'Scofield's Probing, Groove-Infused Licks and MMW's Future-Funk
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NOVEMBER 2011 ISSUE MMUSICMAG.COM REVIEWS HOLE MNobody’sEDESKI, DaughterSCOFIELD, MARTIN & WOOD [Universal] Live: In Case the World Changes Its Mind [Indirecto] The first album released under the Hole moniker since 1998’s Celebrity Skin is really frontwoman Courtney Love’sMedeski, Martin & Wood, who’ve been redefining the jazz keyboard trio second solo album—co-founder,for a remarkable two decades now, first collaborated with guitar dynamo songwriter and lead guitarist Eric Erlandson isn’t involved,John Scofield in 1997 on the latter’s A Go Go album. Even then the match nor is any other previous Hole member. So it’s Love andwas three ideal: Scofield’s probing, groove-infused licks and MMW’s future-funk ringers on 11 new songs—10 of which Love wroteworship with made one another whole. Nearly a decade later, MSMW made its collaborators like Billy Corgan,official Linda debut Perry as and a newstandalone (if sporadic) unit when Scofield linked with guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) keyboardist John Medeski, bassist Chris Wood and drummer Billy Martin on Much of the riveting intensity of the group’s 1990s heyday appears to havetheir left 2006along with Out her Louder former andDaniel Jackson subsequent tour. In Case the World Changes bandmates, but there are fl ashes here of the snarling Too often, though, the slower songs trip her up. While once fury Love deployed to suchIts devastatingMind was effect culled back from in the those day. theylive weredates, showcases and not for unexpectedly—MMWharrowing displays of naked emotion,are She spits out her vocals lovedwith vengeful by the disdain jam-band on “Skinny crowd Little asLove well sounds as morejazzers—there’s dispassionate thesea whole days. Thelot moreproduction Bitch,” overdriven guitars roiling atop an elastic bassline that doesn’t help—the songs have an airless, sanded-down feel that speeds up as the song voltageraces toward in the a climatic air when pile-up the at quartetthe doesn’t faces fi t with an her audience. visceral persona. Case Courtney in point Love’s is “Miles tumultuous end. She shifts tempos and attitude on the more contemplative history suggests that she has a compelling story to tell, and “Pacifi c Coast Highway,”Behind,” taking stock expanded as layers of acousticfrom its and skeletal perhaps three-minute she does. It’s just studio not the take one she’s into tellinga crackling on Nobody’s electric guitars chug along behind her. Daughter. –Eric R. Danton near-nine-minute blowout here. MSMW don’t surface often, but they always COURT YARDmake HOUNDS it count. –JeffA side Tamarkinproject of new offering suggested that its creator was a few strides closer to Dixie Chicks’ Martie crafting something truly monumental in both musical and social terms. Court Yard Hounds Maguire and Emily This cold and private set isn’t it, although that’s probably due more to [Columbia] Robison, Court Yard personal circumstances than anything related to talent. Wainwright Hounds delivers wrote All Days Are Nights while his mother, Kate McGarrigle, was much-anticipated dying of cancer, and there is a quiet, complex sadness even in its insight—both musical and personal—into the sisters who have less autobiographical material. There’s nothing here except piano for so long ceded center stage to Chicks singer Natalie Maines. and vocal, and Wainwright doesn’t project his words in the way Though steeped in familiar instrumentation, the album offers little we’ve come to expect from him. Instead of serenading the person of the barn-burning brashness that made the Chicks famous (save in the farthest corner of a packed theater, he’s singing to himself in perhaps the gutsy “Ain’t No Son”). Instead, its delicate folk-pop an otherwise empty room. –David Styburski prettiness perfectly suits Robison’s more-than-capable voice and the jumble of emotions, sunny and melancholy, that emerge in a song Ozomatli’s music has been called a collision cycle inspired by her 2008 divorce. Maguire’s weeping fi ddle and OZOMATLI of styles, a cultural mash-up, and a 20-car seamless harmonies are welcome as always, and her one turn on pileup of genres. It’s also some of the most lead vocals (“Gracefully”) is so warmly affecting that listeners may joyfully energetic music you’ll ever hear. On ‘Scofield’swish she stepped to the mic probing,more often. Court Yard Houndsgroove-infused ably its fi fth album, the L.A.-based band stirs its demonstrates that, whether with their fellow Dixie Chick or without, blend of salsa, ska, samba, funk, and hip-hop these ladies’ talent runs deep. –Katie Dodd in ways few groups could conceive. Imagine Fire Away tossing the English Beat, Herb Alpert and the licks and MMW’sFor a dozen future-funkyears, the [Mercer Street/Downtown] Tijuana Brass, Caetano Veloso, and Sly and RUFUS arrangements on Rufus the Family Stone into a magical blender and Wainwright’s albums got you get some sense of Ozomatli’s eclectic approach. High points WAINWRIGHT busier and his sometimes on their latest, Fire Away, include “Are You Ready?,” a horn-and- worship make onenaughty, another occasionally percussion-driven whole.’ blast of salsa-fl avored ska; “Yeah Yeah Yeah Yeah,” All Days Are Nights: Songs for Lulu angry declarations of gay an exultant Latin pop anthem fi tted with shrieking sax; and “Gay Vatos [Decca] pride got louder. Each in Love,” a rockabilly-tinged tune with a soaring chorus. Even when 70 MAY 2010 NOVEMBER 2011 M MUSIC & MUSICIANS MAGAZINE M3_v10.indd 70 5/14/10 3:37 AM.