John Mclaughlin

John McLaughlin - Floating Point (2008)
EAC rip (secure mode) | FLAC+CUE+LOG -> 419 Mb | MP3 @320 -> 139 Mb | Artwork
© 2008 Abstract Logix | ABLX 001
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 2009'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.

For Floating Point, which was recorded in India, McLaughlin used several of the best Indian musicians in the world. "Now while this CD features predominantly Indian musicians, we are in quite another form compared to the group Shakti," McLaughlin says. "

"Love Devotion Surrender" is an album released in 1973 by guitarists Carlos Santana and John McLaughlin, with the backing of their respective bands, Santana and The Mahavishnu Orchestra. The album was inspired by the teachings of Sri Chinmoy and intended as a tribute to John Coltrane. It contains two Coltrane compositions, two McLaughlin songs, and a traditional gospel song arranged by Santana and McLaughlin. It was certified Gold in 1973.

Two years after they recorded Friday Night in San Francisco, John McLaughlin, Al di Meola and Paco de Lucía reunited for another set of acoustic guitar trios, Passion, Grace and Fire, If this can be considered a guitar "battle" (some of the playing is ferocious and these speed demons do not let up too often), then the result is a three-way tie. This guitar summit lives up to its title.

The album was very well received, winning the 2010 Grammy Award for Best Jazz Instrumental Album!
Chick Corea and John McLaughlin share one of the great pedigrees in the music of the 20th century: they were both key sidemen on Miles Davis' seminal albums In a Silent Way and Bitches Brew. They have played together since those heady days, as a duo or as sit-in guests. Five Peace Band was Corea's idea of putting together a dream band to play all kinds of jazz, and he approached McLaughlin. Corea chose the other members in saxophonist Kenny Garrett, drummer Vinnie Colaiuta, and bassist Christian McBride…

John McLaughlin - Music Spoken Here (1982)
EAC Rip | APE, IMG+CUE, LOG | 184,5 MB | MP3 CBR 320 Kbps | 81,5 MB | Complete Scans (300 dpi, png) | 26,4 MB
Jazz-Fusion | Label: Warner Music | Catalog Number: 0630-17157-2 | Time: 38:32 | RAR | RS.com

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. This quintet, along with bass and drums, contained two keyboard players, Francois Couturier and the noted classical pianist Katia Labeque (who was McLaughlin's companion). Labeque, seated at a Synclavier and a grand piano, has acres of technique and almost no feeling for jazz, though she is adept at providing moody backdrops, and her rapid-fire synth runs and Jarrett-like etudes on the Steinway aren't too far away stylistically from McLaughlin's helter-skelter flurries. In a continued homage to McLaughlin's once and future employer Miles Davis, "Blues for L.W." brazenly quotes "Blues for Pablo," and sometimes the music texturally resembles the heavily synthesized things that Miles would soon be putting out. AMG

Master fusion guitarist John McLaughlin headlines this epic-length instructional package on mastering guitar improvisation. The program is divided into twelve unique chapters, with subtopics including The Symmetric Scale, Chromaticism, The Harmonic Minor Scale, Odd Time Signatures and more. The program's approach enlists a combination of elements, including but not limited to: three videos running simultaneously (left hand and right hand, with in-sync notation), videotaped analysis of McLaughlin's own improvisations, practice tracks in each chapter using the identical chord progressions, and many other tools.