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Track List
01) The Lover
02) Paper Bass
03) House Mop
04) Last Chance to Dance Trance (Perhaps)
05) Baby Clams
06) We're So Happy
07) Shack
08) Tea
09) Chinoiserie
10) Between Two Limbs
11) Sequel
12) Friday Afternoon in the Universe
13) Billy's Tool Box
14) Chubb Sub
15) Khob Khun Krub (Thai for "Thank You")
01) The Lover
02) Paper Bass
03) House Mop
04) Last Chance to Dance Trance (Perhaps)
05) Baby Clams
06) We're So Happy
07) Shack
08) Tea
09) Chinoiserie
10) Between Two Limbs
11) Sequel
12) Friday Afternoon in the Universe
13) Billy's Tool Box
14) Chubb Sub
15) Khob Khun Krub (Thai for "Thank You")
6:19
0:56
3:46
7:32
1:14
8:16
3:06
1:12
5:45
1:03
5:24
6:01
0:35
5:03
0:47
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
1995
Jazz
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Jazz
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Medium
Album
0 copies
Album Description
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Here, the MMW direction and loyalties become very clear; they're possessed and driven by the fatback funk and instruments of an earlier generation. John Medeski becomes one of the wave of keyboardists in the '90s who started dragging wonderful old Wurlitzer electric pianos, Hohner clavinets, Hammond organs, wah-wah pedals, and other devices out of the mothballs, and used them almost as quasi-percussion instruments at times. Chris Wood remains resolutely on standup bass, playing with a great feeling for Billy Martin's supremely funky drumming. Some of the results harken back to Miles Davis' jungle bands of the mid-'70s, picking up on the atonality and crosstalk over the JB's/Sly Stone beat ("We're So Happy"). Others are just happy to groove along on the rhythms of some of the most irresistible group chemistry of the 1990s.
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Available in:
Here, the MMW direction and loyalties become very clear; they're possessed and driven by the fatback funk and instruments of an earlier generation. John Medeski becomes one of the wave of keyboardists in the '90s who started dragging wonderful old Wurlitzer electric pianos, Hohner clavinets, Hammond organs, wah-wah pedals, and other devices out of the mothballs, and used them almost as quasi-percussion instruments at times. Chris Wood remains resolutely on standup bass, playing with a great feeling for Billy Martin's supremely funky drumming. Some of the results harken back to Miles Davis' jungle bands of the mid-'70s, picking up on the atonality and crosstalk over the JB's/Sly Stone beat ("We're So Happy"). Others are just happy to groove along on the rhythms of some of the most irresistible group chemistry of the 1990s.
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