John Mclaughlin

John McLaughlin - Extrapolation (1969)
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© 1991 Polydor | 841 598-2
Jazz / Fusion / Post Bop

John McLaughlin's first recording as a leader features the future innovator playing guitar in an English quartet. Although McLaughlin contributed all ten pieces, baritonist John Surman actually dominates this music, often swinging quite hard. The historically significant set, although a lesser-known item in McLaughlin's discography, is quite musical and enjoyable in its own right.

While it would be utterly foolish to consider a two-disc set by guitarist John McLaughlin as anything other than a sample of the wildly diverse career he's enjoyed since the early '60s, it should be noted and underscored that what Legacy does with this set is to provide a solid look at not only the man's gifts but at the way he's employed them, exploited them, and let them get the best of him for the past 40-plus years.

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 - Floating Point + Meeting Of The Minds. The Making of Floating Point [CD+DVD] (2008) {Abstract Logix}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 463 Mb | MP3 @320 -> 150 Mb
DVD5 -> 3.81 Gb | All Regions | NTSC 16:9 | Dolby AC3, 2 ch | ~ 80 m | ISO Image
Full Artwork @ 300 dpi (jpg) -> 110 Mb | 5% repair rar
© 2008 Abstract Logix / Mediastarz | ABLX 011 / ABLX 012
Jazz / Fusion / World Fusion / Indian

From his wiry, Eastern-influenced solos on Miles Davis's BITCHES BREW through his world fusion forays with the Mahavishnu Orchestra and Shakti, guitar virtuoso John McLaughlin has always shown a keen interest in Indian music. Some 40 years into his career, that influence still holds sway, as 2008's FLOATING POINT attests. Though the synth guitar and polished production make the album less edgy than some of McLaughlin's work from the 1970s, there's no shortage of stunning instrumental work and bold, brain-bending ideas. Recorded in India with mostly Indian musicans, FLOATING POINT is another impressive notch in the guitar icon's lifelong pursuit of East-West fusion.

Excellent addition to any Jazz-Fusion music collection.
Though this fitfully inspired yet always intelligently musical record is an electric album, McLaughlin is more often heard on acoustic guitar in something resembling his electric manner, along with more pronounced classical and flamenco influences.

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.