Customer Reviews

Mago

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4 star:		(1)
3 star:		(0)
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1 star:		(0)

 

 

I was surprised to see this album available as I hadn't paid close attention to what's going on in music, but as a MMW fan I was intrigued and picked it up.

The fact that Billy Martin kind of leads this effort interested me as he is always impressive live. Well this album doesn't disappoint in that regard.

As a whole the album does have an MMW feel a la "End of the World Party (Just In Case)". The melodies here, carried by John Medeski, don't quite have the jazz feel that earlier MMW albums had, but that is Ok. It is more of a groove album, and John Medeski uses his organ to fill in the bass parts as well...

However, the real showcase here is Billy Martin. His drumming adds in a jazzy layer through its varying tempos and the talent he shows. That really makes the album, and I think this is what Medeski and Martin intended, and they have succeeded. This is a side project that has been in discussion and the works for years. Fortunately, it was able to be made while The Wood Brothers were off doing their thing.

Ultimately, this a great album that when looked at amongst the catalog of MMW and side projects gives us a chance to have an album that really showcases the drummer.

"Mago" is a great Medeski, Martin and Wood (MMW) side project. Perhaps 'side project' is too strong a descriptor given that it's MMW without Chris Wood. The sound is rewarding. Rather than reinvent the wheel, "Mago" is similar to what MMW has been doing on their regular albums for the past few years. Thus it will resonate with fans of "End of the World Party" and "Uninvisible." For the most part, the guys stick with their time tested formula of jazz, rock and funk. 'Crustaceatron' and 'Bamboo Pants' are two of the highlights. While most of the music is accessible, avant-garde is well represented by 'Introducing Mago,' 'Thundercloud' and 'L'Aventura.' These self-indulgent pieces will resonate with fans that enjoyed "Notes from the Underground" and "Farmer's Reserve." The musicians are in as fine a form as ever. At times, John Medeski forces the listener to do a musical double-take at what sounds like a bass. Billy Martin employs his typical arsenal of acoustic and electronic drums. "Mago" asks a million dollar question: can such a project be successful without Chris Wood? While it definitely works, the effectiveness is debatable. The potential listener might think that without Chis Wood, Billy Martin might come out more on the drums. Instead, "Mago" just sounds like MMW without a bass. It's not like Billy Martin was marginalized in MMW, waiting for a duo to truly express himself and musically actualize. "Mago" doesn't sound great because it lacks a bass, it works despite the absence of Chris Wood. Most likely, this dynamic would have been different had Medeski and Martin played music outside the MMW paradigm. Considering the benefits and drawbacks, "Mago" is a CD that deserves to be in any Medeski, Martin and Wood collection.