Customer Reviews

Radiolarians 1

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This release is the first in a three-album series crafted as a reversal of the usual recording process: rather than record an album and then tour, the band developed these songs through a series of live shows before ever entering the studio. Previous albums, notably Uninvisible, have emerged from extended in-studio improvisation, but Radiolarians 1 seems to be a remarkably faithful distillation of MMW's approach to playing and improvising live.

Like many of their live performances, the album opens with the brooding, meandering ambience of exploratory invocation, the band extending their antennae and feeling around for musical currents. Emerging organically, the developing groove soon picks up and rides high for the remainder of the album, flowing and evolving through a variety of forms, all unmistakably solid, unfiltered MMW, with Wood's huge bass sound as the central engine.

This is not the dark and gritty, deftly produced, hip-hop infused MMW of earlier albums, however, but a jaunty excursion textured by the active energies of a traveling band. "Professor Nohair" seems to be a long form send-up to that rollicking New Orleans piano maestro, the late Professor Longhair. The other songs here are similarly well-developed, extended compositions, revealing MMW at full stride. The album is defined by bursts of jubilant groove and raucous rhythm interspersed among a number of tracks (3, 7, 9 and 10) that all share a post-jazz, vaguely middle-eastern melodic approach not unlike the material from Zaebos, their most recent previous release.

Considering the rigorous time limitations under which it was produced, Radiolarians 1 is an impressive effort, and a demonstration of the same consistently innovative quality for which the tireless trio is so revered. Shack on!

After End of the World Party, I was a little worried about MMW's studio CDs--everything was over-processed, very little experimentation or progression, just some new synthesizers. With this CD, I'm confident that they're back on the right track. MMW thrives on space--that's what makes them so exciting, you never no what might come next. This CD captures that space (on most tracks), and captures much of the energy of their live shows. Apparently the "skelleton" of each track was formed on the road during improvisation--then the group brought the bones into the studio to hash out the rest, hence the reference to Radiolarians (look it up).
First Light: the groove kicks in after about 2:30 and is a medium paced jam over a vamp. at 4:45 it changes into a new groove much like the intro to Latin Shuffle on Combustication. A great beginning track.

Cloud Wars is loud from the get go, a steady riff from Chris Wood on fuzzed-out bass, and swirling organ and clavinet from Medeski. Billy Martin plays it like John Bonham would. Fun and Rockin.

Muchas Gracias is like a theme song for an old Western, I can imagine someone treking through the desert to this. Very cool melody, this one was composed by Chris Wood. Definitely a highlight

Professor Nohair find the trio in acoustic format, playing some of that New Orleans boogie they do so well. Also a highlight, I've missed this kind of stuff from MMW of late.

Reliquary is not my favorite track. Reminds me of We are Rolling from the Dropper, but not quite as interesting. Plus I'm not a big fan of the wurlitzer, sounds like a dentist drilling my teeth.

Free Go Lily is awesome. Great blending of piano, organ, and clavi. The most cohesive track, and definitely funky. I love it.

Rolling Son is a dark track, i don't really like the melody but Billy's playing is cool, very cool rhythm.

Sweet Pea Dreams is another boogie track, reminds me of Let's Go on their recent kids' CD. Definitely a fun track, another highlight

God Fire sounds like music for Mario Bros. 1 in the castle levels before you fight Bowser, interspersed with some free jazz. Not a highlight for me.

Hidden Moon is track with a lot of potential, but they never go anywhere with it. Another dark atmospheric track, Medeski uses that oboe/bass clarinet synth for the melody. Would be a good track for a night time spy-mission.

Overall, if you're a big MMW fan like me it's a good one to own, but if you're unsure i'd just download the best tracks. They have definitely developed their sound (for better or worse), using different effects and techniques. As long as they stay motivated to keep creating, I'll stay happy as a fan.

I have found this to be the best MMW album yet. I listen to MMW on the bus and let the images flow. MMW combines new elements to this cd which I have never experienced before. shifting ballads that rearrange the universe. particles of spaghetti westerns mixed in schizophrenic rhythms; entrenched in the aloneness that is the human experience. Irish crack infused mercenaries screaming ballads that will never be heard or understood again. Yes I loved this cd---the imagery is raw, the feelings intense, and the experimental edge always developing before your very eyes.
----Anthony hanley

Excellent album overall. Not as much on the "heavy, dark" funk that MMW can be known for. Still great music.

For those of you wondering, a radiolarian is a type of amoeba, which is not necessarily what I would usually associate with Medeski, Martin and Woods particular brand of jazz/funk fusion, but this is part of a special series. The first of three albums put together very quickly associated with specific tours and very much a reflection of improvisatory style they have live. This album is a lot of fun and I cant wait to see parts 2 and 3.

The album starts with serious sorts of ambiance setting noises. The blends into a relatively straight organ jazz trio piece which is the second half of the first song. The second song, "cloud Wars", is also sort of dark, but from there, the album bursts forth. Most of the songs that follow have an almost exuberant undertone to them which makes this album a pleasure to listen to. "Profess Nohair" is a real treat, exciting almost New Orleans style piano (acoustic piano at that, not the more common organ or synthesized stuff) as backed by some great standup bass funk. I was also incredibly pleased with "Free Go Lily" a great romp through am extended funk jam. On the darker side, "God Fire" is an interesting extended composition going through moody synthesized phases, freer more excited jams and one or two light somewhat funkish sections. The use of the upright bass adds a lot to the mix their, helping to set the mood at times and driving the beat at others.

Ultimately this album is really great. it isn't as processed or contrived as others, but rather a testament to the power of these musicians as collective improvisers. This is an exciting sort of experiment they have started, I hope they can keep the stamina up for the next installments.

Medeski Martian and Wood are past having to prove how many styles they are so gloriously adept in, and listening to mostly their 1990s work, this ranges from funk to quasi-60s soundtrack to avant-gaurde to solo panio.

So on Radiolarians, they strip back to basic grooves. But these are not those of the early albums like Shack Man. There, they were vehicles for solo. The tracks on Radiolarians are have more elastic time, and MMW have, to large extent, cut the wha whas and phase shifting and other 1970s moves.

On Cloud War, frankly, Medeski's organ is so stripped and his soloing so ecconomial--its really more enhanced comping-he reminds me of Steve Winwood in Traffic. He seems more inerested in playing rhythm touch football with Martin, who is absolutley on fire with fills, than in playing flashy solos.

Martin has gotton bussier and on parts here is playing in ALMOST free time. He sounds like Tony Williams in how he lets the pulse strech as far as he can possibly without losing it.

Wood, interestingly, remains a minimalist: it seems to me there could be a lot more sliding and flourishes in this music, and I am sure he could play like this any time he wants. If he chooses to anchor the band and hang back, that is just fine, because he is obviously making a consious stylistic decision. His abilites are not the issue.

In any event--this may not grab you as fast as The Dropper or Shackman, when, back in the early 1990s, it was a joy just to hear some real 1970s funk-jazz again--something, anything but Kenny G.

But Medeski Martian and Wood have gone far beyond novality at this point, and have begun to more deeply investigate their options on Radiolarians.

Medeski, Martin, and Wood have become so comfortable in the role of a jam-band it would seem they've given up on composition altogether (perhaps one of the reasons they've been dropped from the Penguin Guide to Jazz). Not that reverse engineering an album is all that bad an idea, mind you, but I hear little in the way of sustained, developed melody that they used to produce so impressively. The empathy is starting to deteriorate, as well. On past recordings these men were attuned to each other in a way that would recall a flight of birds suddenly turning in synch. Now their contributions evoke a machine in which the individual parts threaten to tear the whole asunder. At times it sounds as if they are reaching back to the majesty of Combustication, but most of this recording seems to expand on the overblown, forgettable efforts of Uninvisible.