Musique illimitée
Écoutez cet album en haute-qualité dès maintenant dans nos applications
Démarrer ma période d'essai et lancer l'écoute de cet albumProfitez de cet album sur les apps Qobuz grâce à votre abonnement
SouscrireProfitez de cet album sur les apps Qobuz grâce à votre abonnement
Téléchargement digital
Téléchargez cet album dans la qualité de votre choix
Langue disponible : anglais
More than a decade into their career, Medeski, Martin & Wood continue to expand their sound. This time out, they've enlisted John King (Dust Brothers, Beck, Beastie Boys) as producer and engineer, and he brings a left-field pop sensibility to the table without ever sacrificing the personality and energy of the band. OK, it's not really "pop," but the songs themselves are less overtly "out" than the last couple records despite some wicked, nasty, wonderful tones. The new sound is a thick one, with lots of different layers and perhaps the largest keyboard arsenal ever assembled. On the first track alone, "Anonymous Skulls," you can hear just about every keyboard sound known to man, but it never gets too busy or claustrophobic. In fact, it's almost like the overdubbing process made them more aware of the tunes themselves rather than just the playing, making the songs particularly focused. It's easy to tell this is MMW, with Chris Wood's rich basslines, John Medeski's often percussive virtuosity, and Billy Martin's easily identifiable beats, but all the different layers and bits of ear-candy details really add a new element to the sound. There's also the fairly prominent use of Mellotron, which adds great texture, especially in the sometimes abusive hands of Medeski, who really demonstrates knowledge and mastery of every different keyboard and keyboard style. Forsaking the plethora of guest stars of the last two albums, the only guests are Marc Ribot (on four tracks) with the Sex Mob horns (Steven Bernstein and Briggan Krauss) joining on one of those. Ribot plays with perhaps his thickest, most distorted tone on record on "New Planet," and really lets it rip on "Queen Bee." End of the World Party (Just in Case) is probably the most intricately assembled of the MMW records, but the grooves are still unshakable and the bottom line is that they're still a great band. The fact that they continue to push their sound, even enlisting an almost mainstream "rock" producer to spice things up, is almost a victory in itself in the generally too-safe world of jazz, but the real success is that they keep putting out great records. This is no exception.
© Sean Westergaard /TiVo
Vous êtes actuellement en train d’écouter des extraits.
Écoutez plus de 100 millions de titres avec votre abonnement illimité.
Écoutez cette playlist et plus de 100 millions de titres avec votre abonnement illimité.
À partir de 12,49€/mois
JOHN KING, Composer, Producer - Medeski Martin & Wood, Composer, MainArtist
(C) 2004 Blue Note Records (C) 2004 Blue Note Records ℗ 2004 Blue Note Records
JOHN KING, Producer, ComposerLyricist - Chris Wood, Bass Guitar, AssociatedPerformer, ComposerLyricist - John Medeski, Keyboards, AssociatedPerformer, ComposerLyricist - Billy Martin, Drums, Percussion, AssociatedPerformer, ComposerLyricist - Medeski Martin & Wood, MainArtist
(C) 2004 Blue Note Records (C) 2004 Blue Note Records ℗ 2004 Blue Note Records
JOHN KING, Composer, Producer - Medeski Martin & Wood, Composer, MainArtist
(C) 2004 Blue Note Records (C) 2004 Blue Note Records ℗ 2004 Blue Note Records
JOHN KING, Composer, Producer - Medeski Martin & Wood, Composer, MainArtist
(C) 2004 Blue Note Records (C) 2004 Blue Note Records ℗ 2004 Blue Note Records
JOHN KING, Composer, Producer - Medeski Martin & Wood, Composer, MainArtist
(C) 2004 Blue Note Records (C) 2004 Blue Note Records ℗ 2004 Blue Note Records
JOHN KING, Composer, Producer - Medeski Martin & Wood, Composer, MainArtist
(C) 2004 Blue Note Records (C) 2004 Blue Note Records ℗ 2004 Blue Note Records
JOHN KING, Composer, Producer - Medeski Martin & Wood, Composer, MainArtist
(C) 2004 Blue Note Records (C) 2004 Blue Note Records ℗ 2004 Blue Note Records
JOHN KING, Composer, Producer - Medeski Martin & Wood, Composer, MainArtist
(C) 2004 Blue Note Records (C) 2004 Blue Note Records ℗ 2004 Blue Note Records
JOHN KING, Composer, Producer - Medeski Martin & Wood, Composer, MainArtist
(C) 2004 Blue Note Records (C) 2004 Blue Note Records ℗ 2004 Blue Note Records
JOHN KING, Composer, Producer - Medeski Martin & Wood, Composer, MainArtist
(C) 2004 Blue Note Records (C) 2004 Blue Note Records ℗ 2004 Blue Note Records
JOHN KING, Composer, Producer - Medeski Martin & Wood, Composer, MainArtist
(C) 2004 Blue Note Records (C) 2004 Blue Note Records ℗ 2004 Blue Note Records
JOHN KING, Composer, Producer - Medeski Martin & Wood, Composer, MainArtist
(C) 2004 Blue Note Records (C) 2004 Blue Note Records ℗ 2004 Blue Note Records
Chronique
More than a decade into their career, Medeski, Martin & Wood continue to expand their sound. This time out, they've enlisted John King (Dust Brothers, Beck, Beastie Boys) as producer and engineer, and he brings a left-field pop sensibility to the table without ever sacrificing the personality and energy of the band. OK, it's not really "pop," but the songs themselves are less overtly "out" than the last couple records despite some wicked, nasty, wonderful tones. The new sound is a thick one, with lots of different layers and perhaps the largest keyboard arsenal ever assembled. On the first track alone, "Anonymous Skulls," you can hear just about every keyboard sound known to man, but it never gets too busy or claustrophobic. In fact, it's almost like the overdubbing process made them more aware of the tunes themselves rather than just the playing, making the songs particularly focused. It's easy to tell this is MMW, with Chris Wood's rich basslines, John Medeski's often percussive virtuosity, and Billy Martin's easily identifiable beats, but all the different layers and bits of ear-candy details really add a new element to the sound. There's also the fairly prominent use of Mellotron, which adds great texture, especially in the sometimes abusive hands of Medeski, who really demonstrates knowledge and mastery of every different keyboard and keyboard style. Forsaking the plethora of guest stars of the last two albums, the only guests are Marc Ribot (on four tracks) with the Sex Mob horns (Steven Bernstein and Briggan Krauss) joining on one of those. Ribot plays with perhaps his thickest, most distorted tone on record on "New Planet," and really lets it rip on "Queen Bee." End of the World Party (Just in Case) is probably the most intricately assembled of the MMW records, but the grooves are still unshakable and the bottom line is that they're still a great band. The fact that they continue to push their sound, even enlisting an almost mainstream "rock" producer to spice things up, is almost a victory in itself in the generally too-safe world of jazz, but the real success is that they keep putting out great records. This is no exception.
© Sean Westergaard /TiVo
À propos
- 1 disque(s) - 12 piste(s)
- Durée totale : 00:53:45
- Artistes principaux : Medeski, Martin & Wood
- Compositeur : Various Composers
- Label : Blue Note Records
- Genre : Jazz
© 2004 Blue Note Records ℗ 2004 Blue Note Records
Améliorer les informations de l'albumPourquoi acheter sur Qobuz ?
-
Streamez ou téléchargez votre musique
Achetez un album ou une piste à l’unité. Ou écoutez tout notre catalogue en illimité avec nos abonnements de streaming en haute qualité.
-
Zéro DRM
Les fichiers téléchargés vous appartiennent, sans aucune limite d’utilisation. Vous pouvez les télécharger autant de fois que vous souhaitez.
-
Choisissez le format qui vous convient
Vous disposez d’un large choix de formats pour télécharger vos achats (FLAC, ALAC, WAV, AIFF...) en fonction de vos besoins.
-
Écoutez vos achats dans nos applications
Téléchargez les applications Qobuz pour smartphones, tablettes et ordinateurs, et écoutez vos achats partout avec vous.