The Jazz Project - Album 95: Wynton Marsalis - "Black Codes (From The Underground)"

        To further my understanding of Jazz, I'm listening through Jazzwise Magazine's "The 100 Jazz Albums That Shook The World". Each album is presented with my stream-of-consciousness thoughts for each track, my general thoughts of the album as a whole, and any relevant information I can capture about the album. Also included is my drink of choice while taking the album in. Thank you for joining me on my journey to [partial] Jazz enlightenment.

Album 95

Wynton Marsalis - Black Codes (From The Underground)

Drinking: Water

Photo credit: https://images-na.ssl-images-amazon.com/images/I/71AjE-4yGVL._SL1500_.jpg

1. "Black Codes": I love that intro, each instrument sounds like a voice in a marketplace of sound ebbing and flowing in discourse. ~0:54 features a nice change of pace from the intro. We ride the music until there's a piercing solo at ~1:24 that is tasty. I think it sounds like Miles but with some extra sizzle folded into the mix. This piece very conversational, like a community buzzing on a beautiful day. Honestly, I like the saxophone solo more than the trumpet work, but I also prefer that instrument anyways. As the song draws to a close I get a free jazz vibe from the performance, which I enjoyed. This whole piece is mixed very well. 
   
   
2. "For Wee Folks": I wonder if this song is named after Pee Wee Marquette, or at least in memory of. Regardless, I love the somber tone of the intro, it's a very cool sound. It reminds me of a soft rainstorm on a quiet day. The saxophone playing sounds like someone singing scat, very enjoyable. Perhaps this song is trying to embody the joys and frustrations of kids having to stay indoors on a rainy day instead of playing outside. This makes sense as each  riff, each moment comes into focus just as quickly as it goes, just staying long enough to say we enjoyed it.
   
   
3. "Delfeayo's Dilemma": This is a hot track that's chopping at the bit to get going. The drums keep the heat on, like a racing mind trying to make a decision. Delfeayo is Wynton's brother and a trombone player. I wonder what story this song stems from because it must be a doozy. I like this track a lot and it captures how my mind often feels when I'm lost in my thoughts. Each instrument is a new possibility trying to vie for center stage. At ~5:46 it sounds like outside voices or new thoughts trying to break into the fray, breaking the rhythm of the thought as the other parts struggle to bring it back into line. 
   
   
4. "Phyrzzinian Man": The beginning of this song features a tasty chord. Featuring an excellent interplay of instruments, I love the pacing that the tempo brings. Just as you're starting to groove to the rhythm they pull the rug just enough to keep you off your footing, but not falling. I'm not sure what it's trying to lay out thematically, but I like the tune. The piano riff as it fades out is lovely. 
   
   
5. "Aural Oasis": There is a delicate opening to this song. I feel like I'm traveling in the moonlight, wandering, and wondering where the journey is taking you. Or perhaps reflecting on your history. A very touching track. Listening to the drums is like watching a painter work on his canvas, some brushwork over here, and a little more over there. A very talented performance. Hilariously enough, Wynton has said he doesn't like his performance on this particular recording, that he couldn't really play on it. Hindsight is a funny thing like that. 
   
   
6. "Chambers Of Tain": Tain is a reference to the drummer in this band Jeff "Tain" Watts. This has a fun rhythm to it, I can't quite my footing in it. To me, it sounds like a busy subway station with people coming and going with different walking gaits, attitudes, different everything. The piano is hammering out the arrival alarms and the announcements over the PA. At ~2:00 the song segues into a different part and slowly fades out to this sizzling sax solo of this vibrant rhythm section, complete with a walking bass line of such speed it could be the Roadrunner's soundtrack. this is a hot track! The drum solo at ~5:45 is monstrous. I love how Tain plays with the dynamic range of his instrument during the solo. ~6:55 brings us back to the subway platform panic in a sudden and beautiful way. 
   
   
7. "Blues": This is the shortest track on the album. It features a quiet blues intro and features an intriguing change of pace from the sound of the previous tracks. The bass/trumpet duet is absolutely lovely. Talk about going back to your roots. This and "Chambers Of Tain" are my two favorite tracks on this album. 

Photo credit: https://www.jazz.org/userfiles/cms_images/media_library_cache/WyntonMarsalis_byMaryleneMeyandWhitLane_1024x768_crop_726_409_242_242_242_85___2743.jpg

Overall Thoughts: I get a heavy Miles Davis vibe from Wynton's playing, and I sincerely enjoy it. Some songs weren't a hit for me, but the overall strength of this album really blew me away. I'll be searching for this album to add to my collection. 

Info: This album was released on the Colombia label June 9th, 1985, and was produced by Steven Epstein and George Butler. It features Wynton Marsalis on trumpet, Branford Marsalis on tenor and soprano saxophone, Kenny Kirkland on drums, Charnett Moffett on double bass, and Jeff "Tain" Watts on drums. Fun fact, Wynton Marsalis is the director of the Jazz Studies program at Juilliard. 

Fresh Tracks! Judicator - "Let There Be Nothing"

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        I'm stepping a little out of my comfort zone for today's edition of Fresh Tracks with some Power Metal coming out of Tucson, Arizona via Prosthetic Records. Judicator dropped a lyric video on Prosthetic's YouTube channel on June 25th, 2020 for the title track of their fifth album "Let There Be Nothing". While I don't normally dabble in Power Metal all that often, I find that Judicator's story is humble and, in the words of the band themselves, serendipitous; the founding members of this band met at a Blind Guardian concert, became friends and started a band. They certainly hold to their interests and their beginnings with this new track. 

        Like many Power Metal tracks, the track has an overall epic feeling to it. The guitars, vocals, and bass all sound great, however, the drums I found were lacking in the beginning. I wanted some more punch from the snare, more presence in the mix. There's also a period where it feels like the bass drum is a hair of beat at ~0:54 and it slowly lags more and more offbeat, additionally it doesn't feel mixed well with the other percussion. 

        The intro starts strong with some chugging guitars backed by some clean guitar chords ringing out periodically. The tension grows and grows until the main riff is introduced. It's pretty excellent. As the quiet portions of the verse weave in and out you gain an appreciation for the band's control of their dynamic range. The chorus is excellent with the final line "Let there be light! Let there be nothing!" Fun fact, there are a few funny typos in the lyric video about halfway through. 

        The solo is excellent with dual guitar lead intro before switching to a fun Iron Maiden flavored section at ~5:11 that is quite enjoyable. At ~5:41 the solo kicks into gear with a classic Power Metal shred fest for about 20 seconds. We return to the verse, but it carries with it the frenetic energy from the solo, which is a welcome change to the song. The bass drum mix seems to have improved post solo as well. The song ends with a catchy call and response section I foresee working really well at live concerts if those ever happen again. 

        For me, the most enjoyable part of this band is that the lyrical content has substance. A quote from their Facebook page describes it as being "steeped in historical references and tales of the past. However, the blood pumping through the veins of the music is -as ever- rich with human emotion and rooted in universal experience, regardless of what era your fortune has dictated you dwell within." This album's narrative is centered around a Byzantine general named Belisarius and his quest to "reconquer former Roman territories". Their other albums are also historically inclined (per Wikipedia) as their debut album, "King Of Rome" follows the rise and fall of Napoleon Bonaparte, and their second album follows Prussian history and Frederick the Great.

Photo credit: Kevin Eisenlord Photography - https://www.facebook.com/KevinEsienlordPhotography/?__tn__=%2CdK*F-R&eid=ARDU5tPlUYPWLvxSpjhCNR8XgIG9dW0POy6-2uiDiJtOF89VqzPINvqNbfLJ9ZVQpCqL9sIrNK6yhn5b

        Judicator is John Yellend on vocals, Tony Codisco on rhythm/lead guitar, Jordan Elcess on bass guitar, Balmore Lemus on lead guitars, and Ulises Hernandez on drums. If you're into Power Metal or are a budding history buff with Heavy Metal tendencies, check this track out. You might be like me and find yourself pleasantly surprised at how much you enjoy the last 9 minutes of music. Judicator's new album "Let There Be Nothing" drops July 24th, 2020, and you can order it here. In the meantime, you can listen to the track here on YouTube. If you discover your love what Judicator has to offer, check out their Bandcamp here.

Massive Wagons - "House Of Noise"

Photo credit: https://www.massivewagons.com/house-of-noise

        Another fun discovery from a random walk down Internet Way comes a new single from Earache Records titled "House Of Noise" by UK Band Massive Wagons. Hailing from Lancaster, England, this Rock band got their start in 2009. This is a little lighter fare than the usual offerings from Mainly Tuning Out, but it makes for some fun listening. It's refreshing to hear some straight-up Rock in this world of sub and microgenres. "House Of Noise" is the title track from their upcoming album.

        I get a blend of Mike McColgan, David Lee Roth, and Bon Scott when I hear this vocalist sing, less in tone and more in attitude which is enjoyable and scratches that nostalgia itch. However, I wouldn't say this music feels nostalgic. It feels like what a Rock band would sound like in the 2020s. A slight Ska Punk feel minus the skank and the brass, the punchy tone of Hard Rock without the edgy moody vibe, the crisp rock sounds of ACDC without the weight of tradition. I'm surprised they haven't hit radio airplay in my area because I think they'd do well. 

        The song starts with a crisp overdriven guitar riff that climbs up and up, and on the repeat, the vocals and drums join in. It keeps adding layers before it punches through to a bouncy and fun chorus: "I'm just smashing my face into another tomorrow, closing today go over yesterday's audio, killing some time till I'm flushed out or told to go. I'm only killing some time inside my house of noise, killed by the climb, killed by the lows and the highs, killing some time till I go deaf in my house of noise." It also features a pretty classic-sounding solo that, I feel, doesn't disappoint. It flows really well, and feels very well crafted in its sound.

Photo credit: https://www.facebook.com/MassiveWagons/photos/a.10152035444688050/10157991532208050/?type=3&theater

        It shouldn't be a surprise to discover that several publications list their influences as being bands like Rainbow, Slade, and UFO. They've got four albums and an EP under their belt with their fifth album "House Of Noise" dropping July 17th, 2020 via Earache Records. If you're looking for something fun to listen to and you're a fan of "wild, ballsy and LOUD old school rock n’ roll" than this should the trick your looking and then some. And if you dig this track you should definitely check out "Bangin In Your Stereo". Should you enjoy what you hear then check out the link below to pre-order this album.

Listen to "House Of Noise" here

Listen to "Bangin In Your Stereo" here

Pre-order "House Of Noise here

Fresh Tracks! - Skeleton & Lamb of God

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        We're skipping Jazz day for this week as two tracks caught my attention that I wanted to share. First up is a new-to-me band that has an album up for pre-order on 20 Buck Spin called Skeleton. After digging around the internet I found a bio of Skeleton placing them in the Austin Texas scene forming in 2014 and contains Victor Ziolkowsky on drums and vocals, David Ziolkowsky on guitar, and Alex Recide on bass. The song is called "The Sword" and it's this funky blend of punk, a hint of hardcore, and a healthy dose of Black 'n' Roll, which is a blend of Black Metal and Rock 'n' Roll made popular by bands like Kvelertak and Midnight. 

        "The Sword" starts with a high distortion tone with a slow and ominous intro lasting ~28 seconds. From here on in it's this Thrash/Black Metal/Rock experience with a vocalist who sounds like Tim Armstrong of Rancid if he joined Darkthrone, which oddly isn't a bad thing. It spends the rest of two minutes bouncing back and forth from the pummeling Rock verses and the evil Black Metal choruses. Lasting two minutes and 27 seconds in total it's hard not to want to play this track a few more times and just rock out. Check it out the track here on YouTube. If you like what you're hearing you can pre-order the LP here at 20 Buck Spin. It will be shipping out on July 10th, 2020. 

Photo credit: https://scontent-lga3-2.xx.fbcdn.net/v/t1.0-9/p960x960/104728223_10158924063321435_7232339423367470144_o.jpg?_nc_cat=111&_nc_sid=8024bb&_nc_ohc=v2sm2fnBYmIAX8MXOkm&_nc_ht=scontent-lga3-2.xx&_nc_tp=6&oh=0b28504e6ef0b2dbba68f24dca8e39b1&oe=5F173FD8 

        Next up is a track off the new self-titled Lamb Of God (LOG) album that was released June 19th, 2020 titled "Gears". LOG has been putting out music since 1994, and this album marks their tenth studio album (if you include the two releases under the name Burn The Priest). It seems to be getting solid reviews, and I look forward to taking in the whole album this weekend. 

        While I don't know LOG's discography as a whole, this track was excellent! The riffs are gripping, the tone is tight, and Randy Blythe's vocals still sound great. It really gets the headbanging going, and that chorus riff might be one of my favorites they've ever offered. Lyrically you're getting some pretty typical offerings including critiques of consumerism and man-made annihilation, but it fits in the music perfectly and is well written compared to many other metal tracks (here's looking at you LoBodomy! Sorry Children Of Bodom, they can't all be winners). 

Photo credit: https://scontent-lga3-2.xx.fbcdn.net/v/t1.0-9/p960x960/90005721_10158570770076435_2311899802159284224_o.jpg?_nc_cat=102&_nc_sid=8024bb&_nc_ohc=4Xcd7L07PQcAX9BIvTc&_nc_ht=scontent-lga3-2.xx&_nc_tp=6&oh=6322482c8248f4bbe99a5337ecd2e639&oe=5F175062

        It's great to see such an established band continue to put out some quality music. There aren't many metal bands that can continue for 26 years and still sound fresh. Where I to guess, I'd say it definitely helped that they went on two hiatuses as breaks are important. You can listen to "Gears" here on YouTube, and you can pick up the album here at their store.

Have a great week everyone! 

Spirit Adrift - "Angel & Abyss Redux EP"

Photo credit: https://www.youtube.com/watch?v=oqLDyOreqPY

        Heavy Metal/Doom Metal outfit Spirit Adrift dropped an EP titled "Angel & Abyss Redux EP" on June 18, 2020 to support one of Bandcamp's donation campaigns. The release is supporting the June 19th, 2020, NAACP Legal Defense Fund campaign, and further, they've decided that "100% of proceeds from this EP will be donated to the NAACP Legal Defense Fund, in perpetuity." It's been refreshing to see so many bands setting things up to contribute to so many causes these days.

        The first track is the title track "Angel and Abyss Redux". Seeing redux in the title I realized this had some older material it was referencing. According to guitar and vocalist Nate Garrett, it is performed with an "unplugged" vibe to it, featuring clean tone guitars and a hint of reverb/delay to give it that unplugged experience. The original was released in 2019 on Spirit Adrift's album "Divided By Darkness". I scrubbed through the original and honestly, I like this version a lot better. It feels like a much more cohesive product with some excellent musical moments. The dual guitar riffs really shine in this version. My favorite though is this punchy riff that takes over at ~4:30. It feels like this weirdly great blend of Doom and Prog, like a Jethro Tull with attitude. This was the strongest track on the EP.

        Track two is "I Think Of Demons" and it's a cover of Roky Erickson & The Aliens. It's a fun acoustic psych-pop track that holds true to the original pretty closely. The leads sound great, and the overall track is pretty fun to listen to. However, this is a strange turn for an EP from a Heavy Metal group. Were someone to send me this track and only this track, I'd never guess they were a Metal band. Still, it's worth a listen.

        Track three is a cover of the Jimi Hendrix Experience's track "The Wind Cried Mary". This is arguably my favorite Hendrix track, and this cover had a high bar to clear. Garrett claimed "The Wind Cries Mary" was "one of the first songs I ever learned to play, and Hendrix is the reason I picked up a guitar in the first place. Another obvious choice." Unfortunately, this was, for me, the weakest track on this EP. It was an interesting choice, but the guitars are so washed out in the mix that those nuances in the riffs are almost lost, and the solo really suffers due to the reverb wash as well. It does provide a sense of being otherworldly, which might be the only saving grace of the mixing choice. The vocal performance is great, and on the final "The Wind Cries Mary" there is a great vocal harmony that spiced things up. I wish they had explored the vocal harmonies more, as it may have added something back into the mix that was lost with the guitars.

        With a run time of 12 minutes and 11 seconds, this EP is a quick and dirty listen that is worth checking out. Buying it supports a good cause, and it's a pretty fresh take the tracks featured. Favorite track was the title track, but that Erickson track is absolutely worth checking out as well. This EP was released on the 20 Buck Spin label and features Nate Garrett on guitars, vocals, and handclaps, Marcus Bryant on bongos and shakers, Leon Del Muerte on synths, and Mystical handclaps by Hosianna Mantra.



Buy this EP here
Listen to this EP here

This Will Destroy You - "Vespertine"

Photo credit: https://f4.bcbits.com/img/a2197866096_16.jpg

        I came across this odd release while poking around some news sites and the newsletters I get from various labels. A Post Rock release from Los Angeles, California based band This Will Destroy You offers the listener 58 minutes of some calming ambient music that is reminiscent of Explosions In The Sky and some moments of Godspeed You! Black Emperor. Based on my initial research it appeared this was released June 9th, 2020. 

        However, this is not the case. The background behind this album is not your typical story. Vespertine was crafted to function as the score to the identically titled restaurant opened in Culver City, California in 2017, but the release was offered for public consumption this year. The band walks you through what each piece is attempting to accomplish for the restaurant experience on their bandcamp, found here. 

Photo credit: https://www.theworlds50best.com/discovery/filestore/jpg/Vespertine-LosAngeles-USA-03.jpg

        On face value, it does seem ridiculous, but I started reflecting on the fact that movies are scored, television is scored, etc. Why is it so crazy that a high-end restaurant experience would be scored? Most restaurants have music playing in the background, and I don't think it's too big a step to have custom made music specific to your venue if you can afford it.  

        Musically this is definitely an instrumental Post-Rock album. It has the typical swells and echoing dynamics that create these ambient moments that hang in the air. These moments are quite calming but don't grip my attention. I suppose this is the point of an ambient piece of music, but were I not watching the screen, I couldn't tell you where one track stopped and another started. 

Photo credit: https://scontent-lga3-1.xx.fbcdn.net/v/t1.0-9/14991814_1167806229940994_4781094669867672405_n.jpg?_nc_cat=101&_nc_sid=2d5d41&_nc_ohc=Wjs52XLMnx4AX-TDy_f&_nc_ht=scontent-lga3-1.xx&oh=6c7d29bed5b8673480ce595fcd293f91&oe=5F0F5D84

        While researching this record I found quite a few highly positive reviews, even one was a 10/10. This is not a 10/10 album for me, but I also don't normally gravitate to this genre, so I don't feel comfortable panning it as a release. From my perspective, it's perfectly okay, and I believe it serves its purpose for the restaurant Vespertine. If you love Explosions In The Sky or previous releases of This Will Destroy You, I highly encourage you to check this out, because I truly believe it would be right in your wheelhouse. 

Buy the album here

Listen to it here

The Jazz Project - Album 96: Medeski Martin & Wood - "Combustication"

        To further my understanding of Jazz, I'm listening through Jazzwise Magazine's "The 100 Jazz Albums That Shook The World". Each album is presented with my stream-of-consciousness thoughts for each track, my general thoughts of the album as a whole, and any relevant information I can capture about the album. Also included is my drink of choice while taking the album in. Thank you for joining me on my journey to [partial] Jazz enlightenment.

Album 96

Medeski Martin & Wood - Combustication

Drinking: Mast Landing's Gunner's Daughter, a peanut butter milk stout

Photo Source: https://medeskimartinandwood.com/wp-content/uploads/2017/12/combustication.jpg

1. "Sugar Craft": An excellent funky intro, I love the slight distortion on the keys. The samples give this song some texture that evokes a feeling of riding around on a hot bustling day, taking in the sounds of people yelling, cat growling, and the general feeling of a city/town. The music is lively and vibrant. At ~2:50 there's a siren sound that breaks into the track like a big fire engine going by. 
   
   
2. "Just Like I Pictured It": This track is smooth with some lovely bass tone. The sauntering pace of the song is perfect for the riff the band is playing around. It creates the feeling of plodding along the street being as chill as can be. The whole experience is quite pleasing to listen to. It doesn't transport me anywhere, but it's just so groovy, I want to loop it over and over. This would be a great track to cook along to. 
   
   
3. "Start·Stop": The album takes a nice change of pace from the previous two tracks with "Start·Stop". It's very textured in its tone and feels like a trance. Sliding into the mix is a captivating drum and bass groove, and it's so natural in feeling that I had to restart the track to make sure it wasn't there from the beginning. The music feels like a mural that could be read as sheet music, it's entrancing. Peppered through are these tasty bass licks. The music grows through the whole track to the brink of feeling menacing but never goes over the edge. At ~4:22 the track enters into this new spacey section. The groove has transported you to deep space. The turntables speak to you in nonsense, almost like someone is trapped in the record trying to break out. 
   
   
4. "Nocturne": The chord progression the bass is playing around captures the sound of looking at a frosty field on an overcast November day. It's cold and bleak, but still pulsing with the potential of life among the deep soil and wildlife. The keys provide a haunting wind sound that backs an excellent bass line. At ~2:00 the windy keys trade out with percussive bird calls. The windy keys return around ~2:40. It's eerie stuff, and it's my favorite track so far. 
   
   
5. "Hey-Hee-Hi-Ho": This track returns the feeling to smooth funky tunes. One of my favorite aspects of the song is the way the instruments are playing with silence, weaving among each other. It's a very cool sound. Not much else to say about this track besides its pleasing funkiness. 
   
   
6. "Whatever Happened To Gus": This track features another really tasty bass lick right of the gate. If you're a fan of bass, this album seems to be a great place to hang your hat as the bass shines on this record. The voice-over featured on this track is really cool. The keys provide some excellent and tense counterpoint to the smooth groove of the bass. The spoken word is captivating. Perhaps it's a piece about a vision, trip, or a dream. Possibly it's highly imaginative pondering about the lost fate of Gus. 
   
   
7. "Latin Shuffle": The song starts with a moment where the drums try to find their feet. Quickly it develops into a fiery Latin feeling, and the bass firmly holds a standard jazz riff over it. The piano echos over the bass and drum and slowly overtakes the rhythm. It's like its exploring a struggle with the bass representing tradition  and the drums representing the Latin influences, while the piano is articulating the conflict between the two. This is the longest track on the album. By ~3:30 it's complete chaos between the drums and piano with the bass joining in at ~3:50. At 3:57 the drums segue into a flavorful solo. The track returns to the original riff from the beginning at ~4:50. The band finds mutual harmony at ~6:06 and riffs around at the same pace. There's a groovy keys solo at ~6:34. The song grooves it's way out with a bass solo at ~7:45. 
   
   
8. "Everyday People": This is a Sly And The Family Stone cover. It's an eerie start that segues into the meat of the song. It sounds like the start of a weird carnival horror movie. At ~0:45 the bass brings the keys into the song where the band starts playing with the tune from Sly. A slower track for the band, but there are moments where I feel like the band is chomping at the bit just under the surface, but I have no evidence to back that up beyond instinct. I'm not wowed by this song so far as I round the 4-minute mark. Perhaps it's functioning as a juxtaposition from the original that provides the substance/meaning of this track. 
   
   
9. "Coconut Boogaloo": First of all, fun name. This is a funky fun track. To me, it feels like you're walking through an exotic market where each moment, each stop brings you something funky and new. Fits in with the quirky nature of this groovy jam. 
   
   
10. "Church Of Logic": The title of this song possibly stems from the addition of collaborator DJ Logic. It starts with some fun turntable work over some very quiet and echoing keyboards. It's a quiet track that feels withheld but in an oddly comforting way. DJ Logic plays with the texture created by the band in a very exploratory way. On the face, you wouldn't think it would fit, but it's the same feeling as watching the last few pieces of a puzzle fitting into place and suddenly you see the whole picture. 
    
    
11. "No Ke Ano Ahiahi": I was looking forward to this track as it's a traditional Hawaiian song.  As it starts, it's mellow and pleasing. This song keeps you in the zone as it fades in and out of the regular chords and solos. It was a very enjoyable track. 
    
    
12. "Hypnotized": This song starts like a 70's prog-rock song. Did Rush co-opt this intro? Did Medeski Martin & Wood? I love the piano chords that ring through. Someone is using the sound from the beginning and manipulates it to sound like an organ or a highly distorted guitar through a wah-wah pedal, which is wicked cool. This is a very cool jam to close out the alum. It feels like the vehicle and foot traffic of a town on a rainy day. 
    
    
13. "Combustication": This is a hidden track found about 7:37 into Hypnotized. I find it interesting that the title track to the album is a hidden track. It's a very eerie track that's haunting and echoing. It segues into this crazy free-form racket that I can't seem to pull away from. Next, it moves into this tense jam where the keys seem to be locked into two chords over and over while the bass runs loose over it. Perhaps they are trying to personify the life cycle of fire. 

Overall Thoughts: I loved the rhythm and groove found on this album especially when it kept changing from being upfront and personal, or interwoven behind the chaos. I envisioned a mad scientist dressed like the grooviest dude playing in a sound laboratory. Because I'm still developing my free-jazz ear, some of this was lost on me. However, I still feel it is a fresh sound and holds up to the pantheon of history that stands behind it.

Photo Credit: https://medeskimartinandwood.com/wp-content/uploads/2018/01/MMW-Suits-photo-Danny-Clinch.jpg

Info: This album was released in 1998 via the infamous Blue Note Records, and was recorded in The Magic Shop in New York City. Wikipedia classified it as jazz-funk, jazz fusion, and acid jazz. Allegedly this was also the first commercial jazz album to include a turntablist/DJ in the lineup. Combustication features John Medeski on keyboards, Billy Martin on drums/percussion, Chris Wood on basses/bass drum, DJ Logic on turntables, and Steve Cannon spoke words on track 6. 

Buy the album here

Listen to the album here