MAHAVISHNU ORCHESTRA

For their second album the Mahavishnu Orchestra wisely decided not to try and top the explosive fury of their debut, instead seeking to diversify their sound. The closing Resolution recalls the dark tones of their first album, but other songs show a breathtaking versatility on the part of the band - for instance, Open Country Joy somehow manages to incorporate both gentle folk segments and pulsing funk sections. Particularly notable on this album is Jan Hammer's incorporation of a Moog into his arsenal of instruments, allowing him to add synthesiser touches above and beyond his already important electric piano contributions. I don't think it's quite as ground breaking as the first album, which is an absolutely essential piece of the fusion puzzle, but it's very, very good indeed.

How do you follow such a whopper of a debut album? By doing one a tad better.

I think the first two albums of Mahavishnu were responsible for more blowing out more speakers in home stereos than anything previously. Between Mahvishnu and Return to Forever, the improvisional fusion era that Miles began is in high gear. The Mahavishnu sound is distinct with the unique sound of of electric violin and guitar especially when playing in sync. This album seems to showcase the rest of the band more than the first.

Now for a quick take on the tracks.

Birds of Fire - A fast and furious opening that is one of the strongest pieces of the album. It really shows Cobham's drumming expertise.

Miles Beyond - Giving a nod to Miles's influence. It has a bluesy feel with nice chord structure tone by John with a slice of blistering fretwork in the end.

Celestial Terrestrial Commuters - Funky with some psychedlic keyboards by Jan Hammer.

Sapphire Bullets of Pure Love - This 24 seconds of noodling filler.

Thousand Island Park - Has more of traditional Jazz sound but electric with a Spanish flavor

Hope - A mild (not soft) winding up the scale of sorts, nice mix.

One Word - Here is where they feed off of one another in that true improvisional style. You can hear what makes John such a great guitarist other than his fast fret work, he perfectly fits those little memorable chord riffs in a supporting role, when he is not taking the lead, to complete the sound of the band. This also showcases Billy Cobham, which I believe (not 100% sure) this is the first time a double bass drum is being used in a solo effort.

Sanctuary - A haunting tune of Jerry Goodman's violin, along with guitar and keyboards in a typical Jazz scaling arrangement.

Open Country Joy - A nice melodic song where it gives you the feeling of riding in the country, but then they break into a furious bantering session off of one another (soon to become the staple of most Jazz fusion). Then you are suddenly back on the country road again. Great trip!

Resolution - A guitar chord style sound that seems to be driving to find a climatic crescendo that never quite finds it but keeps searching upward for it.

It would be easy to merge this and the first album as one, but I will give this one the edge as it helped defined the next phase of Fusion that Miles started. It gets a 5.

Here is a fine example of what really defines the term progressive! By 1969, the musical world was still blues-rock based, short poppy tunes aimed at the dance floor or the airwaves and generally comprised guitar, bass, drums and organ with a strong focus on vocals. With the advent of new technology (synthesizers) and the introduction of old school instruments (violin, sax) played by serious and young music students who were attracted by the counterculture (yes, sex, drugs and rock 'n roll), the sonic universe leapt mightily forward, progressing towards new unattained horizons. This is where the term 'progressive rock' came from (sorry, had to state it!).

With a gifted and original guitarist such as Englishman John MacLaughlin , a masterful genius of technique and tone, a muscular drummer in Billy Cobham from Panama , keyboard whiz and Czech refugee Jan Hammer , master American violinist Jerry Goodman and bassist Rick Laird from Dublin, Eire , this Mahavishnu Orchestra simply devastated that nascent scene with sheer bombastic virtuosity and uncommon flair. They remain arguably one of the pioneering bands of the new rock movement, blurring the line between Rock, Jazz, Pop and creating what is now universally known as 'fusion'. Not surprising that Carlos Santana would unite with MacLaughlin, as the Chicano fretmeister would soon espouse the teachings of guru Sri Chinmoy and search for the 'Emerald Beyond'!

This monumental recording was the first installment of a series of colossal Mahavishnu Orchestra recordings (Birds of Fire and Visions of the Emerald Beyond are of course legendary) and sounds as devastating in 2012 as it did in 1971 when it took the world by storm. I remember the shock and awe of its appearance on turntables and the blizzard effect it had on young impressionable music fans. One word = disbelief!

No time is wasted on pretty intros, 'Meeting of the Spirits' has that same wondrous feel that permeated Santana's Caravanserai, slithering carpets of synths and polyrhythmic drum jubilation that lay the foundation for John to flutter over his electric guitar, the violin in tow. Hammer's e-piano revels in the mid-section showing clearly that he is no electronics-only wizard, as he is shamelessly playing tag with Goodman's screeching instrument. The precious fragility of 'Dawn' is there to behold, a dreamy and elegant instrumental lament that conjures images of an awakening sun, soon to be bold. At the time, no one outside of Hendrix played such a dizzying style of e-guitar, blessed with demonic speed and insane diversity that pioneered more than a few future maestros. Precious loveliness.

'Noonward Race' is just like the title implies a speed freak jam with frantic and exalted soloing from Goodman, Hammer and the Mac himself. All of course delivered at Indy 500 velocity and Swiss timing precision. Cobham is a whirling drum dervish, using his Gatling gun technique to devastating effect, as he did throughout his MO career.

'A Lotus on Irish Streams' is a serene Chinmoy (pun) reprieve, gently bucolic, pastoral and aromatic. Mac prefers using his acoustic talents with the violin coasting its slithering beauty amid the pooling piano rivulets. Meditative and ponderous.

Things get scorching and sweaty again with the forceful 'Vital Transformation', where loopy pyrotechnics are propelled monstrously by skillful drumming and careening guitars, all at quasi-supersonic speeds. The musical definition of delirium if I ever heard one! I could only imagine the shock when listeners first hooked up with this vortex of bewilderment!

'The Dance of the Maya' releases an electrified slinky riff that suggests both historical doom and dense vegetation, furious guitar clanging entwined with agonizing violin that suddenly erupts into a bluesy e-piano led funk. Cobham bashes away in an unusual sweaty manner, cymbals ablaze whilst John's guitar races wildly within a lightning blitzed furrow that addresses both the past and the future brilliantly. Relentless, obsessive and utterly manic.

My fave 'You Know, You Know' is obscurely remote and suave, groovy e-piano, shuffling drums and a repetitive bass figure set the tone for a slow-developing MacLaughlin scratch that veers on the sublime, a sensational and original moody jam that thrills in its lack of blistering notes.

The teetering between tame and wild continues with a preposterously boisterous finale that will wake you up by its sheer maximum velocity and artistic dexterity. The musicians demonstrate true jazz tendencies, each creating their own sonic bubble and when called upon, stellar on-a-dime interplay. John unleashes a blazing solo that defies logic in time and space and Cobham turbocharges ahead like some percussive locomotive.

Scary stuff that will develop into two future masterpieces.

4 clandestine flares

The first album I heard them was the "Birds of Fire", then "The Inner Mounting Flame". Very good indeed, I thought, but then I heard this album... "Adventures In Radioland". What happened? I do not know. Ten songs and the cover photo of an expert guitarist "John McLaughlin". It was then that I realized, it was not necessarily an album by "Mahavishnu" but kind of a partnership ... because taking the aforementioned guitarist, all other members have changed. "Jonas Hellborg" is a competent musician, solo career and partnerships considerable quality. I do not have much to say other musicians, but by what I heard the keyboard and saxophone played down the grief of this work. I find hard to highlight some music when the album in general proved to be bad for me. With all due respect the figure of a "McLaughlin", but it seems that he is a guest artist than necessarily the person who exposed his name on the album cover. The instrument that stands out most in the whole album for me is the saxophone, or "Bill Evans", then according to the perspective, The album can best be improved or not, but how dare mention "Mahavishnu" ... was much lower than expected. "The Wait" tracks and" Half Man, Half Cookie" has a walk through the square, dull. Highlighted some positive? Some lesson? Good musicians do not always mean a good album ... and what was to be called adventure became a regret, disappointment...

Mahavishnu Orchestra - Between Nothingness & Eternity (live) (1973)

A live album of the classic MO line-up, McLaughlin, Hammer, Goodman, Laird and Cobham. The material played comes from the later released lost trident sessions and was unheard of at time of at the time of this vinyl release.

This album has 10% composition and 90% improvisations with all musicians willing to show how well evolved our hands are when it comes to high speed, precise movements. The rhythmic section of the brilliant Cobham on drums and Laird on bass is often the main attraction, but some solo's of McLaughlin are quite bizarre & impressive and I like the chords played on the Fender Rhodes by Hammer. Sometimes the metal crimson abstract style comes to mind, but most of the time the band looses itself in noodlings.

I myself don't like violin solo's and I've yet to see a live performance of a violin player in a rock band that I do like. The combination of violin and guitar solo at once is also quite astonishing in it's dysfunctional and chaotic effect. Now I can't enjoy both.

The recording sound is acceptable for it's time, but I must say McLaughlin has a pretty nice heavy distorted rock guitar sound. His techniques are both likable for it's speed and sheer energy, but the sensibility is lacking in everything he does.

Conclusion. A nice live set from Mahavishnu Orchestra, but I would not call it essential. There's little melodic playing here but a lot of strong improvised solo's (if you like it fast that is). Three stars. Recommended to fans of the band and people who like to listen to technical jam- sessions.

Absolutely Essential - A World in an Album

I acquired BIRDS OF FIRE late in my tour of the great rock guitarists, actually a few years after I'd left my shred phase behind. I'd submerged myself in blues and jazz, and actually began my slow descent into prog. I was at a college used record store and there I saw this legendary album. I figured I needed it just to shore up my guitar nerd cred, so I picked it up actually having no idea what I was getting. I remember listening in my car on the way home and just thinking "What is this???" McLaughlin's picking certainly was fast as quicksand, but the music was simply way over my head even then. I don't think I even listened to the album all the way through in one sitting at that stage of life. My brain just couldn't get it. And I tried, many times.

Over the last five years, immersing myself in prog, my musical palette has grown a bit. Listening to alot of music in odd time signatures and plenty of counterpoint has allowed me to finally appreciate (though not fully understand) what's going on here. Dozens of listens haven't hurt anything either. I now count BIRDS OF FIRE as one of the highest examples of jazz fusion and classic progressive rock in general.

The long "One Word" is the most typical track, the one that will seem most familiar to listeners of other fusion bands. The groove is frolicking and open, and there are extended solo / jam sections. The central lines that the band returns to, however, are pure insanity. Fast, odd time, with dissonant intervals, the composed sections push against the limits of organized complexity. Though I enjoy the solos on this track very much, this is the least impressive track of the record for me.

The reason for this is that the rest of the record flips the ratio of composition to jam. Shared or intertwining lines dominate the best and most challenging tracks including the colossal title track and "Celestial Commuters." The theme lines on these tracks are just beyond my imagination. How anyone came up with these melodies (if you can call them that) is just so far outside my theoretical understanding...

There are several wide open, beautifully serene acoustic tinged pieces that are absolutely essential to the flow of the record. I believe it was "Sanctuary" that finally turned the light on for me for this band. John McLaughlin's mastery of acoustic guitar is also in evidence, and his voice on the instrument is so definingly his own. (In my opinion far above chief rival Al DiMeola.)

Bottom Line: This is what's behind the last curtain. This is the grand prize of fusion.

I couldn't agree with Ivan Melgar more: I always felt more engaged and satisfied by the second incarnation of the Mahavishnu Orchestra. The flash of the first incarnation never drew me back for reasons of pleasure, more for reasons of amazement and awe. And now, forty years later, I find Inner Mounting Flame and Birds of Fire hardly listenable, while Visions and Apacolypse have a warmth and friendliness that invite me in and keep me wanting to come back. Understand: Goodman, Cobham, Laird and Hammer are amazing and impressive intrumentalists but it was like they were all just waiting for their turn to flash--to solo--not really making music or songs; second incarnation MU are cohesive band playing memorable music, playing songs. The first incarnation are jaw dropping amazing; the second incarnation produced music I want to listen to.

Masters of their craft.

After the blistering start to Mahavishnu Orchestra with the definitive jazz fusion of "The Inner Mounting Flame" and "Birds of Fire", it was the next step to add in some funk and alternative styles to the jazziness of the music. The band do that on this album yet retain the jamming improv style and manic time sig changes. John McLaughlin, guitarist extraordinaire, is the only sole survivor of the original lineup but he is joined by the stalwart company of Jean-Luc Ponty's electric violin, the percussion of Michael Walden, Ralph Armstrong's bass, and Gayle Moran's keyboards.

'Eternity's Breath' is a standout for the band especially 'Part 2' with Luc-Ponty's exquisite violin serrations. It also has a heavier guitar than the usual Mahavishnu and from the outset the music signifies a completely different approach. The electric guitars on Part 1 are heavier and the effervescent violin is an amazing embellishment.

'Lila's Dance' is a brilliant piece of music in a number of odd meters from 7/4 to 14/8 and even 5/4 at times. It is an amazing rhythm with searing fret melting lead work and astonishing percussion and violin. Simply stunning.

'Can't Stand Your Funk' is a jazz odyssey in funkadelic guitar rhythms and the odd trumpet blast and very ominous keyboards. The bassline is as funky as it gets embellished by nasty brass.

'Pastoral' begins with birds whistling and the electric violin generates a peaceful atmosphere. 'Faith' is a heavier percussion explosion with ascending violins and an angular guitar riff. 'Cosmic Strut' is another funky jazz piece with odd time sigs throughout that change often. The intro is in 9/8, there is a medial section with a guitar soloing in a 7/4 metrical progression, soon after the music is in 13/8, and at times 27/8. There is no doubting the virtuosity of the band with tracks like this.

'If I Could See' is a short piece with the soprano vocals of Gayle Moran and this is followed by 'Be Happy', a frenetic jazz blitzkrieg. McLaughlin cuts loose on lead gutar on a rhythmic percussive figure.he dynamic jamming and tempo is jaw dropping on this track. Jean Luc-Ponty joins on violin slicing back and forth with speed bow work. The duo trade off solos as in a duel. These two are masters of the craft.

'Earth Ship' has a very soft, gentle musicality with flute and bass over percussion brushes. The guitar is distant and the vocals are sleepy. 'Pegasus' follows as a short transition. 'Opus 1' and 'On The Way Home To Earth' begins with a spacey ambience of Tangerine Dream textures and synth sustain. It moves into a jam session of the fuzz guitar and extraordinary percussion by the lead break is McLaughlin at his best.

This album is a magnificent musical work of virtuosity at its highest level. It proves that the second incarnation of Mahavishnu Orchestra is as good as the original lineup and of course this is always going to be hailed as a masterpiece by many listeners. The music will keep many spellbound with its immeasurable creativity and powerful spirit.

Let's out-rock the rock guys?

I doubt that was the purpose of this project but The Inner Mounting Flame does the job anyway. It's ferocious stuff, pretty much an explosion of sound that wipes the floor with not a few rock heroes of the day - but maintains the complexity we might take for granted in modern fusion artists.

From John's website: "After a Club date with Miles Davis in Boston in 1970, Miles tells me that it's time I formed my own band." Hard advice to ignore and he didn't, pulling in an impressive cast and leading them through high-energy fusion that showcases his rapid-fire guitar, Cobham's monstrous drumming and the violin of Goodman, who keeps up with a lot of the guitar throughout. Less featured in the compositions would Hammer (though his contribution is still important) with Laird quite hidden in the mix at times. Or at least, not often given opportunity to dazzle like some of his band mates.

On to the music itself. 'Meeting of the Spirits' is one of the greatest opening tracks ever put down, with it's ominous opening and insistent riffing from violin and guitar, and along with Cobham blasting away, it's a pretty damn exciting way to start a record. 'Dawn' is one of my favourites, and gives a nice 'half-break' in pace before things rev up again with 'The Noonward Race', which is a feel that's maintained elsewhere on the album in songs like 'Vital Transformation' and the blistering 'Awakening.' 'The Dance of Maya' stands out for it's straight blues section and the 10/8 time signature of its bookends (if I'm counting right) leaving more atmospheric moments to the syrupy 'A Lotus on Irish Streams' or the triumph of 'You Know, You Know' - one of the subtler pieces on the album, an effective, memorable and really quite gentle piece.

As to how 'prog' this album is (in a 'classic' or a symphonic sense for example) is clear - not very. But if you accept an idea of music being 'progressive' in any stylistic framework, then this album is progressive in its aggressive fusing of rock and jazz, something that had been hinted by other bands prior to 1971 but not developed to this level. Any fan interested in jazz fusion ought to at least be familiar with this landmark album. Five stars.

The second album from this excellent band. And a very intense album it is too. Taking the best from harder edge rock and jazz, this album hits the listener between the eyes. But this album also has it's more lyrical, reflective sides.

John McLaughlin leads the assault of the senses, but the rest of the band is also brilliant. Mahavishnu Orchestra and most of what John McLaughlin has done has a lot of Indian culture and music fused into the backbone of the music and not as some feathers borrowed from India as The Beatles and others did. On Birds Of Fire, the Indian connection shines through all the time. In particular in Jerry Goodmann's violin.

The material is high quality throughout and this makes this album one of the better fusion albums out there. And that is my 100 words worth of opinons on an album I really love. The lack of a killer track or two is my only gripe with this album. Besides of that, this is a great album.

4 stars