Mclaughlin

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…

Though this fitfully inspired yet always intelligently musical record is an electric album, McLaughlin is more often heard on acousticintet, 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.

Various Artists - Abstract Logix Live! The New Universe Music Festival 2010 (2011) {Abstract Logix ABLX030} (John McLaughlin)
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© 2011 Abstract Logix | ABLX030
Jazz / World Fusion / Jazz Rock / Guitar

On the face of it, this live double-album is an expert genuflection to jazz-rock fusion, with five guitarists and a crop of punchy drummers (including Return to Forever's Lenny White and percussion virtuoso Zakir Hussain) to confirm it. But the playing of the seven bands is anything but predictable. The members sit in with each other here, and their embrace of risk and the pleasure they take in spontaneous performance are palpable. John McLaughlin and the 4th Dimension have Hussain sit in for usual drummer Ranjit Barot in two fiercely vivacious pieces, including an infectious, choppy, 20-minute Hussein showcase, Mother Tongues. Barot leads a violin-dominated Indian-inflected sextet featuring the New York guitar maverick Wayne Krantz as a guest; Krantz also appears with an edgy avant-fusion trio. The chord-crunching, metal-inspired guitarist Alex Machacek opens proceedings with a fast-moving group extensively featuring electric bassist Neal Fountain.

John McLaughlin - Floating Point + Meeting Of The Minds. The Making of Floating Point [CD+DVD] (2008) {Abstract Logix}
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© 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.

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 - 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. "

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