by Bud Fulginiti

Medeski Scofield Martin and Wood electrified a sold out Union Transfer crowd Friday, on tour in support of their new album, Juice. Since the concert was general admission, there was a substantial line of fans waiting in a steady, cold rain for doors to open, but their enthusiasm was not dampened. One couple, who traveled from Connecticut for the show, said they have been fans of the collaboration since their initial release A Go-Go in 1998, and were “ecstatic” to be here. Another fan, who attended the tour opener Thursday night in Washington DC, said he loved MSMW’s, “controlled chaos…. because no matter how far out they get, the framework never goes away.”

Before the show I had opportunity to ask bassist Chris Wood what to expect. He explained, “We will dig into the tunes from Juice. We might throw in an older tune or a cover but stretching out on the new material is the focus.” True to their word, the evening opened with Juice‘s de facto title track, “Juicy Lucy”. Drummer Billy Martin got the party bopping with a Latin beat, over which keyboardist John Medeski and guitarist John Scofield played melody and took solos. The material lends itself to a jazz concert structure, as typically the rhythm section set a groove in motion, while Medeski or Scofield stated a theme with a riff or phrase. From there they gradually layered their solos higher and higher along that musical line, until reaching a crescendo driving the audience bonkers in appreciation, then giving the other guy a turn to blow- lather, rinse, repeat.

First set highlights included a frenetic rendition of Wood’s new song “Helium”, Little Walter Rides Again”, a favorite from their 2006 record Out Louder, and a psychedelic cover of Cream’s “Sunshine of Your Love”. After a solid hour-plus of bliss, the band quit the stage for a break.

Their second set delivered the “stretching out” Wood described – witness “Sham Time”, which takes up less than six minutes of the album, jammed out to nearly twelve. Later proceedings took a mellow turn on the moody, contemplative “I Know You”, before climaxing with a straightforward run through of The Doors’ “Light My Fire”, brilliantly utilized as a set closer. My favorite part of the show was the encore, a simply gorgeous presentation of Bob Dylan’s “The Times They Are A-Changin”. Medeski’s Hammond B-5 organ pumped out pure gospel while Martin played brushes in a reverent hush, and Wood’s moving bass solo was answered by Scofield’s spot on guitar singing the lyrics. It sounded like a hymn, and sent us out into the night feeling like we’d been to church.