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In the 1990s the New York scene of groove-based jazz was dominated by
Medeski, Martin & Wood:
keyboardist John Medeski, bassist Chris Wood and drummer Billy Martin,
all of them white.
The acoustic Notes From the Underground (january 1992), on which Medeski
played a grand piano and penned the lengthy Querencia, achieved an inspired fusion of jazz tradition with funky and hip-hoppish rhythms.
But the highlights of the electric and commercial It's a Jungle in Here (august 1993) were Afro-funk and reggae covers.
They settled on a compromise on Friday Afternoon In The Universe (july 1994), that was basically an album of old-fashioned soul-jazz with the neurotic accent of the 1990s (The Lover, We're So Happy).
They plunged into late-night lounge-music with the languid Shack Man (1996), but resurrected with Farmer's Reserve (february 1997), a set of free improvisations,
with Combustication (1998), featuring collaborations with turntablist Jason "DJ Logic" Kibler as well as acoustic pieces (Latin Shuffle),
with the dense soundscape of The Dropper (2000), featuring cellist Jane Scarpantoni and guitarist Marc Ribot,
and with the even more abstract Uninvisible (2001), enhanced with horns and turntables.
End of the World Party (2004) and
Out Louder (january 2006), a collaboration with guitarist John Scofield,
veered again towards a more commercial format.
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