All too often some of the best albums ever made are overlooked by the general public. MTV and the average radio station choose to play only what they think the listeners will buy into. Last spring, acid jazz trio Medeski, Martin and Wood released one of those overlooked albums. Its title is “Uninvisible,” which is pretty much the opposite of what it was to the public.

-Combining a trippy dose of hip-hop and jazz, “Uninvisible” features some guest deejays and numerous other guest musicians. Since all that MMW consists of is an organ, a bass and percussion, the band sometimes has to rely on guest musicians to add those little touches here and there that make the album great.

MMW is an all-instrumental band, and if some of you are saying, “That sounds boring,” don’t knock it until you’ve heard it for yourself. The title track sums up the general feeling you will get throughout the album. Bursts of horns and trumpets add to the flavor throughout the album.

The hip-hop influences shine through in songs like “Retirement Song,” as Chris Wood’s bass riffs force you to turn down your car stereo in an attempt to save your speakers from ultimate destruction. On the other hand, “Pappy check” loosens things up a little bit with the splashes of record spinning provided by DJ P Love.

Billy Martin proves that he is one of the best jazz percussionists out there with every song on the album. Notably, his grooves shine in “Nocturnal Transmission” and “The Edge of the Night.” Meanwhile, John Medeski experiments with everything and anything during the duration of the record. Mini-Moog, Melodica, Super Genie Stringer and Mellotron are just some of the names of instruments that Medeski dabbles with.

If you are a fan of jazz or hip-hop, this record is worth checking out. MMW has been around for quite some time and has a moderate fan base, as they are known for dark, eerie concerts. It’s time for “Uninvisible” to live up to its title and be just that.