js I’m not sure why this wasn’t released until 2011, but this is a recording of MSMW’s 2006 tour which was in support of their album, “Out Louder”. MM&W first worked with Scofield on his 1998 release, “A Go Go”. That album had its moments, but overall the first meeting between Scosh and MM&W seemed a little tentative and not near as relaxed and confident as their 2006 endeavors. The big difference is that in 06 all members were given equal input, whereas in 98 MM&W were operating more as hired hands. The end result with the 06 music is that it takes on much more of the MM&W character; sprawling eclectic jams where almost anything goes and enjoying the ride trumps a defined destination. In many ways MM&W resemble a 60s experimental rock band more than a fusion band. Their relaxed approach to improv and disregard for linear focus often brings to mind rock experimenters like early Pink Floyd and Amon Duul. Their use of rock sounds like a heavily distorted organ on “What Now” add to that effect. The make or break for this CD to the potential buyer lies with how appealing you find MM&W’s neo-hippie sensibilities.

Although this live album moves away from the more focused control of 98’s “A Go Go”, probably the best cuts on here are the funk jazz numbers from that first album. The band approaches these old songs with much more abandon and confidence, and the rhythmic backbone of these Schofield numbers is a little stronger than the group improv creations from their 2006 studio album. With these two live discs evenly divided between compositions from both the 98 and 06 studio albums, its possible funk-jazz fans might gravitate more to Scofield’s 98 compositions, while avant-garde rockers might prefer the later group efforts.

Overall, adding one of the best fusion guitarists around to one of the best jam bands in modern history results in some great instrumental jazz rock. One recommended cut is “Miles Behind” in which the band spoofs, and pays tribute to Miles’ (and McLaughlin and Jarret) work on “Live Evil”. Medeski’s distorted electric piano ride, that mimics the kind of atonal assaults that Jarret and Corea use to produce for Miles, is some of the finest playing in his recorded career.