My review of Medeski, Martin & Wood + Nels Cline's Woodstock Sessions, Vol. 2, today at All About Jazz.
In retrospect, it was inevitable; why it took so long for veteran jazz jam band Medeski, Martin & Wood to get together with Nels Cline is anybody's guess. The über-guitarist has, since joining Wilco a decade ago, managed to significantly raise his visibility, but anybody who suggests that he's been "moonlighting" in the alt-country/alt-rock/alt-alt band to pay the rent hasn't been paying attention. Like keyboardist John Medeski, drummer Billy Martin and bassist Chris Wood, Cline's career has been largely associated with jazz—well, before Wilco, that is; that's all changed now—through his lengthy association with Cryptogramophone Records and albums with his longstanding Nels Cline Singers including Draw Breath (2007); his imaginative tribute to Andrew Hill on New Monastery (2006); and his similarly long tenure with Cryptogramophone label head, violinist Jeff Gauthier's Goatette on releases like Open Source (2011). But that's only part of Cline; he's as much Jimi Hendrix as he is Jim Hall, and if he's happier than the proverbial pig in poop with Wilco, that's only because he shares the group's love of roots music and seminal '60s bands like The Byrds.
Woodstock Sessions, Vol. 2 ain't any of that, however, though Cline's tremolo-driven guitar on the closing "Cinders" certainly speaks to his rootsier tendencies, despite Wood's percussion being more textural than propulsive, and Medeski's similarly tremelo'd Fender Rhodes creating a more ambient cushion. And by the end of the five-minute piece, everyone has transcended any such categorization into a place of even greater freedom, with Wood's upper register slide bass guitar and Cline's even more stratospherically electro-processed guitar harmonics drawing the 63-minute collective improvisation, performed live in front of a studio audience, to a surprisingly soft close.
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