Medeski Martin Wood
Cubberly Community Center (Max capacity 330, I’d say about 100 people that night*)
Palo Alto, CA
This is a great-sounding AUD recording of a very nice show.
Source: (Mikey Perrott) Schoeps CMC6 + MK4
Genealogy: Master DAT > DAT clone > My DAT clone
Transfer, track, and upload on 10/18/00
(Jeff Ishaq email@example.com) Fostex D5 > WaveTerminal 2496 > CDWave > SHN 3.x
One set only [121 minutes]
Disc One: [60:12]
01. [12:54] Chinoiserie
02. [13:53] Lifeblood
03. [06:27] Is There Anybody Here That Loves My Jesus
04. [03:46] Macha ->
05. [07:14] Caravan ->
06. [05:07] Wiggly’s Way
07. [10:51] Henduck >
Disc Two: [61:13]
01. [08:52] Jelly Belly ->
02. [06:04] Drum Solo
03. [06:27] Night Marchers >
04. [07:00] Dracula >
05. [05:28] Bass Solo
06. [10:52] Chubb Sub
07. [16:30] Moti Mo
Flaws: d1t14 14:25.7 -> 14:26.5 diginoise zap. This is apparently in the master, unfortunately, probably due to the fact that
this show JUST BARELY fits on a 60M dat (121 minutes long), and the zap occurs in the ‘danger zone’ of a 120-minute DAT.
-Jeff 10/18/00 Burlington, VT
*The show sold-thru and in fact we started a waiting list in the unlikely event that people who had ordered advance tickets did not show up; that is to say, we turned away about 40 people. So there were at least 300 in the theatre (although it is also true that a volunteer allegedly was letting people in thru a side door, and when we settled with the band we only paid them for 300 sellout). (Ed. note: I actually think this is where Eric Hanson and I first met: he said “Tell me for real, is there much chance of getting into the show of this list?” And I told him: not much; it was Kevin “Santana” from Groovesmith who told me which doorman was letting people in thru the side door).
The other funny thing is that AFI had played the night before and we had chargebacks for damage to the seats, and the staff people, for the City of Palo Alto not our own staff, were very wary of further damage, so at one point they turned on the house lights and tried to instruct our ushers to tell the MMW fans to dance closer to their seats, and not rush the stage, and the band played on although I swear I recall John Medeski playing some weird sounds on his organ to mimic and mock the staff, sort of like how the teachers sound in the Charlie Brown tv shows.
I have a cassette of this, maybe by the same people who post here, but I’d like it if someone could pass me this file. Mark Weiss Earthwise Productions of Palo Alto producer of the show
from db.etree a site for trading music
And this is MMW from 10 weeks prior, at Liberty Lunch in Austin:
And this is Jim The Critic for the Weekly previewing the show:
Free-form trio Medeski, Martin and Wood plays Shoreline one night and Cubberley the next
by Jim Harrington
Chris Wood doesn’t quite understand why his New York-based jazz trio Medeski, Martin and Wood has been so eagerly adopted by some of the same fans who once flocked to Grateful Dead shows to spin like tops in musical ecstasy.
He may not understand, but he also doesn’t mind.
“It’s great because we are having a lot of people come out to our shows,” Wood reasoned during a recent telephone interview from a tour stop at Colorado’s Red Rocks.
Fans of jam-based rock, popularized by the likes of Blues Traveler and Dave Matthews, and free-form jazz should check out Medeski, Martin and Wood (MMW), and find out for themselves why the band’s fan base has broadened. The trio plays an Earthwise Productions show at the Cubberley Community Center on July 29. The day before, the band also plays on the second stage of the H.O.R.D.E. (Horizons of Rock Developing Everywhere) festival at Mountain View’s Shoreline Amphitheatre.
As their latest disc, “Friday Afternoon In The Universe,” shows, the band specializes in an improvisational style of very loose jazz. Keyboardist John Medeski produces thick grooves through the use of his big-sounding Hammond B3 (as well as other organs). He edges the band toward chaos at one moment and then sharply leads the trio back into a melodic swing that might remind one of a day, long ago, spent skating at a local roller rink.
Keeping with the anything-can-happen theme, bassist Wood and drummer Billy Martin provide a sometimes unsteady foundation for Medeski’s keyboard plowing. The music seems to flow and ebb with Medeski’s organ work. But Wood and Martin are not the focal points, except on occasional solo shouts.
The band hooked up in the late ’80s, when Medeski and Wood decided to try jamming with Martin.
“We decided to just go for it, and see what would happen if we added (Martin) to the mix,” Wood recalled. “It was pretty instant. We knew it was a good thing.”
Their record company calls MMW an “alterna-jazz” trio–a term that Wood is less than thrilled with.
“It’s about as bad as any possible label that you can give us,” he said.