Uninvisible is Worth a Look
Patrick McNair
April 29, 2002
Medeski Martin & Wood | Uninvisible | Blue Note Records 2002
Some fans of Medeski Martin & Wood might think of Uninvisible, the trio's latest release on Blue Note, as "Chris [Wood's] album." Others might call it the return of the Hammond B-3. Other fans might call it a meeting between 1998's Combustication and The Dropper (2000). But no matter how you choose to refer to Uninvisible, this is an album that's well worth having. This album is an all-out groove-fest featuring great playing from each of the members of the band (John Medeski on keyboards, Billy Martin on drums and Chris Wood on bass) and a well put together assortment of special guests, including Danny Blume on guitar and Col. Bruce Hampton on vocals.
On first listen, I thought the album was solid, but there was something surprising about it that I couldn't put my finger on. The title track starts off the album with a tight, bass-driven groove that feels very fresh on the production end. I dig how the horn parts fit in to the song sounding more like a sample than a horn chart. It didn't take me long to realize that what was setting this album apart from The Dropper and Combustication was that Medeski has returned to using his Hammond B-3 organ as the driving instrument on most of the tracks. While Medeski never abandoned the B-3 for the rest of his keyboards, his approach to and style of playing on Uninvisible is more reminiscent of 1996's Shack Man than the more recent MMW recordings. This feel remains on the album, even on tracks where Medeski doesn't use the B-3. The second track, "I Wanna Ride You," combines a gospel feel with the up to date approach MMW has taken on their recent albums.
"Pappy Check" is a groove-centric song featuring guitar contributions from Danny Blume. While this song does not explore any new territory, it is nonetheless an enjoyable track.
At this point, after a couple of quick dance steps, Uninvisble starts to hit its stride. The overall sound draws on many the trio's nine previous recordings. I find it mixes the ambient intros and outros from Friday Afternoon in the Universe (1995) mixed with the proliferation of voices used on The Dropper. In the end, Uninvisble reminds me most of Combustication, and the Combustication Remix EP.
The strongest song on the album is the sixth track, "The Retirement Song." Here, the melody is actually carried by a guitar and is built in amongst a number of contrasting sonic palettes with varying rhythmic elements. While the rest of the songs cover a variety of moods, they are all anchored by Wood's bass playing. While none of these tracks stand out, none of them are weak.
The final two tracks work successfully to bring the album to a close. "The Edge of Night" borders on an ambient feel, while "Off the Table" closes the album with a dark, luscious vibe featuring weird samples of people playing ping-pong. Overall the album is well produced and has a great feel. The first half has a number of tracks that stand alone very nicely, while the second half runs together, so that it begs to be listened to straight through. Uninvisble is a solid, enjoyable album that features good grooves, excellent musicianship and tight production.
