SHAKTI WITH JOHN MCLAUGHLIN

I first heard "Mind Ecology" here on PA and that was enough to convince me to get this album. It is constantly going every direction at once. The more I think about it the more the song astounds me. The percussion and most of the violin, lead guitar, and other stringed instruments are incredibly fast-paced while not being the slightest bit frantic. Meanwhile the background guitar provides a few mellow chords every now and then, which despite the relatively few notes/chords it plays manages to calm the whole song down. Constant interplay of tempos and the fact that I have no idea what I should be feeling makes this song like nothing I have heard before. It's extremely fun. 10/10

"Face to Face" is a toned-down response to the opening track. Some comparisons can be drawn between these two songs but I don't think there's enough to be upset about. It's like the two songs are both discussing the same thing but from different perspectives. 7/10

"Come on Baby Dance with Me" is a short and fast piece that has plenty of joy to spare. 8/10

"The Daffodil and the Eagle" is a folky piece that is the most violin-centric piece on the album. 8/10

"Happiness is Being Together" is an upbeat piece of Latin music given an Indian edge which makes it incredibly interesting. 9/10

"Bridge of Sighs" brings a blues flavor to the album. 6/10 "Get Down and Sruti" seems to be a combination of tracks 1,2 and 4 while still having its own identity. There's a big focus on the percussion in this song but I find it unimpressive for the most part. 6/10

The aptly-named "Peace of Mind" is a peaceful and mellow sort of a goodbye for the album. It knows "Natural Elements" is over and hints at sadness while not being overtly so. 8/10

I think that if you like any one song on "Natural Elements" you will probably like the entire album. I recommend this as an intro to the genre because it's accessible and representative of the genre.

John McLaughlin's involvement in the early multi-cultural group Shakti was a revolutionary convergence of different Indian music traditions with flavors from western jazz fusion. In the late 90's early into the 2000's, McLaughlin reformed the group with one other original member (tabla player Zakir Hussain) and other prominent Indian musicians in a group appropriately named Remembering Shakti. It is appropriate that the name is different, for this group's sound, though similar to Western ears, has quite a different musical approach.

The original Shakti employed much more composed pieces with planned melodic themes which not only made the music more accessible but also more focused. The new group really is an improvisational format and not surprisingly the group's recordings are essentially live. The Believer is the second formal album from the group, with McLaughlin joined by a Indian mandolin player (already a hybrid sound) with a second traditional Indian percussionist.

The sound is very musically interesting and all the players' level of virtuosity is simply mind- boggling. The level of interaction between the musicians also eclipses virtually any blues or jazz jams you hear by Western groups. Indian drumming is such a more nuanced science than European playing, and the percussionists' freedom to call and respond, lead and follow, equals the lead instruments during the long improvisations found on the disc.

Shakti went to great lengths to try to vary the sound between songs, sometimes to a fault. At times, they would do more standard vocal tunes that sounded like soft jazz to the point of background music. Remembering Shakti never does this, both for the good and bad. For the good, this is intense music that demands close attention to appreciate. For the bad, the lack of melodic themes specific to each song makes the disc get a little same-y by the time you're finished. Though each song has a slightly different feel to begin, eventually all evolve (or devolve) into free improvisation.

McLaughlin himself sounds mature to be kind, less hungry and on the edge of his seat than he was in the 70's. At the same time, his speed is if anything more intense than ever. This translates to a number jaw-dropping passages and occasional not very inspiring scale running. The best times are when McLaughlin and the mandolin player (U. Shrinivas) weave in and out between each other, forced to maintain a tighter focus. Shrinivas plays a five string, single course version of the instrument, and it sounds more like a high strung guitar than the mandolin most of us are used to hearing. His chops easily match McLaughlin's but as I've observed in many such settings, the elder musician shows a bit of musicality that the youngster has yet to master. In the end, there is no doubt this is McLaughlin's show. By contrast, he was but a popular hook in Shakti, the learner himself rather than the leader.

Having seen Ravi Shankar live, this is quite a left turn from truly traditional Indian music though still grounded in the tradition. I would have loved to see this music performed in person. (There are some youtube videos that are quite good) On recorded format, I enjoy listening to it and return to it not infrequently when in the right mood. There are much higher peaks in the genre, and I really only recommend this disc once one has explored the realm a bit more. Of course, if you were fortunate enough to have seen the group live, this is a great representation of what you must have experienced.

The Indian music begins with the frenetic pace of 'Joy' where McLaughlin picks and slides the guitar to accompany the violin that incessantly keeps the pace. It is rather good to begin with but I soon tired of the improvisational style as there seemed to be little structure and I was never a huge fan of free form jazz that continues at length with little change. It is repetitive and really not my taste at all.

'Lotus Feet' is a softer piece with a melancholy ambience featuring beautiful violin and guitar. On the last track, 'What Need Have I for This - What Need Have I for That - I Am Dancing at the Feet of My Lord - All Is Bliss - All Is Bliss', the Indian flavour completely dominates the Western aspects of the music. The crowd rise as one voice when McLaughlin spirals out of control on his specially constructed guitar, and I particularly like the percussion section that is played with breakneck speed on the tabla and casings of instruments.

It was recorded live in 1975, and perhaps feels a little dated now, but there is an appreciation of this type of music and it caters admirably to that fan base. However, for the rest of us who like our prog served up with a dash of eclectic heavy guitars chilled over with time signature changes and the occasional structure, the album begins to drain dry of innovation. Certainly the instruments are played with virtuoso musicianship, but this is really for collectors only who appreciate Indian music or who enjoy the free form improvisational style of Eastern music.

I recently discovered that a fellow parent at my daughter's school was an old prog-head. Not a musician himself, he described trying to find the most out there music as a point of pride. So we traded back and forth band names, and his stumper was Shakti. I had actually downloaded this album about 6 weeks before. Before visiting this site, he would have had me. His descriptor for the album was intense and indeed if you're not used to the virtuosity of traditional Indian music, this is a shocking music. That John McLaughlin fits in seamlessly and that all of the other musicians are at least on his level tells you just how amazing these players are.

The first half of the disc is firmly rooted in the Indian tradition, and the first song (Mind Ecology) is perhaps the most intense of the entire album. Extremely fast sixteenth note tabla drumming, syncopated acoustic rhythm guitar by McLaughlin, slippery violin trading between wailing and shredding, all combine to form a treat for musicians with a taste for a showcase of musicianship. And yet these players are doing more than just showing off their chops. This is a complete music with memorable melody, grooving rhythm, and plenty of variation in emotion.

I've listened to a bit of traditional Indian music in the past, and acoustic guitar is not an instrument that immediately makes sense for this context. However, McLaughlin blends in perfectly, developing slide and bending techniques to match a sitar-style phrasing in addition to his rapid fire runs that evoke both flamenco and jazz. On the other hand, the rhythm guitar reminds me of solo acoustic players in the Windham Hill lineage, though with some added intensity.

The second half of the disc explores a wider variety of styles, with track 5 (Happiness is Being Together) starting with a Chelsea Morning-like riff and then settling into what actually feels like Caribbean island music. Track 6 is one of the stranger renderings of Bridge of Sighs you'll hear, though it's still very beautiful. Track 7 gives the percussionists a chance to show their full range, including the Indian rhythmic vocal style which sounds like insane beat boxing. The album ends in a ballad-like piece that is much slower, less showy than the rest of the album.

This is an excellent album to introduce someone to Indian music, as there is alot going on and the guitar is a familiar voice to anchor you ear to. I don't know that it has much to do with rock other than its intensity, but it is certainly progressive. A great example of fusion, a great showcase of virtuosity, and as my friend told me, a great album to get your heart pumping.

Natural Elements is one of a kind, well surely Indo Prog is one of a kind actually...Natural Elements, brings you a whole different view/perception of what you thought Prog was about, with percussive instruments of the east side of the world, with a lot of mood variations, and virtuosic dissonance to pull out the trigger for those McLauglin lovers.

Impressive percussion goes for the following songs: Mind Ecology with it's unique percussive climax, John's acoustic virtuosity and L. Shankar's dissonant/beautiful violin, demonstrates a new side of John, as well as the already mentioned, new side of Prog. Definitely Mind Ecology is one of the album's finest songs.

Face to Face shows a mellower band, still with L. Shankar's violin which can hurt after a few dosis, you have another very impressive, though different, rythm section which really is what this song is about along with John's mellow guitar(acoustic) chords, which are impossible to get bored of, with such energy full-filled in them(the chords). The song besides from the instrumental cleverness, has a very mediative feel to it, which makes the song unique, as well as being another positive aspect of the song.

Indo Prog Rocks?: Well The Daffodil and the Eagle apparently says yes. While no electric guitar, nor drums, nor nothing from the Rock realm, the song has a bluesy rock feel to it, in which develops to some type of Mahavishnu sort of song just in Indo Prog format. Having shocking guitar solos, with a melodic violin throughout the song, and a very reliable rythm section which changes constantly depending on the tempo of the guitar solo or violin.

Calm and Beautiful: These tags are won by Bridge of Sighs, with a gentle rythm all through the song(no kidding) with a ''stay-in-tune'' violin(believe it or not) creating some oriental-flavoured melodies, finally with John's mightiness on the acoustic guitar, though in this song each note/chord are totally delightful, rather than the typical fiereful and frantic solos like in general, while being impressive, they don't bring the kind of impression as in this song does.

Peace of Mind also wins those tags, and I think those tags suite even better with this one. A wonderful ending, soft, magical, as well as emotive. Like the first notes of And You and I or Turn of the Century by Yes, John and L. Shankar create the word BEAUTY with this song(musically). There's no percussion, so the climax is completely calm to create such magical essence, which will soon dissapear because the song only lasts 3 minutes, still they're sufficient to make you cry or at least feel such emotive energy run through your veins.

As the first word of my review, WEIRD. A weird album indeed, through frantic acoustic guitar runs to percussive enlightment to odd melodies of the middle-east to emotiveness. A completely eclectic album on the moods side.

John McLaughlin shows you once again that he's one of the most versatile guitarists around. Honorable mention to the highly impressive unique percussion section of T.H. Vinayakaram and Zakir Hussain. L. Shankar's violin as I already mentioned, is not a easy listen, still worthwhile at many times, specially on the last song of the album.

4 stars. Want to know what Indo Prog sounds like? Without doubt pick this up.

'Mind Ecology' is simply wonderful. It is a tour de force for McLaughlin and some of the best playing he'll deliver on this album. Very good start. 'Face to Face' is more average, but still good. 'Come on Baby Dance With Me' is a piece solely composed by Shankar and features the most frantic violin I've ever heard. 'The Dafodil and the Eagle' is longer and gives it chance to build more melodies and textures and is a very atmospheric piece of music. 'Happiness is Being Together' is a nice little piece with some wordless vocals. 'Bridge of Sigh' as its title suggests is more mellow, before a second long piece, this time a quite fast one with very, very fast percussion and some unusual Eastern scat singing! Everything is wrapped up nicely with another mellow piece.

This album will not change your life, but if you want to try a piece of Indian culture played by virtuosic musicians then this a brilliant album to listen to. Four well deserved stars.

But please don't confuse the ongoing Remember Shakti project with its late '70s namesake, unheard by this critic, but judging from reviews a different animal altogether. Instead of being an actual band, Remember Shakti is (was?) more of a free-form, open-ended collaboration between McLaughlin and an interchangeable cast of traditional Indian musicians, typically spearheaded by tabla virtuoso Zakir Hussain.

For this gig, performed on Hussain's home turf, the ex-MAHAVISHNU ORCHESTRA leader was joined by a small army of local players, employing a vast array of arcane instruments with unpronounceable names: kanjira, tavil, mridangam, pakhawaj, and so forth. The music, not surprisingly, is firmly rooted in ancient Indian aesthetics, but don't let that scare you away: this is magical stuff, played with enough skill and energy to translate across any cultural barrier.

Every performance is galvanized, and McLaughlin in particular is near the top of his game (or is that simply because his electric guitar is the only instrument here I can readily identify with?) Listen to his adrenalin-fueled duel with mandolin player U. Shrinivas in the breathless concert opener "Luki", with its airtight Jazz Rock tempos maybe the most accessible track here to unacclimatized Western ears (it's also the only McLaughlin-penned composition on the entire disc). Marvel too at the quiet intensity of his solos over the haunting strains of the Indian zither in "Shringar", at 26+ minutes long clearly a highlight of the evening.

Even with genuine, recognizable drums and occasional singing (typically the hyper-drive scat of Shankar Mahadevan), the sound is obviously more Indian than Anglo Saxon. But it shouldn't be dismissed offhand out of unspoken cultural chauvinism. Consider this: if the exact same music had been played with conventional rock instruments (imagine it as an OZRIC TENTACLES album), this CD would be widely hailed as modern ethnic-trance masterpiece.

Sometimes it's all a question of perspective. And isn't that the ultimate goal of any stab at musical fusion? To help foster an awareness of a wider musical spectrum beyond the narrow comfort zone of our own cultural preferences?

All the same, these performances (recorded live in England over four concerts in 1997) aren't for everyone. The band assembled here isn't the same SHAKTI of McLaughlin's post-MAHAVISHNU ORCHESTRA years, and the music has its source in a foreign tradition far removed from his earlier Jazz Rock innovations. This is true fusion: not merely of musical styles, but of whole musical cultures, and needs to be approached from an entirely different perspective.

The songs are built around long instrumental improvisations (sometimes very long: "Mukti" clocks in at a staggering 63+ minutes!), in classic raga fashion allowing plenty of time for gradual thematic development and resolution, and with no shortage of virtuoso interplay between the players, numbering anywhere between two and five at a time. McLaughlin himself is hardly the star of the show, or at least not the only one. At times he's almost more of a guest among the other, Indian musicians, and in fact doesn't even play on the opening track, "Chandrakauns" (which at 33+ minutes takes up most of Disc One).

But his electric guitar, even lacking the familiar distorted frenzy of his first MAHAVISHNU albums, provides rock audiences with an easy point of reference, functioning as an anchor of sorts in the middle of all that exotic Indian instrumentation: tablas and ghatam and bansuri and tanpura. And if those sound more like side dishes at your local Mumbai greasy spoon, maybe you're not quite ready to make the aesthetic leap from a mere 7-minute Carl Palmer drum solo to a 28-minute (!) percussion duet performed in large part on something resembling an earthenware jug.

I'm no judge of tabla virtuosity, but I will say these discs contain some of John McLaughlin's fastest and yet most fluid guitar runs, no small claim for an artist of his caliber. And yet even at its most frenetic (and there are moments when the hands of each musician must have been simply a transparent blur on stage) there's always an air of meditative calm and grace surrounding the entire album, a sharing of musical space and spirit all but unheard of in other musical arenas.

Clearly this was not a concert about egos, but about cooperation and trust. And if you extend the same courtesy to listening to the CD itself, it will reward you more than you can imagine.

Mind Ecology bursts with frenzied exuberance and yet it has a mesmeric repetetiveness. McLoughlin's playing is superb. face to face provides another virtuoso performance from McLoughlin. Apart form the superb acoustic playing of McLoughlin the underlying complexity and beauty of the rhythms is the most striking feature.

Come On Baby has a different vibe. As with all the tracks on the album, there is a very tight integration of the guitar, violin and percussion. The percussion follows the lead far more than would be the case with western music.

The daffodil is quite bitty: some passages are excellent although at times the violin sounds a bit screechy for my ear.

The music is intense and complex. At times I find it all abit too much. I realise this all the more when the tempo drops the intensity abates and there is a moment of relaxation. I reckon my reaction is probably due to ignorance and lack of exposure to this genre.

Happiness is an easier listening track. Lots of extremely fast guitar work (as we expect from J McL) and more particularly screechy violin. This one sounds a bit more western with only a smattering of Indian influence.

I love Bridge of Sighs. It has a groovier mellow swing to it. A pleasant break for my ear. Get Down has a slightly more upbeat rhythm and one that is again easier to my western ear. Not a great deal happens here but there are some lovely intricate percussion breaks at one point with an extremely quick and intricate vocal style which follows the percussion. Not to be missed.

Peace of Mind rounds off the album. It is the mellowest track by some margin: romantic in style and dare I say it very calming and peaceful: does exactly what it says on the tin.

This is not a genre with which I am familiar but that said I would have to recommend it to those like me who are dipping their toes in: you really have to give this one an listen and decide if it is for you.