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Track List
01) Uninvisible
02) I Wanna Ride You
03) Your Name Is Snake Anthony
04) Pappy Check
05) Take Me Nowhere
06) Retirement Song
07) Ten Dollar High
08) Where Have You Been?
09) Reprise
10) Nocturnal Transmission
11) Smoke
12) First Time Long Time
13) The Edge of Night
14) Off the Table
01) Uninvisible
02) I Wanna Ride You
03) Your Name Is Snake Anthony
04) Pappy Check
05) Take Me Nowhere
06) Retirement Song
07) Ten Dollar High
08) Where Have You Been?
09) Reprise
10) Nocturnal Transmission
11) Smoke
12) First Time Long Time
13) The Edge of Night
14) Off the Table
3:37
3:28
3:12
2:46
4:07
4:47
3:42
3:37
0:35
6:37
2:48
2:53
3:53
4:15
Data Complete
60%
Total Rating
60%Total Rating
(0 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2002
Jazz
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Jazz
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Medium
Album
0 copies
Album Description
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Uninvisible is further than ever from conventional jazz organ. While blues and funk influences are evident throughout the album, they float on a sea of shadows. Sound sources are obscure or exotic; on "Pappy Check" innovative scratching by turntablist DJ Olive creates an impression of African percussion more than club atmospherics. Even where the instrumentation is less ambiguous, the trio steers toward a filmic noir sensibility, with Medeski leading the way in unorthodox techniques. His pitch-bend solo on "Take Me Nowhere" suggests the creak of a rusty hinge, with Wood's acoustic bass providing the anchor for his abstractions. Wood is in fact often mixed higher than Medeski, to the effect of reducing the keyboard parts to a sideline role and the album in turn to an exercise in mood more than virtuosity -- an impression enhanced by a similarly eccentric shrinkage of the power guitar part on "The Edge of Night" to a barely audible background element. The rhythm is steady and stealthy, a slow-motion oscillation between live and looped tracks, most often with a hip-hop sensibility. More important, every musician on each cut plays with a belief that overplaying only subverts the goals of collective improvisation. If any one album can be said to pick up on the surreal funk explorations of latter-day Miles Davis, Uninvisible is it.
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Uninvisible is further than ever from conventional jazz organ. While blues and funk influences are evident throughout the album, they float on a sea of shadows. Sound sources are obscure or exotic; on "Pappy Check" innovative scratching by turntablist DJ Olive creates an impression of African percussion more than club atmospherics. Even where the instrumentation is less ambiguous, the trio steers toward a filmic noir sensibility, with Medeski leading the way in unorthodox techniques. His pitch-bend solo on "Take Me Nowhere" suggests the creak of a rusty hinge, with Wood's acoustic bass providing the anchor for his abstractions. Wood is in fact often mixed higher than Medeski, to the effect of reducing the keyboard parts to a sideline role and the album in turn to an exercise in mood more than virtuosity -- an impression enhanced by a similarly eccentric shrinkage of the power guitar part on "The Edge of Night" to a barely audible background element. The rhythm is steady and stealthy, a slow-motion oscillation between live and looped tracks, most often with a hip-hop sensibility. More important, every musician on each cut plays with a belief that overplaying only subverts the goals of collective improvisation. If any one album can be said to pick up on the surreal funk explorations of latter-day Miles Davis, Uninvisible is it.
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None...
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