BETWEEN NOTHINGNESS & ETERNITY

MAHAVISHNU ORCHESTRA's ascent to stardom was a quick one with the band dazzling the world as the first supergroup of technical wizards of jazz-rock weaving music magic in ways the 60s only hinted upon. Initiated by the ex-Miles Davis guitarist John McLaughlin, the band was taken into the stratosphere with some of the best musicians the world of jazz and rock had nurtured up to the year 1971 when this group was formed in New York City. McLaughlin, who led the supporting cast of Jan Hammer (keyboards), Rick Laird (bass), Jerry Goodman (violin) and Billy Cobham (drums) had his work cut out as bandleader, main composer and guitar god and although the band synergized its talents for a brief moment in time crating timeless seemingly otherworldly fusion music that blurred the distinctions between jazz, rock, gypsy folk, funk and traditional world music, the clash of personalities and sudden ascent into the spotlight was too much for this cast of behind the scenes musicians and the project ended after two albums and three years after it started.

During this first lineup's tenure, two albums ("The Inner Mounting Flame" & "Birds Of Fire") were released but enough extra material was written and recorded but never came to be due to the band's untimely disintegration. While the world would have to wait for the 1999 archival "The Lost Trident Sessions" to finally emerge from the vaults, this live album BETWEEN NOTHINGNESS & ETERNITY which came out in November 1973 somewhat served as the next best thing to the final third installment of the original lineup's output. Recorded live at the Schaefer Music Festival in Central Park in New York City on August 17 and 18, 1973, the album featured three tracks that were to be on the band's third album which never came to be. For decades this album was the only game in town when it came to the material presented and although has been somewhat eclipsed by "Trident Sessions" still remains relevant as a testament to the uncanny musical genius that these five musicians delivered in their fiery and mind-numbingly complex compositions that surely must've required unthinkable hours to master.

McLaughlin once again wrote the bulk of the material including two of the three tracks leaving Jan Hammer to contribute the rare self-penned composition "Andrea" which showed McLaughlin stepping out of the control freak's seat for a brief moment. The album only spanned the playing time of a normal album at 42:24 but when re-released as part of the 2011 compilation "The Complete Columbia Albums Collection" included new songs and extended versions from these same live performances. While the material presented here won't sound much different than what's presented on the superior production of "The Lost Trident Sessions," BETWEEN NOTHINGNESS & ETERNITY featured extended versions that offered more improv and live performance spontaneity. "Dream" for example is nearly twice as long as its studio version, a boon for some but a bane for others. The musicians are all on the top of their game here and the beauty of a live album like this is to fully comprehend that this band was by no means a studio gimmick and could crank out those wild roller coaster rides of virtuosity in a seemingly effortless manner.

The downside of this live album is that it seems woefully short. This easily could've been a double album and i honestly wish it was. The other major flaw is the production which is thin but contains a rawness complete with audience participation and extended jamming liberties. While the album's relevance has clearly been demoted in the wake of "The Lost Trident Sessions," the album still very much deserves the attention of any true MAHAVISHNU ORCHESTRA buff as it captures all the magic that the albums did in full regalia. For production snobs this may be a hard sell but for those who are more interested in the actual performances then this one will not disappoint one little bit. The first rendition of the MAHAVISHNU ORCHESTRA took rock music to unthinkable heights that has never really been exceeded and despite the flaws, this only live album from this era displays that in its incredible run of three well-crafted tracks that dazzle the senses with emotive strongholds as well as the technical soloing tradeoffs that are unparalleled therefore this live album is a must.