press. Contact Jon at 252-559-1092 or jon.dawson@kinston.com. Purchase Jon’s new book “Counterfeit Sauerkraut & The Weekend Teeth” at The Free Press office or www.jondawson.com.