MAHAVISHNU ORCHESTRA

Mahavishnu Orchestra is a band widely known in the jazz circles as one of the greatest embodiments of the jazz fusion movement, that had it's height from the late 60's to the mid 70's, that shared with progressive rock more than their golden years. This 1975 album, entitled Visions of Emerald Beyond, did not featured the majority famous classical line-up of the Orchestra (the only remaining member from the original band that is still playing here is John), but that does not mean that this album brings us anything less than the early Mahavishnu albums.

Actually, this very album shares with the much fabled Birds of Fire, the band's best selling and most famous album, not only the flaming birds, but they also share at least one more feature, at least in my view: they both appeal to me in the same degree. Beyond this point, the albums have not much in common: Birds of Fire feature a very aggressive, energetic and very powerful kind of jazz, which was played very fast and aggressively by the 5 band members alone, wile in Visions of the Emerald Beyond all those characteristics were clearly toned down, but at the same time the music retrieved some of the feeling and mood it had lost in that said 1973 album, with the addition of supporting personnel (string trio, saxes, brass instruments, flute and supporting vocals) and singing from the whole band. This album brings a bigger diversity of styles as well, when compared to Birds of Fire, which are connected or have some relation with jazz (mostly), classical music or progressive rock.

Despite those differences, this album is some kind of comeback for the band. That is because in 1974, with the brilliant and classical music-driven album Apocalypse, the band completely derailed from their initial approach, which was possibly traumatic for both the band and the fans, which were possibly not acquainted with such style of music. That still have consequences today, as Apocalypse has the second lowest rating from all albums released in the 70's, only losing to the mediocre Inner Words. However, the band's efforts resulted in a very good and distinguished album, but not a comeback, since, despite obviously being a jazz album, it could not be able to regain both the attention and the following the band had before, unfortunately.

Grade and Final Thoughts

All this diversity and the milder approach of the album makes Visions of the Emerald Beyond a very pleasant album to listen to. The album flows very smoothly as most songs, though being rather short, have some relation with another. It is a shame that this is the final good album recorded by Mahavishnu Orchestra. 4 stars for those visions, and I hope you are able to stand the funk!

And what a line-up, has there ever been one as accomplished as this one? John McLaughlin, a god on the guitar, and Billy Cobham, another god on the drums, are the most noticable players here, but Jan Hammer, Jerry Goodman and Rick Laird makes one hell of a job as well!

Every song is perfect, but if I have to choose a favorite, it must be "The Meeting of the Spirits". Another contender for best track on the album is "You Know, You Know".

Essential as hell, for f**k's sake!

As a casual fan of fusion, I find "Inner Mouting Flame" almost too much. It's noisy, aggressive, and very free-form (not to mention very dated in its production). This clinical feel comes across as being very self-serving, and unless one is into chaotic-sounding music than I advise to listen with caution. It might make you feel smarter when listening, or make you feel frustrated waiting for something memorable to identify with.

For those newly investigating the fusion genre, I heartily encourage sticking to the much more intelligible and classy Return to Forever; however, any fusion journey will inevitably lead the listener here to "Inner Mounting Flame"-- the complex and cerebral highlight of the genre.

Songwriting: 3 Instrumental Performances: 4 Lyrics/Vocals: NA Style/Emotion/Replay: 2

I am not an expert in any manner so I refer to the other reviews if you want an in dept review of the music here. I am just trying to describe my own experience with this album.

The music here is at times very, very hard. John McLaughlin shreds on his guitar here like a speed metal freak. This is on the other side of the spectre of the likes of Return To Forever. But the music is still excellent. I can see that the name of the band fits this music like a hand in a glove. The music is based on jazz, yes. But there is a lot of Indian music here too and some North-African stuff too. Just like I envisaged. The album has a couple of lyrical meditation pieces. But the overriding impression of this album is John McLaughlin's guitars. He makes his guitar sound like a full orchestra. The rest of the musicians is really there to support his guitar work. They are first rate musicians in their own right. But I can only hear the guitars because I really love what John McLaughlin is doing here. Sorry, guys !!

The best songs here is the opening track Meeting of the Spirits and the haunting You Know, You Know. The rest of the tracks here are excellent too. I am looking for that dot over the i, but cannot find it. So it is not a fiver from me. But this album may be a kind of a cornerstone in my life because it has finally opened my six senses (OK, five senses then) to a new world. This is an album I will enjoy in the years to come. Now, I am onto the rest of the Mahavishnu Orchestra albums. I have been born again.

4 stars

Between Nothingness & Eternity is a ticket to, well, nothingness and eternity, passing through all the diversity and virtuosity this line-up could offer back in the 70's, yes the whole unbelievable deal: the speed-of-light passages, the ear-bleeding rhythms, the eternal duels between members John, Jerry and Jan, the heavy blastings riffs, the delicate and intriguing indo material, and the ocassional intricating jazzy grooves.

While the same tracks featured here were later released as studio versions on the Lost Trident Sessions ''album'' which do present the tracks as they were intended to be, without any jamming nor noodling plus a clean production, I consider Between Nothingness & Eternity to be a much more rewarding listen since the intensity and capacity the players show on the live album is completely unique in it, which is totally withdrawn from the studio versions.

The live performance begins alike Birds of Fire and Inner Mountaing Flame, with the calling of the legendary gong and some very similar(if not identical) guitar lines to that of Meeting of the Spirits and the track Birds of Fire, however after that it becomes all new and unpredictable: From frenetic up-lifting melodies to the never ending duels of electric guitar, electric piano and moog, and violin; nobody is better than the other, each member shows they're highly capable of playing extremely difficult stuff but that's not it, they manage all this to make it appealing for the listener, even so that I'm sure that a *serious* heavy rock fan of stuff like Led Zeppelin, Black Sabbath, Deep Purple and the like can get a tremendous kick out of the playing in here since besides being prog and all, it rocks!

The concert moves on to Sister Andrea, a funkier treat as a whole, somewhat similar to the groovy but still heavy Miles Beyond from Birds of Fire. While composed by Jan Hammer, there's still a lot from all members, a evolving beast-alike guitar solo byJohn at the beginning, a fast and somewhat dissonant violin solo in the middle and ending finally with a fascinating moog show-off by the composer himself of course, Jan.

The live show finalises with the 20+ minute extravagant track called Dream. It may seem a chaotic mess when you first listen to it, full of unnecessary self-indulging sections, frenetic passages that seems to be played by people who dare more than what all a man can dare of, and in the end it is that! However, once again they've managed, above all that uncomprehensible indulgement, to achieve a incredible unique jazz rock piece which is seemed to be played by raging gods, in which in the very end of the track these ''gods'' seem to reconcile and tune things down.

Final words of this overlooked live gem is that it's essential for any Rock listener interested in listening to some of the wildest playing out there from the 70's played live, even if in parts it may seem incomprehensible. Not the best place to start though, but it's safe to purchase this after having bought and understood Birds of Fire and Inner Mountaing Flame.

An outstanding ''goodbye'' album from this unbelievable line-up, which no other band yet has showed such skill delivered in such a unique and rockin' way.

While this 5 CD offering of the band's most important recordings might seem to be a godsend at first glance don't expect anything beyond the otherwise exceptional music content of this assemblage. Part of a mass produced " Original Album Classics" series which includes a who's who of artists who have recorded with the Columbia label from Duke Ellington to Lou Reed, the packaging has something to be desired if you are a coniossuer of CD box sets. Completely devoid of album notes, the individual miniature original album sleeve reproductions don't approach the quality of similar Japanese sleeve replications. There are also several glaring credit errors on the main cardboard container that will be noticed immediately among afficionados. So, if all that you're after is the music itself, whether for nostalgic reasons or if you are one of the unitiated, then this is an ideal way to acquire the first 5 Mahavishnu Orchestra albums ( The Inner mounting Flame, Birds Of Fire, Between Nothingness And Eternity ( live), Apocalypse and Vision Of The Emerald Beyond ) at a bargain basement price. So, in this instance be my guest.

All five are also available individually with expert liner notes and in some cases with personal quotes from band members. If this is the case than I would highly recommend purchasing the discs separately. Personally I can't fathom why Sony Music didn't go the whole hog here and incorporate more extras here like they did with the exxcellent 2007 two CD Essential John McLaughlin compilation. From what I gather all other artists whose work is featured in this series suffer from the same aforementioned faults which makes them difficult to rate. Consequently, the five star rating given here refers to the exceptional value for the music contained on the 5 discs which is nothing short of stunning. Perhaps sometime in the future Sony Music will come to their senses and release a comprehensive Mahavishnu Orchestra box set.

This case in point is effectively demonstrated by the suprisingly well selected track list taken from the first 5 Mahavishnu Orchestra LPs including the '73 Between Nothingness & Eternity live LP, sensibly ommitting the mediocre swan song Inner Worlds. While the extraordinary individual talents of other musicians who played on the two lineups featured here are adequately displayed it is evident from the selections that this collection was ostensibly produced with McLaughlin's guitar pyrotechnics as a selling point. McLaughlin is definitely on full afterburner on firebreathing fusion tracks like Meeting Of The Spirits and Birds Of Fire and blues rave ups Dance Of Maya and Lila's Dance which comprise some of the most electrifying Mahavishnu Orchestra recordings.

Perhaps only for metalheads who, for some reason or another missed the 70s, who dig guitar freakouts a la Satriani, Vai and Malmsteen, this compilation nonetheless does give a vivid impression of what the loudest and fastest band of the day was all about : pushing the envelope to the limit with groundbreaking passion, power, intricacy, audacity and intensity that would never be equalled.

But hearing it back now for the first time in 10 years and also for the first time since I heard The Trident Sessions, the improvisations sound a tad too long-winded, not focused enough really. It's still an impressive live document from an amazing and unique band, but rather then a general recommendation, it's just an item fans will want to seek out.

Next to Birds of Fire, this one had always been my favourite album of theirs. At least until the Trident Sessions came along.. While that is not in correspondence with the general appreciation of this album, it is hard to contest that this is their most versatile record. It is well composed; it has beautiful songs, fusion frenzy, jazzy touches, funk and heavily dramatic moments. I even like the vocals a lot on this one.

Though it has 13 titles for just 40 minutes, the songs flow smoothly into one another, and the album registers with me as one continuous listening experience. There's only one reason why I haven't marked 5 stars and that is because I need the extra star to single out the amazing Trident Sessions.

After a gentle intro, Vision brings the orchestra to the fore and adds some Prokofiev flavour to the Mahavishnu sound. While I like both the orchestral part and the improvisation here, I don't think they sit really well together, except for the last few seconds where the orchestra joins the band. It rather feels like a copy-paste job then like a good example of integrating an orchestra into rock.

Smile of the Beyond introduces vocals. It's not without merit but jazz vocals like this are not really my cup of tea. (Who knows, maybe in a couple of years they will be). Halfway in the band joins for a short but rather generic jam. Wings of Karma starts with a classical introduction that reminds me of Prokofiev's more romantic moments. Again I don't think the interplay with the orchestra to be very successful, so if I want to hear this ambience I'll rather play Romeo and Juliet.

Up until now, I'd say we've been listening to a 3.5 star album, so obviously the 19 minute Hymn will make it flip one way or the other. Frankly it sounds like a bad mix of a rather uninspired fusion jam with a romantic film score. No, this one will flip to the 3 stars.

It looks like my taste hasn't changed a bit in 20 years. Is this an indication that I always judged this album correctly? Or is this something I should really worry about :-/