John Mclaughlin S.ganesh Vinayakram Gateway to Rhythm

Since the late '60s, John McLaughlin's name has been synonymous with electric fusion guitar. But McLaughlin is equally accomplished on the acoustic guitar; he has a long history of excelling on that instrument, which he plays exclusively on Thieves and Poets. This 2003 release, in fact, isn't fusion in the amplified jazz-rock sense but rather acoustic-oriented post-bop with Euro-classical leanings. Thieves and Poets finds McLaughlin joining forces with two of Europe's classical outfits: the Deutsche Kammerphilharmonie (with Renato Rivolta serving as conductor) and the much smaller, guitar-oriented Aighetta Quartet.

John McLaughlin - Time Remembered: John McLaughlin Plays Bill Evans (1993) {Verve}
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© 1993 Polydor / PolyGram / Verve | 314 519 861-2
Jazz / Post Bop / Modal Music

Pianist Bill Evans was one of guitarist John McLaughlin's early heroes so this Evans tribute seemed like a logical idea. Sticking to acoustic guitar, McLaughlin is joined by four other guitarists (along with the acoustic bass guitar of Yann Maresz) to create an unusual instrumentation that often sounds as full as a keyboard. The leader arranged ten of Evans's compositions and his own "Homage" for a largely introverted set of music that has a strong classical feel. McLaughlin lets loose a few times but more mood and tempo variations would have kept this from being such a sleepy and overly respectful session.

John McLaughlin - Thieves And Poets (2003) {Glenray}
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© 2003 Glenray / Emarcy / Universal | 0602498010743
Jazz / Post Bop / Guitar

Since the late '60s, John McLaughlin's name has been synonymous with electric fusion guitar. But McLaughlin is equally accomplished on the acoustic guitar; he has a long history of excelling on that instrument, which he plays exclusively on Thieves and Poets. This 2003 release, in fact, isn't fusion in the amplified jazz-rock sense but rather acoustic-oriented post-bop with Euro-classical leanings.

John McLaughlin - After The Rain (1995) {Verve 314 527 467-2}
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Polydor / PolyGram / Verve | 314 527 467-2

British guitarist John McLaughlin's spiritual initiation into the American jazz scene came as a member of drummer Tony Williams' Lifetime–as futuristic an organ trio as you'd ever want to hear. During their two years together, Williams, McLaughlin … Full Descriptionand organist Larry Young scandalized the jazz and rock communities alike, yet what they documented on EMERGENCY and TURN IT OVER endures as a visionary paradigm of collective improvisation.

On AFTER THE RAIN, McLaughlin reintroduces the trio format (with Hammond organ wizard Joey DeFrancesco), and pays homage to one of his major influences, John Coltrane, by collaborating with Trane's legendary drummer, Elvin Jones. In "Afro Blue," McLaughlin's single-note phrasing and sudden rhythmic outbursts reflect his affinity for Trane's approach, while he performs the ballad "Naima" with tender understatement. The whole band really comes together on "Tones for Elvin Jones." DeFrancesco's voluble solo sets the pace, and McLaughlin responds with patient thematic development, until he finally whips out some trademark runs, rousing Jones to a fine emotional lather.

Recorded at Clinton Studios, New York on October 4-5, 1994.

Personnel: John McLaughlin (guitar); Joey DeFrancesco (Hammond B-3 organ); Elvin Jones (drums).

Pianist Bill Evans was one of guitarist John McLaughlin's early heroes so this Evans tribute seemed like a logical idea. Sticking to acoustic guitar, McLaughlin is joined by four other guitarists (along with the acoustic bass guitar of Yann Maresz) to create an unusual instrumentation that often sounds as full as a keyboard. The leader arranged ten of Evans's compositions and his own "Homage" for a largely introverted set of music that has a strong classical feel. McLaughlin lets loose a few times but more mood and tempo variations would have kept this from being such a sleepy and overly respectful session.

John McLaughlin - Industrial Zen (2006)
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© 2006 Verve / Glenray Trading | B0007066-02
Jazz / Fusion / Contemporary Jazz

Widely recognized as one of the most innovative and influential guitar players since the 1960s, John McLaughlin has forged a musical path that has seen him flirt with everything from hard rock to world music. A fusion player in the true sense of the word, McLaughlin continued his progressive stylistic synthesis on 2006's INDUSTRIAL ZEN. While the guitarist is also known for his meditative work (especially his experiments with Indian music), INDUSTRIAL ZEN is something of a return to the jazz fusion that marked McLaughlin's work with Miles Davis and his own group the Mahavishnu Orchestra. Drummer Dennis Chambers, saxophonist Bill Evans, and guitar virtuoso Eric Johnson, among others, are on hand to lend sparks to the icon's six-string wizardry.

Since the 1970's John McLaughlin's long career has always taken mysical turns, from the Mahavishnu Orchestra to Shakti. Here on "Industrial Zen", McLaughlin turns his well honed skills to Jazz fusion. He is joined by many names that brought power-house jazz fusion to the frontline during the '90's, including Bill Evans, Gary Husband, Mark Mondesir, Vinnie Colauta and Dennis Chambers as well as Texas guitar legend Eric Johnson.