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The Dropper

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3,9 étoiles sur 5 46 commentaires provenant des USA

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Détails sur le produit

  • CD (23 novembre 2000)
  • Date de sortie d'origine: 2000
  • Nombre de disques: 1
  • Label: Blue Note
  • ASIN : B00004ZDM5
  • Autres éditions : CD  |  Album vinyle  |  Téléchargement MP3
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Description du produit

Description du produit

MEDESKI, MARTIN & WOOD

Amazon.fr

Voici le dixième album de ce trio qui, au-delà du cercle des initiés de l'underground new-yorkais, a réussi à se faire un nom, au point que le guitariste John Scofield et Iggy Pop n'hésitent pas à convier nos trois artistes pour associer leurs voix à la leur. Ces trois-là doivent leur son à une formule qui fit ses preuves autrefois (chez Jimmy Smith et tous les organistes hard bop des sessions Blue Note et Prestige des sixties), et à l'instrumentation "vintage" où les claviers Hammond B3 et Wurlitzer font feu de tous bois. La recette est simple comme bonjour et pas prise de tête pour deux sous : ils jouent par plaisir, pour le plaisir, et ça s'entend ! Ludique à souhait, The Dropper n'oublie pas les copains. L'incontournable guitariste Marc Ribot est invité et, cerise sur le gâteau, Marshall Allen, jadis saxophoniste chez Sun Ra, est passé par là. Irrésistiblement groovy. --Hervé Comte

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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 3.9 étoiles sur 5 46 commentaires
2 internautes sur 3 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Free Funk 24 décembre 2000
Par Bill Your 'Free Form FM Print DJ - Publié sur Amazon.com
Format: CD Achat vérifié
If Miles Davis had hired Brooker T. Jones in 1970, and Cecil Taylor was producing, the result might be something like the Dropper.
MMW mix Funk and Free Jazz here fantasticly. Their premice: set a basic but funky groove, swing with it, and go on fantastic harmonic adventures. Tracks like "We Are Rolling" and "Bone Digger" show you how well it all works: the grooves are driving but never stiff, the improvosation is risky but never looses the song. MMW are cooking a wild brew, but there's more then enough soul to go around.
In a word: Excellent. In two more: Buy it.
6 internautes sur 6 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Shards of Music 29 juillet 2002
Par Jeremy Baldwin - Publié sur Amazon.com
Format: CD
Imagine a window with four panes of glass in it. Let's say one pane is Duke Ellington, one pane is John Zorn, one pane is Jimmy Smith and the last pane is Sonic Youth. Now drop this muti-faceted window on a cement floor and then jump on it while wearing your mama's combat boots. All the little shards of glass from the four panes get all mixed up and intermingled with each other. This is basically a description of what Medeski, Martin and Wood's latest CD, The Dropper sounds like.
Medeski, Martin and Wood are a three-piece band that usually falls under the term Jazz although the majority of their fanbase seem to be rock fans. They are known for their super-funky, organ driven jams. They often mix elements of hip hop and avant-garde into their music also. The three men of MMW came up in New York's downtown jazz scene playing with various outfits like the Lounge Lizards, the Either/Orchestra and various John Zorn ensembles. At some point the band crossed over to a more mainstream audience partly because of their musician admirers who include the members of Phish.
You are not too likely to find a John Zorn disc in a college fraternity house, but these days you are probably pretty likely to find a copy of a MMW album like Shack man or Combustication. This crossover is a pretty cool thing in most ways. It turns on a whole new audience to improvised funk and jazz. Their success probably helped pave the way for other acts like Galactic and Soulive. The downside of course, is that it is a lot harder to see MMW in an intimate venue.
In recent years it seems the band might be trying to move away from its mainstream success. Last year they released Tonic which was an all-acoustic record and a far cry from the funk/hip-hop sound of their previous two albums. This latest offering once again is a left turn for the band. The Dropper consists of thirteen tracks that at times could be better described as soundscapes than as songs. Bizarre scraping and creaking noises reside along side Medeski's trademark organ and piano stylings. The band has reached a level of telepathic group playing that
few outfits ever achieve. Wood (bass) and Martin (drums) are one of the most synched up rhythm sections out there. Even through all of the strange noises and discordant bursts of music, there always seems to be a backbeat to hold it all together. The sound is sometimes industrial sounding, but also always organic at the same time. The bands music is more akin to trip-hop and ambient styles on this record than their typical jazz and funk. It is obvious that MMW treated the studio as another member of the band this time around. While this album has a live sound, it is not what they sound like live, if that makes any sense. Guests like Marc Ribot on guitar, Marshall Allen on sax as well as several
violinists also add to the overall sound.
I find this CD to really enjoyable. It is sometimes dark and brooding, but always interesting. This latest effort by MMW might scare off some of the fratboys, but others will see the beauty of this music and will be happy that they did.
4.0 étoiles sur 5 A heady brew 13 juillet 2002
Par Micah Newman - Publié sur Amazon.com
Format: CD
I guess you could say I was introduced to MMW through John Scofield's _A Go Go_ album, where they are his "backing" band (but are very "visible" in the mix), and just the little taste of Medeski's organ (understandably a little subdued on _A Go Go_) got me sold on trying out some full-on Medeski, Martin & Wood. And with this, _The Dropper_, as my first MMW album, I find I have really jumped in with both feet.
I guess I wasn't quite expecting too challenging of a listen, so it took me a couple of listens to get used to the avant-gardeness of _The Dropper_. I can certainly appreciate the creativity and sonic invention that goes into those more dissonant pieces, but the 40% or so of this album that that material represents makes this CD not the most ideal thing to spin in the background during a dinner party, for instance.
The full-on attack of that mean-ass organ and just the way it *burns* like nothing else is the aural equivalent of mouth-watering. I used to actively dislike organ, but Yo La Tengo has already since turned me on to it, and Medeski is showing me how compellingly its sonic and tonal possibilities can work their way into this type of music. As great as all *that* is, and how terrifically tight Chris Wood's bass is, you know what really makes this stuff *go*? Illy B! That man can pound some skins, with an urgency and driving groove that never fails to set my foot a-tap and my head a-bob.
As the total album goes, all this sprawling mess bleeding into each other makes for quite an exciting listen. It's colorful, inventive, artful, and I can't wait to get some more.
Addendum: having now listened to Friday Afternoon, It's A Jungle In Here, and Combustication, I think I actually like this one the best overall. Those other ones only seem to tantalizingly hint at the sheer furious abandon of this record. A rich sonic and textural palette that stays interesting every second, this is an album I'll be coming back to for some time.
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A challenging listen, but MMW continues to push the envelope 25 octobre 2000
Par Un client - Publié sur Amazon.com
Format: CD
Medeski, Martin, & Wood have always refined, redefined, or reinvented their sound from album to album. On The Dropper, MMW manages to do all of this within single songs. Gone are the albums dedicated to displaying the group's individual and ensemble virtuosity. MMW now seems concerned with constructing dense, organic, funky, and sometimes dissonant soundscapes. Combustication's experimentation in different textures and sonorities is continued and aggressively expanded on The Dropper. This makes for a more daunting listen initally, but once the sounds and grooves settle in your mind they are quite rewarding.
The above notwithstanding, this is still a fun album. In spite of (or due to) the experimentation and the familiar NYC recording surroundings, this album manages to retain a certain lighthearted nature. This group that is comfortable enough to explore and have fun, and watching MMW get to that point has been one of the most rewarding things about being a fan for five or six years.
You'll scratch your head for a while (I still am), but soon you'll be nodding your head along with the bizarre and very funky grooves.
3 internautes sur 3 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 The Dropper all about mood 12 avril 2002
Par matt brown - Publié sur Amazon.com
Format: CD
From the start this album lets you know where you stand. "We Are Rolling" is a deliberate attempt to keep you from grooving, as you may be used to doing, to MMW. Billy Martin's mad-man 'John Bonham on mushrooms' UN beat to the song second guesses you every time you try to snap your fingers or shake your [behind]. I think whether or not you dig this album really depends on just HOW much you love this weird little trio. I can't get enough of them, especially after seeing them live, so I dig it.
BUT.. I've played this album for people who don't share my enthusiasm for them and it's driven them out of the room.
Some exceptions to this, maybe "Bone Digger" with it's spaghetti western feel, "Partido Alto" and "Big Time" harken back to the kind of grooving that makes Shack-Man such a bootie shakin album.
But as each album comes out, they seem to dedicate more tracks to these spacy, moody jams that sound like underscoring David Lynch movies.
Not that I object to "MOOD" as that's one of my favorite aspects of their music.
matt.
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