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Medeski, Martin & Wood Tap Into The Rising Taste For Experimentalism.
By Dave McElfresh
FOR THE MOST part, solid jazz doesn't sell worth a damn,
nor create enough interest to fill a 100-seat bar nearly anywhere
across the country. But sometimes jazz gets lucky: non-jazzers
are occasionally impressed by something meaty (as opposed to the
pop pap prostituting itself in the name of the j word) and line
up for albums and tickets. It happened in the '40s when Duke Ellington
and Count Basie seduced the dance crowd, in the '50s when Dave
Brubeck's cool jazz impressed the heady, horn-rimmed bunch, and
in the '60s when an electrified Miles Davis floored hippies who
came to the Fillmore to see the headlining psychedelic groups.
And it's happening again. Throughout the '90s, a handful of jazz
experimentalists--like the ultra-colorful keyboard/bass/drum trio
of Medeski, Martin & Wood--are surprisingly popular, selling
far more albums than even many traditional jazz artists. Oddly,
the trio is driven by John Medeski's Hammond B-3 organ, an instrument
terribly unpopular since the early '60s. So who made this band
a name act long before the jazz crowd caught on?
Drummer Billy Martin's New Orleans-based backbeat style has fueled
Medeski's keyboards and Chris Woods' bass through seven albums
of quirky funk jazz. Onstage, he's seen a variety of fan types,
with almost all of them far younger than the average jazz fan.
"It seems like the biggest faction is the college
audience--a liberal, white, hippie kind of thing," Martin
believes. "That group has been very supportive of jazz in
America for a long time. I look at these 30-year-old photographs
of New Orleans jazz festivals and I see a predominantly white,
young, college-age audience, people still developing, still absorbing
so much. And I listen to the college radio stations now and the
variety of music they play is really amazing."
Much of the audience, though, is made up of smaller, but no less
specific subsets of fans. "We're supportive of this whole
taper culture, where kids are allowed to record our shows and
trade them with each other, so it ends up trickling down to high
school kids. Also, we played with Phish in New Orleans, a band
that has a huge fan base, and their followers started talking
about us. Even punk rockers and ravers come around--all these
different categories, which helps us not have to rely on commercial
advertising. I wish we had a broader funk fan base, but I think
what we've got is great."
Sales are good for Combustication, the band's newest
and most textured release, where the organ switches from the churchy
feel of "Everyday People" to create the hallucinatory
soundtrack entitled "Church of Logic," and the depiction
of Hawaii-on-downers, "No Ke Ano Ahiahi." The disc is
being snatched up by yet two more sizeable CD-buying crowds: retro-swing
fans and the acid jazz bunch. Says Martin, "It's time for
swing to return. Everybody is looking back 30, 40 years because
of the affinity people have for dance music."
The '90s dance phenomenon known as acid jazz may not be jazz,
but it samples enough of the '50s/'60s classics to merit the association.
Martin believes acid jazz represents the current dance crowd wanting
music less techno. "Instead of listening to drum machines
and synthesizers for dancing, a lot of young kids are inspired
by DJs who found something cool to spin by going to old record
stores. And the organ-based jazz they found is great, soulful
music, rooted in gospel."
Just as Medeski, Martin & Wood is not a swing band, acid
jazz fans mistakenly group them in with their style. "I guess
there's a similar kind of attraction," Martin admits. "We're
also jazzy and danceable, but before acid jazz was even a term,
we were playing that kind of music. John and Chris were already
laying swinging lines over funky grooves I was coming up with.
Then acid jazz came along and all the promoters started billing
us as that, because it was kind of the hip thing at the time.
But it was attracting a lot of people, so in a way it was cool."
Their greasy funk also caught the attention of major jazz guitarist
John Scofield, whose similar love of soul-heavy bands from the
Meters to the Funkadelics led him to use the trio as his band
on last year's A Go Go album. MM&W had hit the big
time. "That was great fun," Martin recalls. "The
writing was simple, and Scofield's a great guitarist who's easy
to work with. His playing fits right in with the groove of our
things."
Natch, the adventurous trio chooses to screw with their uncanny
fortune in attracting fans. For starters, don't go to one of their
shows expecting them to upchuck favorite album cuts like other
bands do.
"What's on our records is stuff that just happened naturally
and we got it on tape," says the drummer. "What you'll
hear in concert is the spirit of those cuts, but we're really
improvising. We remain aware of some of the things that we played
on the record and how we did it, but we don't perform note for
note because it wouldn't be jazz. But when you hear the live show
you'll recognize something from a tune you remember, then we move
on to something else."
Further pressing their luck, the first half of their shows now
presents them in a different format than that which made them
popular. "The first set is just going to be a bare essentials
acoustic piano trio," says Martin. "We've been doing
it here in New York for two weeks' worth of gigs at small clubs
with only 100, 150 people a night, in small rooms with no PA.
It's been great, so we're going to share that side of us. Then
DJ Logic, who's on Combustication, will join us
for a second set of what we're better known for playing."
For most jazz bands, going acoustic would be taking the conservative
route. But Medeski, Martin & Wood will be feeding it to Phish
fans, most of whom have never heard a set of stripped-down, basic
jazz before. "The acoustic music will definitely pull the
audience deeper into jazz," Martin believes. "We have
a lot to say on that level. I'm hoping our subtleties and nuances
will come across on a big stage. We'll see."
Medeski, Martin and Wood perform an all-ages show at 8
p.m. Sunday, April 11, at the Rialto Theatre, 318 E. Congress
St. Tickets are $16, available in advance at Antigone Books, Guitars
Etc., Hear's Music and Zip's University. For tickets and information,
call 529-0356.
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