JOHN MCLAUGHLIN

John's second solo album but first to be recorded in and released from the United States (Douglas Records). It featured a lineup that included organist Larry Young (with whom he'd been playing for six months in Tony Williams' Lifetime power trio), Billy Rich on bass, and former member of Electric Flag and Jimi Hendrix's Band of Gypsys drummer, Buddy Miles. John immediately distanced himself from the album when during its publication phase as he was disappointed in the way producer Alan Douglas "destroyed" the music when mixing the songs down in John's absence.

1. "Marbles" (4:05) slow build with shimmering organ and bird sounds echoed from John's guitar turns into another monstrously engaging SANTANA-like groove with a bit of a Latin feel to it over which John rips and rents holes in the sky. Larry's organ in support is so perfect: so strong and melodic. The rhythm section is doing their job but nothing very "out of the box" for the first three minutes. (8.75/10)

2. "Siren" (5:55) based on an old feeling blues tune, the heavily-effected bass, organ and guitar are so far beyond the distorted effects Alan Douglas employed to some of Jimi Hendrix's stuff! Great guitar play but probably my least favorite song on the album. (8.666667/10)

3. "Don't Let the Dragon Eat Your Mother" (5:18) a nice, steady, hard-drivin' blues rocker of the Mahavishnu kind with Larry playing both organ and electric piano beneath John's fiery heavily-treated NEKTAR "Journey to the Centre of the Eye"-like guitar. The song meanders around space in its psychedelic LSD trip way, especially when Larry and Buddy are given the solo time at the very end. The problem is: I really like it! (9.75/10)

4. "Purpose of When" (4:42) very bluesy (and very loud) guitar and organ played over plodding bass and drums while Larry's organ and electric piano support from behind. The music may not be great but John is lit! He is burning white hot from the inside out! A difficult song to assign a rating for since the music isn't that great, but John's performance is absolutely jaw-dropping. (9/10)

5. "Dragon Song" (4:13) sounds as tension-building as some of Hollywood's best soundtracks but is perhaps a little too loud and dynamic, but man is John cooking! And Larry holding the Earth still as best he can beneath. Great use of the wah and delay pedals as well. Larry's time in the final minute is too little too late especially with the big finish at the end. (9.25/10)

6. "Devotion" (11:25) great multi-track dynamic play over addictive (and stellar) bass and drum play. I can't say that Larry's contributions are half as remarkable as Johns, but that's okay. This is John's album. Still, he's pretty good in the seventh and eighth minutes (just not as amazing as he is on Love Devotion Surrender or Lenny White's Venusian Summer). (19.25/20)

Total time: 35:40

I find the quartet so much more satisfying than the organ-based trio: Billy Rich is wonderful in expressing his own idiosyncratic personality and I feel that Larry Young is allowed much more freedom to create and be himself. I'm sorry that John did not like the "finished" rendition of the album but I find it quite enjoyable--much more so than any of the Lifetime or Miles Davis works that he participated in during the previous year. I even like parts of this more than some of his Mahavishnu stuff!

A-/five stars; a minor masterpiece of ground-breaking, transformational psychedelic jazz-rock fusion. An album I value more and consider more a favorite than any of the Mahavishnu Orchestra albums! Seriously! Absolutely mind-blowing for its time!

A very eclectic yet surprisingly lush and atmospheric contribution to the jazz lexicon from this ephemeral yet often-fiery musician, the fact that it comes during his courtship (and collaboration) with soon-to-be wife, Katia Labèque as well as to the beginning of his now life-long commitment to living life in Monaco is tinted slightly by the very recent death of jazz icon and one of John's heroes, jazz pianist Bill Evans (to which he dedicates a brief rendition of an Evans tune, "Very Early"--and to which he will dedicate an entire album of solo acoustic guitar covers of Evans tunes on 1993's Time Remembered). Other than outstanding drummer Tommy Campbell and one song duet with Paco de Lucia, the cast of collaborating musicians is entirely French. One of the things that sucked me into this album from the start is John's commitment to acoustic guitar playing (I've always loved his acoustic guitar playing more than his electric). The 70s/80s jazz synthesizer keyboard support I also find tasteful and not overdone. It's an album of beautiful melodies, beautifully supportive chords and harmonics, to some very peaceful, meditative music--smooth jazz despite the virtuosity on the guitar. While all of the songs flow very pleasantly from start to finish, with a variety of rhythms and structures--like samba, waltz, and swing!, from Flamenco to sophisticated Weather Report jazz, the high point for me is the incredible SHAKTI-like "Zamfir"--which is, I'm guessing, a tribute to the great (and much maligned) Romanian pan flute player. The gorgeous textures created by Katia and François Couturier's keys along with Tommy's brilliant cymbal play and restrained drumming allow bassist Jean-Paul Celea and John's delicate guitar play to shine out front, despite their laid back volumes. "One Melody" is another high point for its constantly shifting textures and soloists--and its astounding drumming. "Stardust on Your Sleeve" also carries a very Zawinal/Weather Report feel to it: so smooth and downright "cool"! For years I though of this as a "jazz lite" album because of its sleepy pastiche, but now, years later, I see--and appreciate--the stupendous performers who were collaborating with John here--the artists who gave these soundscapes such smooth perfection. This has always been, and remains to this day, one of my favorite albums that John McLaughlin--a real guitar hero of mine--ever contributed to much less composed and led. Definitely a five star masterpiece of jazz-rock fusion.

Though I've always thought of John as one of the supremely ego-less collaborators in the history of jazz music--and admired his seemingly effortless chameleonic shifts in styles and sounds over the course of his 60 year career--I hold this album up high as what could be, perhaps, his most distinguished publication. The reverence with which John holds for composer/pianist/theorist Bill Evans is so evident in each and every note he plays. I Know how much John LOVED each and every note Bill placed on paper, rendered onto tape and vinyl, so I do not for one minute reprimand him for not entrusting any of them--not even one!--to a collaborator. The heavenly, angelic reverence John is expressing with each and every note, chord, and strum is so strongly felt. Anyone who has had the privilege of seeing John perform live in concert will know how sincerely, respectfully, and selflessly he gives support to his stage mates--sitting back, providing virtuosic chord support and loving attention to each and every soloist as if that person is his own child that he want so much to succeed and shine. As evidence of this, I urge you to watch the 1985 film Round Midnight to watch John play in that incredibly talented all-star band that supports Dexter Gordon in order to see how willing and thoroughly invested John is in playing a supporting role--something he does with such emotion and love! Or listen to Shakti's song, "Face to Face" in which John's stunning background strumming so lovingly supports and counters Shankar's violin playing--egging the young maestro on to higher heights; it's beauty at its very highest heights.

This album is full and complete perfection--helped, of course, by Master Bill Evans' compositions and previous standards of play, but also by John's complete and utterly loving commitment to each and every note. A true masterpiece of both artistic expression and human achievement.

A tour I saw but in Ann Arbor, Michigan with young Dominique Di Piazza in place of Kai Echhardt. This also my introduction to the person, style, and music of Trilock Gurtu--by whom I was simply blown away. At the same time, I was totally enamored of John's collaborative spirit--always giving his supporting musician exactly what they need for both space and support while still contributing HUGELY to the musical landscapes (and I don't just mean when he was soloing as the lead instrument). Plus, this was my introduction to the Indian Carnatic call-and-response "talk" language of musical expression--which I find thoroughly enjoyable, entertaining, and amazing--and which I was surprised to see and hear John's participation and even competency with! This recording is a collection of very nice songs that well capture the essence of the concert music, but the concert itself, of course, was so much more.

A great and essential time capsule of music from one of the essential and chameleonic shakers and movers of music over the past 60 years.

Naming an album "Liberation Time" in 2021 is obviously reflective of the worldwide public mood after a year of struggling with the consequences of a global pandemic, and indeed guitar legend John McLaughlin's latest album was born from his desire to give musical voice to the sorrow, the frustration and the opportunities lost to covid-19 and the lockdowns it caused, and to the prospect of liberation as mankind seemed to be overcoming this crisis. Sadly this promise has since turned out to be premature, but this album nonetheless stands as an excellent musical achievement. Despite its humble 35-minute length, McLaughlin manages to capture quite a diverse set of moods and styles on this album, playing with multiple ensembles and in a sense summarizing the many faces of jazz he has touched upon in his long, distinguished career.

The album is admittedly a little slow to start; the first two tracks are quite mournful in tone, apparently reflecting the negative emotions of a world that's been in the virus' grasp for over a year, but they also feel rather restrained and mundane. The album doesn't truly kick off in my opinion until it shows its optimistic side, which is first introduced on track 3, "Lockdown Blues", a solid fast-paced fusion showpiece with McLaughlin playing on even footing with his compatriots, producing a short but sweet guitar solo before handing the stage to Étienne M'Bappé slapping his bass like a maniac, Gary Husband pounding out an enchanting, harmonically daring and partially unaccompanied solo on his electric piano, and finally to drummer Ranjit Barot who brings the song to a close with a complicated drum rhythm accompanied solely by his Konokol vocals.

"Right Here, Right Now, Right On" and the title track aim for a similar emotional effect but are stylistically very different, dropping the bass guitar in favour of an old-fashioned walking double bass, dropping the electric piano in favour of an acoustic one, mostly dropping the synth processing on McLaughlin's guitar in favour of a more classic distorted tone, and mostly dropping the fusion aesthetics altogether in favour of a post-bop/modal jazz style. Both tracks are as bouncy, lively and stimulating as the best jazz the 60s had to offer; "Right Here" is again more group-friendly, with pianist Oz Ezzeldin and saxophonist Julian Siegel being given their fair time to shine, while the title track is very much McLaughlin's private territory, being pretty much entirely dedicated to Johnny Mac playing more wonderful moto perpetuo lines for nearly eight minute straight, while Gary Husband accompanies him with what sounds like the chords to Miles Davis's "So What": a tribute to his old trumpet-playing mentor, perhaps? In between all these furious jazz workouts are a couple of gentle brief interludes played by McLaughlin on piano solo ("Mila Repa" with its beautiful minor eleventh chords, and "Shade Of Blue"), which again sound predominantly sad in tone but with a hint of hope for healing and recovery. In this sense they are microcosms of the album they're on, created by an artist battling his own fears and personal struggles by making a heartfelt statement of lust for life and love for the world.

There was a time when the mention of jazz-rock meant much more than another prog-related branch of the tree. These guys were fighting their own battle, taking no prisoners. Later, history disavowed them, but not before they leave a legacy behind. I think this album is a significative part of it, that doesn't race with the advantage of being akin to, let's say, King Crimson, like Mahavishnu Orchestra does, but rather being a thoroughbred fusion creature, with no parts resembling the corpses where they come from. That is so much its virtue as its sin, the question is: there are people willing to forgive and listen?

The laconic but magnificent "Guardian Angels" shows John's acoustic side in full brightness. "Miles Davis" shows The One Truth Band in great form, moving confidently in a space visited also by the likes of Jean-Luc Ponty and Al Di Meola. In "Electric Dreams, Electric Sighs" there's plenty of room for subtle soloing by electric guitar, violin and keyboards. In "Love And Understanding" we find soul-tinged vocals in the style of, let's say, Stanley Clarke with Return To Forever, but with tons of symphonic atmosphere.

What else? Oh yes, the great David Sanborn for the finale.

Historically an important fusion record of superminds behind fusion. They never played together in that format. All three players are totally geared up to tear their instruments showing immense talent, dexterity and experience. Do not expect advanced compositions, this is first and foremost a jamming tour de force.

All three players show a strong character but I acquired this record mainly because of Tony Williams ferocious playing that must pull many rock drummers of their chair - the intensity and use of bass drum are astonishing as well as the prowess of the trio to craft crazy rhytming patterns.

There is a light balance by also including two mellower pieces to reflect.

I was expecting more of a fiery/fusion fingerprint when listening to this album for the first time. Contrary to that, McLaughlin shows another not yet much explored faced of him - classical music. Logically, classical music and frenetic speedy playing is not a frequent connection and McLaughlin respects this in attempt to play in a more solemn and stately way.

The long 26+ minute suite is more interesting with orchestra and classical guitar being in good balance. For a non-trained classical music listener, it may be a challenging listening. The following four homages are neatly played but forgettable in the long run.

Non-essential for most McLaughlin and fusion fans.

John McLaughlin does not sleep at his laurels even at this relatively high age (similar to Chick Corea and Herbie Hancock) and tries to challenge himself to push his boundaries. This could be the closest stab at Mahavishnu Orchestra in the 90's. Instead of violin, we have a skilled saxophonist and excellent drummer Dennis Chambers. Music is less straightforward and flowing than in 70's and it remains sophisticated owing to contemporary fusion that has multiple changes and forays into modern jazz. "Acid jazz" is one of the highlights with clear guitar motive, speedy guitar licks by McLaughlin and stormy drumming. Saxophone playing is very enriching and melodic. "Seven sisters" has a very irregular rhythm and all instruments very free flowing. "Mr D.C." is the showcase for Dennis Chambers with latin inspired drumming and solo. It's absolutely phenomenal what he pulls off here for complexity. Slow moods are represented by "Fallen Angels" and "When love is far away" with pleasant acoustic guitar.

Another very good McLaughlin 90's album.

An essential John McLaughlin album from the 90's and my favourite one due to variety of styles and great musicianship. There are more traditional ones (post-bop), more acoustic based from the 90's but this one has a solid place, especially if you want to get introduced to this eclectic guitar player.

I expected "Django" to be linked to Django Reinhardt, however it has a duel of Jeff Beck and McLaughlin inspired by light blues moves with such jaw-dropping lightness, some feelings here remind me of Gary Moore. "Thelonius melodius" is a more traditional post-bop-fusion trip with Hammond and electric guitar whipping cream. Check out "After the rain" and "Live in Tokyo" for more Joey de Francesco/Dennis Chambers performance. "Amy and Joseph" is a quiet sublime track allowing to escape 100-notes/second speed. "No return" is a curious track with touches of electronica, dominant trumpet and quite restrained guitar, it has the typical 90's contemporary jazz flair. Those that like McLaughlin at his acoustic, go to "El Ciego" for hot speedy guitar playing. One of the best tracks and closest to fusion come with "Jazz Jungle" which could be called "Jazz Jam" since every player performs a hilarious solo music. I like saxophone and drums chops by Chambers. Fans of Shakti will be content to some extent by hearing "The wish" which is however quite restrained and accessible compared to the 70's output. "English Jam" is a short attempt at Mahavishnu sounding raw sound but not too convincing. "Peacock" is a great quiet electric or acoustic guitar track.