John Mclaughlin

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.

For his next act, the decibel champion of electric jazz shocked the world by unplugging and returning to South Indian music before an excitable audience at South Hampton College. Yet the alert John McLaughlin follower will note that beyond the reliance upon South Indian instruments and scales, there are unbroken links to records like My Goal's Beyond and the high-speed electric music that McLaughlin was casting aside at the moment. McLaughlin called his new quintet Shakti, which means "creative intelligence and beauty and power" and the music here has all of that and something else, a ferocious streak inherited from the Mahavishnu days.

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.

Two guitar giants. A collective band comprised of virtuosic instrumentalists. One shared goal. And one tremendous album, commonly referred to as the equivalent of aural nirvana. Still the only meeting of Santana and John McLaughlin, Love Devotion Surrender more than lives up to the promise offered by its principal creators as it’s a spiritual journey based in divine faith, religious toleration, and the forward-thinking philosophy that music can take us closer to the truth. These enlightening concepts are reflected in the playing of Santana and McLaughlin, who repeatedly hit a higher plane on this stunning 1973 set.
Having each become a follower of Indian guru Sri Chinmoy, Santana and McLaughlin began playing together in 1972, with each legend currently in the midst of personal and creative transition…

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).