| | Medeski, Martin & Wood It's A Jungle In Here CD Medeski, Martin & Wood Discography of CDs
 (2 Customer Reviews)
This premier '90s funk/jazz trio has played its way into the hearts of groove-loving lounge lizards everywhere with a modern mix of Hammond B-3 organ soul, adventurous improvisation, and organic, street-born rhythms. The result owes as much to hip-hop and Sonic Youth as to Ornette Coleman and Horace Silver.
IT'S A JUNGLE IN HERE is an urban safari that tracks into heady harmonic territory yet never fails to swing. Compositions by Thelonious Monk, Bob Marley, John Coltrane, and Nigerian juju master King Sunny Ade are post-modernized and reshaped into compelling urban sound portraits. Ubiquitous New York downtown guitarist Marc Ribot and a posse of A-list horn players mold "Where's Sly?" into sonic layers before settling back into the song's strutting, "Blue Trane"- era theme, while other originals like "Beeah" and "Shuck it Up" pack the funk into places most bands can't reach.
Live Recording
Recorded at RPM Studio, New York, between August 2-4, 1993.
Medeski Martin & Wood: John Medeski (piano, organ); Billy Martin (drums, percussion); Chris Wood (bass).
Additional personnel: Jay Rodrigues (alto & tenor saxophones); Dave Binney (alto saxophone); Steven Bernstein (trumpet, flugelhorn); Josh Roseman (trombone); Marc Ribot (guitar).Q (9/94, p.106) - 4 Stars - Excellent - "...A little weird, often wonderful, this is a fabulously fresh album..."
Musician (3/94, p.90) - "...[Medeski's] taut designs are drawn with a keen understanding of the pop world, making their jazz tenets unusally focused....JUNGLE finds a spot where instincts can coincide with strategy...." It's A Jungle In Here Music Medeski, Martin & Wood It's A Jungle In Here Songs It's A Jungle In Here Music Review Average Rating: (5 out of 5 stars)  This is probably their best.
I don't just hand out five stars, but keep in mind that I'm a big fan of these guys. This album is definitely their most diverse, as they explore lots of different types of jazz and funky groove. Keep in mind though that by 'explore' I don't mean 'experimental'. This cd doesn't really have a lot of their more freeform, avant garde elements like on "The Dropper". If you like MMW or even jazz in general, you should give this album a chance for certain.
Submitted by imustbejosh (omaha,ne)
Was This Review Helpful? Yes No MMW are great
This a great album. Very interesting music. This album has originals mixed with Monk, Marley, and Coltrane. My favorite track is Coltrane's, Syeeda's song flute. Medeski's keyboard translation of the saxaphone solo is just incredible, and who better to back him than martin and wood. Three of the finest musicians the new jazz world has seen.
Submitted by Mustin (Anderson, IN)
Was This Review Helpful? Yes No | Have you heard this album? |  |
Buy It's A Jungle In Here CD Purchase It's A Jungle In Here CD To buy, Click on price to add to cart | Medeski, Martin & Wood Friday Afternoon In The Universe CD (1995)
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A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later ...
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Recorded in New York, New York on December 22, 1952 and Hackensack, New Jersey on June 16, 1954. Originally released on Prestige 7059. Includes liner notes by Ira Gitler.
These eight sides have been issued under a number of alternate monikers, including MJQ (1954) and Milt Jackson Quintet (1956), among others. However, regardless of how these tracks are packaged or obtained, they remain true to the free, spirited style of Milt Jackson (vibraphone). Here, he's presented in the context of both the Modern Jazz Quartet (MJQ) as well as heading up an all-star, five-piece unit bearing his name. The MJQ features the talents of John Lewis (piano), Percy Heath (bass), and Kenny Clarke (drums), while the personnel of the quintet boasts Jackson, Heath, Clarke, Horace Silver (piano), and Henry Boozier (trumpet). Modern Jazz Quartet with ...
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Digitally remastered by Joe Tarantino (1995, Fantasy Studios, Berkeley, California).
What would in any other instance be a potent Jazz at the Philharmonic meeting of the minds, the pairing of Oscar Peterson and Benny Carter in the studio turns out to be a neat and trim session of mutual respect between these two titans of American music. Six standards and a blues jam has Peterson deferring to Carter's alto sax in most instances, as the horn takes the lead with Peterson happy to follow. Guitarist Joe Pass seems an afterthought on most of this material, while Toronto bassist Dave Young and British drummer Martin Drew turn in a reliable and steady rhythmic ...
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;Of 3rd Rel;Bonus Trax
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Features Zakir Hussain on Tablas and G. S. Sucdev on Bamboo FluteRaga Hindole Early morning ragaA celebration of spring. There are no 2nd or 5th notes. The 7th is used in a roundabout way (vakra). The 4th is sharp. The raga proceeds in three steps: the alap which unfolds the beauty of the raga, second is medium-slow ektal of 12 beats, and the lively third movement is in teental of 16 beats and expresses the joyfulness of springtime. The raga is played more in the upper octaves due to its heroic mood. The 7th note is used with great caution generally in a quick and subtle slide.Raga Bageshri Late night ragaThe 3rd and 7th notes are flat. There is occasional use of the 5th which beautifies the raga. The mood is graceful, deep and serious. The opening alap establishes the structure and the mood of the raga. The slow composition in ektal explores the depth of the raga and the mood lightens during the fast teental. The voice of the flute in both ragas reflects the singing style with its many nuances.Sachdev performs the classical music of India, a culture with a two thousand year musical tradition. Western listeners accustomed to harmony initially may be deceived by the apparent simplicity of this melodic music. The complexities lie in the subtle variations on the theme, ornamentation of notes, modal coloring, and in the interplay between flute and drums. Since each note stands alone, special care is given to the purity of intonation.The basis of North Indian music is raga, the melodic form, and tala, the time measure. Thousands of ragas exist, each based on one of ten parent scales. Various ragas are associated with morning, afternoon, and evening, as well as with difference seasons. Beyond the melodic form, each raga encompasses a particular mood and synthesis of emotions which a skillful musician like Sachdev evokes. Improvisation plays an essential part, but always within ...
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