| T O P I C R E V I E W |
| lemonade kid |
Posted - 07/09/2011 : 17:20:11
The Mahavishnu Orchestra was a jazz-rock fusion group, led by John McLaughlin, that debuted in 1971, dissolved in 1976 and reunited from 1984 to 1987.
Listen to this insane display of virtuosity while reading on!!
http://www.youtube.com/watch?v=C-fbspvJ1lM&feature=related
The band's original lineup featured "Mahavishnu" John McLaughlin on acoustic and electric guitars, with members Billy Cobham on drums, Rick Laird on bass guitar, Jan Hammer on electric and acoustic piano and synthesizer, and Jerry Goodman on violin. This first incarnation of the ensemble was a multinational group: McLaughlin is from Yorkshire, England; Cobham from Panama; Hammer from Prague, Czechoslovakia; Goodman from Chicago, Illinois; and Laird from Dublin, Ireland. Jean-Luc Ponty was actually McLaughlin's first choice for violinist, but the idea was stalled by "immigration problems". Ponty would later play with McLaughlin on both Apocalypse and Visions of the Emerald Beyond. The group is best known for their albums The Inner Mounting Flame (1971) and Birds of Fire (1973).
This group was considered an important pioneer in the jazz fusion movement. McLaughlin and Cobham met while performing and recording with Miles Davis during the Bitches Brew sessions. McLaughlin was also influenced in his conception of the band by his studies with Indian guru Sri Chinmoy, who encouraged him to take the name "Mahavishnu" which means "Divine compassion, power and justice."
McLaughlin had particular ideas for the instrumentation of the group, in keeping with his highly original concept of genre-blending in composition. He particularly wanted a violinist as an integral contributor to its overall sound. As the group evolved, McLaughlin adopted what became his trademark: a double neck guitar (six-string and twelve-string) which allowed for a great degree of diversity in musical textures, and Hammer became one of the first to play a Mini Moog synthesizer in an ensemble, which enabled him to add more sounds and solo more freely, on the guitar and the violin.
Their musical style was an unprecedented blending of genres: they combined the high-volume electrified rock sound that had been pioneered by the Small Faces, The Who and later by Jimi Hendrix (who McLaughlin had jammed with on his initial arrival in New York as part of the Tony Williams Lifetime), complex rhythms in unusual time signatures that reflected McLaughlin's interest in Indian classical music as well as funk, and harmonic influence from European classical music. The group's early music was entirely instrumental; their later albums had songs which sometimes featured R&B or even gospel/hymn-styled vocals. In the aforementioned two albums, though, the group goes from an intense fusion of upbeat genres (a representative example of which is the song "Vital Transformation") to very serene, chamber music-like tunes, such as "A Lotus On Irish Streams," a composition for acoustic guitar, piano and violin, and "Thousand Island Park," which drops the violin and incorporates double bass; or from low-key to extremely busy in a single piece, such as "Open Country Joy."
So Robert Christgua gives the above LP an "A" (but of course I never listen to Robert!!)....all five star reviews of "The Inner Mounting Flame"
But you can believe your ears!!
Billy Cobhan on drums...WOW!!
http://www.youtube.com/watch?v=cZNJEpaZXbs&feature=related
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Sometimes I have good luck...
& write better than I can.
-Hemmingway |
| 2 L A T E S T R E P L I E S (Newest First) |
| lemonade kid |
Posted - 07/09/2011 : 18:37:43
Some very good reviews that hit the mark for arguably the finest JAZZ-ROCK FUSION album ever recorded!
THE INNER MOUNTING FLAME
Amazon.com
Reissued with sparkling audio and exclusive photographs, this first, 1971, Mahavishnu album certainly vies for the title of the greatest of all jazz-rock recordings. Through spiritually questing flights of intense fury and exquisite quiet, it never loses its sense of inexorable force. Jan Hammer (keyboards), Jerry Goodman (violin), and bassist Rick Laird are completely sympathetic with guitarist John McLaughlin's vision as the music abandons the standard jazz format of successive solos in favor of rapid, heightening, braided, interactive contributions--a structure much drawn from Indian classical music. Astoundingly, the music retains discipline. For that, thank Billy Cobham: Through all the expressive, irregular meters, he remains a steady, resolved engine of percussion, vastly resourceful but ultimately reserved. McLaughlin's alchemy distills many worlds of music-the jazz-guitar masters, flamenco, blues, Indian forms, and his experience in the innovations of the seminal jazz-rock outfits of Miles Davis and Tony Williams. Of course, distortion, feedback, and arena-rock amplification were crucial, as was the influence of Sri Chinmoy, McLaughlin's spiritual guide. "The Noonward Race," "Vital Transformation," and "The Dance of Maya" are music for the ages.
-- Peter Monaghan
The Mahavishnu Orchestra's 1971 debut album _The Inner Mounting Flame_ is a treasure in the world of fusion. It's rhythmically complex and involved, but dynamic and fiery. Jazz-inflected rock made accessible to nearly anyone who appreciates rock with sophistication. But, sophisticated doesn't necessarily mean feeble, as this music is bursting with energy and intensity.
Guitarist John McLaughlin (who had worked with Miles Davis not too long before this album and band came together) composed all of these tracks, which are spirituality-oriented - as evidenced by some of the song titles. These spiritual leanings can be latched onto, or they can simply be ignored - intentionally or inadvertently, either way, the music is powerful enough to outweigh any cogitation on the underlying motives of the music. It more than likely will grab hold of you in the biggest way possible, regardless of your disposition towards spirituality. While virtuosic musicianship is abound, you'd be challenged to call this nothing more than a tasteless exhibition of technical prowess. There's plenty of meat with flavor in this smorgasbord.
"Meeting of the Spirits" opens up with a suspended musical atmosphere, full of ominous tension, and fairly explosive drum pyrotechnics from Billy Cobham. What follows is a slightly angular, yet tasty rhythmic combo comprised of passionate guitar soloing from McLaughlin, tasteful, complementary violin work, thumping basslines, and flavor-filled snare hits from Cobham. Of course, his snare drumming is not the only thing impressive here, and on the album in general. An excellent opener.
"Dawn" is an extremely beautiful ballad-like number with a 7/4-ish rhythm, and exhibits subtle touches of R&B, jazz and modern classical. McLaughlin finds time amidst this beauty to inject the atmosphere with some passionate soloing. Later, in the second half of the track, things speed up, and we are treated to a genuinely moving melody embedded in the up-tempo jam exhibiting a mix of rock, R&B and gospel. Could easily see this played in church. Extremely moving, and gets loads of repeat time in my stereo.
"Noonward Race" is fast-paced like it's title would possibly suggest. Highly energetic playing from Cobham, fast soloing from McLaughlin, as well as the swapping of instrumental lines between each member of the band. Jerry Goodman gives us charged violin lines, Jan Hammer gives us fast, but tasteful and interesting keyboard lines, and Rick Laird, while mostly playing a supporting role here, does no more than he needs to.
"A Lotus On Irish Streams" gives us a break from the fast-paced energy preceeding this, with it's gently serenading, ethereal and elegant atmosphere. While on the gentle side, McLaughlin finds time to display a lightning-fast solo here and there. Lush, willowy keyboard textures from Jan Hammer dominate this track, but the contributions from violinist Jerry Goodman add extra relevance to the flavor and overall atmosphere of the track.
"Vital Transformation" features what is probably the hottest, funkiest, tastiest, most groove-oriented 9/8 meter to be experienced: almost guaranteed to get that old rump of yours shaking, ditto with the rest of your body, as well as your soul. This track is jam-packed with energy and charisma: powerful, charismatic drumming, tasty guitar & violin dueling, excellent basswork -- an absolute knockout. A mix of mutated country, R&B, funk and rock: progressive in all the right ways. Virtuosism combined with taste is at a maximum here.
"The Dance of Maya" displays snaky, mind-teasing rhythmic patterns, as parallel with the melodic lines. Cobham plays a bluesy drum pattern in 10/8, which continues through the remainder of the track. Later, this blues-romp kicks in, and Billy, once again, plays the blues-derived 10/8 meter, while this time, the instrumental motif shifts to fully parallel that of Billy's blues-romp rhythm. The sudden switch of instrumental motifs (excepting Billy's drum rhythm) may lead many to believe that the meter, and Billy's drum pattern have changed, when they more than possibly have not. The whole track, I believe is in 10, yet there are so many subtle tricks going on rhythmically, I fear embarrassment if I attempt to articulate them all. Excellent track here.
"You Know, You Know" is a slow jam in common time, but features odd accent placements, which can confuse many listeners into thinking that the tune is in an odd time signature. Another one of those tracks to let you gain a breather from the high-energy musings of past. Fluid, tasteful R&B-infused arpeggios and basslines dominate this track. Billy Cobham takes on more of a subtle, but equally effective role here, which in the least, showcases his versatility on his instrument.
"Awakening" sees the boys saving the wildest for last. This is the most energetic, fast-paced, virtuosic track on the album. Machine-gun drumming, lightning-fast passages from guitar, bass, violin and keyboards: all in unison, and at other times, separately. Strangely, this is the shortest track on the album, though with all of the hyperactivity crammed here, one gets the sense that it need not be any longer. Excellent musicianship all-around.
High-quality musicianship and taste to match. Fans of high-energy, virtuosic rock should soak this up. If you're into Jimi Hendrix, Frank Zappa, King Crimson or the like, you shouldn't pass this up. Rumor has it that the Mahavishnu Orchestra had an influence on the 1973-1974-era King Crimson. If there's any truth to that, I wouldn't be surprised. This outfit were highly influential on many musicians, especially of the virtuosic category. Pick this up, and see what all the fuss is about.
-SAMSHOT-Starland
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Sometimes I have good luck...
& write better than I can.
-Hemmingway |
| lemonade kid |
Posted - 07/09/2011 : 18:12:48
The Inner Mounting Flame--their first album.....!!!
Seriously?!! Damn!!
Meeting Of Spirits
http://www.youtube.com/watch?v=DQG7XpCiSVA
_____________________________________________
Sometimes I have good luck...
& write better than I can.
-Hemmingway |
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