JOHN MCLAUGHLIN - BLACK LIGHT

JOHN MCLAUGHLIN
''BLACK LIGHT''
SEPTEMBER 18 2015
46:58

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1 Here Comes The Jiis 06:28
2 Clap Your Hand 06:01
3 Being You Being Me 05:43
4 Panditji 06:18
5 360 Flip 06:37
6 El Hombre Que Sabia 05:37
7 Gaza City 04:17
8 Kiki 05:55
All Tracks By McLaughlin

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John McLaughlin/Guitars Acoustic & Electric, Synthesizer
Gary Husband/Piano, Synthesizer, Percussion, Drums
Etienne Mbappé/Bass Guitar
Ranjit Barot/Drums, Vocals

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BIOGRAPHY/AMG
Steve Huey
One of fusion's most virtuosic guitar soloists, John McLaughlin placed his blazing speed in the service of a searching spiritual passion that has kept his music evolving and open to new influences. Whether shredding on electric or simmering quietly on acoustic, McLaughlin's intensity and underappreciated versatility have nearly always kept his playing vital, and his best moments -- whether as a solo artist or bandmember -- represent some of fusion's greatest recordings.

McLaughlin was born January 4, 1942, in Yorkshire, England, and began playing guitar at age 11. Initially attracted to blues and swing, he worked with British artists like Georgie Fame, Graham Bond, Brian Auger, and Ginger Baker. McLaughlin formed his own band in 1968, and recorded the excellent debut Extrapolation in early 1969. Later that year he moved to New York to join Tony Williams' groundbreaking fusion band Lifetime, and appeared on the classic Emergency! Through Williams, McLaughlin was invited to join Miles Davis' band, and became an important part of fusion landmarks like In a Silent Way, Bitches Brew, and A Tribute to Jack Johnson. In 1970, wanting to explore acoustic and Eastern music, McLaughlin recorded the classic My Goal's Beyond; he soon left Davis, and after one further solo album, Devotion, McLaughlin spent some time woodshedding.

He re-emerged in 1971 as leader of the Mahavishnu Orchestra, a seminal band that did much to define and popularize early jazz-rock fusion, as evidenced by the albums The Inner Mounting Flame, Birds of Fire, and Visions of the Emerald Beyond. Pausing to record Love Devotion Surrender with Carlos Santana in 1972, McLaughlin led Mahavishnu until 1975. Returning to spiritual preoccupations on My Goal's Beyond, he then formed Shakti, which fused acoustic jazz with Indian music over the course of three albums. McLaughlin returned to his solo career in the late '70s, forming a backing outfit called the One Truth Band, and also recording the guitar trio albums Friday Night in San Francisco and Passion, Grace & Fire with fellow fusion burner Al di Meola and flamenco guitarist Paco de Lucia. As the '80s went along, McLaughlin experimented with classical-jazz hybrid composing; there was also a short-lived Mahavishnu reunion in the mid-'80s.

In the 1990s McLaughlin continued to record steadily in both electric and acoustic groups. He signed to Verve, where he would remain for 13 years. Some of the more notable albums from that period include the acoustic Time Remembered: John McLaughlin Plays Bill Evans in 1993; After the Rain with Elvin Jones and Joey DeFrancesco in 1995; and 1996's The Promise, which featured the guitarist in a number of settings, including a reunion with his acoustic trio partners di Meola and de Lucia, and a trio with DeFrancesco and drummer Dennis Chambers. The drummer was also a part of McLaughlin's final album of the decade, Heart of Things, a furious bout of electric jazz.

The 21st century found McLaughlin in another nostalgic mood, releasing Remember Shakti: The Believer, a live set featuring the guitarist (playing electric guitar) with electric mandolinist U. Shrinivas, kanjira and ghatam player V. Selvaganesh, and legendary tabla player Zakir Hussain. While it wasn't a Shakti album proper, it nonetheless echoed that group's intricate and amazing rhythmic and harmonic breakthroughs. The group toured and released Saturday Night in Bombay a year later. McLaughlin's Euro-classical-leaning Thieves and Poets appeared in 2003. In 2004, WEA in Germany issued the massive 17-CD box set of McLaughlin's Montreux Concerts, which featured performances recorded between 1974 and 1996. Industrial Zen, released in 2006, was a mixed-bag recording where the guitarist's ambitions ran wild. It was his final album for Verve.

In 2008 McLaughlin issued Floating Point, an extension of many of the concepts on Industrial Zen, on the Abstract Logix imprint. The final track on that album was entitled "Five Peace Band"; it served as the name for a supergroup assembled by McLaughlin and Chick Corea for a one-off world tour. The other members were saxophonist Kenny Garrett, drummer Vinnie Colaiuta, and bassist Christian McBride; an album of the same name was released in 2009 on Concord. To the One, issued in 2010, debuted his new 4th Dimension band, whose lineup included veterans of his other groups: Gary Husband on keyboards and drums, Etienne Mbappe on electric bass, and drummer Mike Mondesir. This group became a collaborative, creative anchor for the guitarist, much as the early Mahavishnu Orchestra had been.

McLaughlin resurfaced two years later with Now Here This. The album featured the lone change in the 4th Dimension lineup as drummer and vocalist Ranjit Barot replaced Mondesir. Barot had collaborated with the guitarist on Floating Point, but was long established and celebrated as a film composer, music director, arranger, and vocalist. He was also a longtime associate of filmmaker/composer A.R. Rahman. This group toured the world, and followed up with Now Here This in 2012. They were captured live on-stage during the last night of a tour at the Berklee College of Music; the set was released as The Boston Record in 2014.

Over the previous couple of years, McLaughlin had been in communication again with de Lucia in hopes of recording together. It never happened. The Spanish guitarist passed away in February of 2014. McLaughlin and 4th Dimension released Black Light in the fall of 2015. Among its tracks was the acoustic number "El Hombre Que Sabia," a tribute to the flamenco master.

https://www.filefactory.com/file/5dojglqrf339/JOHN%20MCLAUGHLIN%20-%20BLACK%20LIGHT%20%282015%29.rar

JOHN MCLAUGHLIN & The 4th Dimension - The Boston Record

Artist : John McLaughlin & The 4th Dimension
Album : The Boston Record
Year : 2014
Genres : Jazz
Format : .mp3 / 320 Kbps
Size : 144.41 MB
Tracklist:
01 – Raju      08:35
02 – Little Miss Valley      09:21
03 – Abbaji      06:53
04 – Echos From Then      08:15
05 – Senor C. S.      02:49
06 – Call & Answer      09:17
07 – Maharina      04:56
08 – Hijacked      06:45
09 – You Know You Know      06:11
http://fp.io/a435eef7/

CARLOS SANTANA & JOHN MCLAUGHLIN - Invitation to Illumination: Live at Montreux 2011

Carlos Santana & John McLaughlin – Invitation to Illumination: Live at Montreux 2011 (2013)

Montreux 2011Back in 1973, Love Devotion Surrender was an unevenly received jazz fusion collaboration between Mahavishnu John McLaughlin, as he was calling himself at the time, and Carlos Santana. In a sense, McLaughlin was the senior partner of the pair.
Three years before introducing Santana to his spiritual master, McLaughlin had become a disciple of the guru Sri Chinmoy, from whom he got the name Mahavishnu. Both his second solo album, My Goal’s Beyond (1973) as well as Love Devotion Surrender were dedicated to Chinmoy. Both included writings from Chinmoy on the covers, and, on the latter, he is seen on the back photo with his hands on the shoulders of his two white-suited disciples, McLaughlin and the new convert, Santana.
Musically, McLaughlin was also the leader of the partnership. Santana, of course, was the guitarist for the Latin-rock band named after him with several hit albums and a memorable appearance at Woodstock in his resume. At the time, McLaughlin was a pioneer of the sub-genre of jazz-rock fusion with stints with Miles Davis and the Tony Williams Lifetime behind him. He was the leader of The Mahavishnu Orchestra and was famous for his double-necked guitar—one six-string, one twelve.
While Love Devotion Surrender was dedicated to Chinmoy, it was also clearly a tribute to jazz giant John Coltrane. As such, Santana was venturing into McLaughlin’s playground even as many of the players on the five extended tracks drew both from The Mahavishnu Orchestra and Santana’s own group. The final result, produced by both McLaughlin and Santana, ended up pleasing the jazz fusion crowd more than Santana’s rock base, and even in the more high-brow world of jazz enthusiasts, the experiment met with mixed critical response.
Thirty-eight years later, Love Devotion Surrender was revisited live at Montreux, and that one-time only concert is now available on Blu-ray, DVD, or on digital formats as Invitation to Illumination: Live at Montreux 2011. Now, if anyone’s the senior partner, it’s Santana. In 2011, McLaughlin was only the most recent star to join Santana for one of his many Montreux performances. But, in the main, this was very much a collaborative effort with considerable input from McLaughlin, to put it mildly. After all, Santana and McLaughlin are two seasoned pros who both know how to light up the pyrotechnics, glide into interwoven melody lines, or restrain their fingers to give the other guy space to show off his chops.
To begin, all but one track from Love Devotion Surrender (excluding “Meditation”) were redone on that July 2011 night, including John Coltrane’s “A Love Supreme” as well as “The Life Divine,” the latter a McLaughlin reworking of “A Love Supreme.” “Let Us Go Into The House Of The Lord” was and is a Santana/McLaughlin arrangement of the gospel standard. One very nice section is when the two guitarists pick up their acoustic guitars to play Coltrane’s “Naima,” which was on Love Devotion Surrender, and the flamenco-flavored “Lotus Land Op 47, No. 1,” which wasn’t.
The rest of the performance, depending on your taste, can be described as the pair trying to offer something for everybody. As a result, much of the concert doesn’t have any real flow or continuity and sometimes just seems simply padded. True, when the performers stay close to the jazz/rock format, they soar the highest. For example, after McLaughlin described his admiration for Tony Williams, the ensemble performed two numbers from the Lifetime catalog, “Vuelta Abajo” and “Vashkar.” Going back to his work with Miles Davis, McLaughlin updates “Right Off” which he played on the 1971 Davis-penned soundtrack, A Tribute To Jack Johnson as well as “Black Satin” from the 1972 release, On The Corner.
But the nods to the duo’s inspirations strain from time to time, most notably the medley of “Peace On Earth”/”A Hard Rain’s A-Gonna Fall”/”Stairway To Heaven”/”Our Prayer”/”SOCC.” While it was nice to see the late Claude Nobs, founder of the Montreux Jazz Festival, playing harmonica on the final John Lee Hooker boogie “Shake It Up And Go,” the jam wasn’t a convincing blues outing. Well, it had more grit than “Downstairs Blues,” as much a paint-by-numbers guitar blues performance as you’re likely to hear.
Without question, the backup band was first rate. Special kudos must go to Cindy Blackman Santana for drum work rivaling percussion masters like Tony Williams—to whom McLaughlin compares her—as well as two of the drummers who played on Love Devotion Surrender: Billy Cobham (Mahavishnu Orchestra) and Michael Shrieve (Santana). Blackman Santana once played with Pharoah Sanders, and his “The Creator Has A Master Plan” is part of the set list.
Keyboardist David K. Mathews also added considerable texture and drama throughout the entire set. Gratefully, he plays traditional organ and piano and not the electronic synthesizers that came to dominate the jazz/rock genre in the ’70s. Other contributors included Dennis Chambers (drums), Tommy Anthony (guitar and vocals), Raul Rekow (percussion), Etienne M’Bappé (bass), Benny Rietveld (bass), and occasional vocalists Tony Lindsay and Andy Vargas.
As we’ve come to expect from all the Montreux concerts issued from Eagle Rock Entertainment, both the visuals and sound are captured in state-of-the-art quality. Mostly. In this case, while the instruments are mixed perfectly, it’s often hard to hear the introductions and comments from McLaughlin or Santana.
In the end, Invitation To Illumination is a disc for those into the jazz/rock fusion era or those who enjoy watching guitar virtuosos cutting loose with a variety of material.
01. Echoes of Angels/Introductions
02. The Life Divine
03. Medley: Peace on Earth/A Hard Rain’s A Gonna Fall/Stairway to Heaven/Our Prayer/SOCC
04. Right Off
05. Vuelta Abajo
06. Vashkar
07. The Creator Has a Master Plan
08. Naima
09. Lotus Land Op. 47, No. 1
10. Downstairs
11. Venus/Upper Egypt
12. Let Us Go Into the House of the Lord
13. Black Satin
14. Cindy Blackman Santana Drum Solo
15. A Love Supreme
16. Shake It Up and Go
Personnel:
Carlos Santana – Lead Guitar & Vocals
John McLaughlin – Lead Guitar & Vocals
Cindy Blackman Santana – Drums
Dennis Chambers – Drums
David K. Mathews – Keyboards
Tommy Anthony – Guitar & Vocals
Raul Rekow – Congas, Percussion & Vocals
Etienne M’Bappé – Bass
Benny Rietveld – Bass
Tony Lindsay – Vocals
Andy Vargas – Vocals
http://fp.io/33c33e4d/

SANTANA - MCLAUGHLIN, Berkeley Community Theatre Berkeley, CA - 09/05/1973

Santana - McLaughlin
September 5, 1973
Berkeley Community Theatre
Berkeley, CA
SOUNDBOARD

Early Show:

101. Meditation (1:47)
102. The Life Devine (18:53)
103. A Love Supreme (20:20)
104. Flame Sky (22:12)
105. Let Us Go Into The House Of The Lord (16:27)

Late Show:

201. Meditation (1:57)
202. The Life Devine (10:30)
203. A Love Supreme (24:18)
204. I'm Aware Of You (21:42)


John McLaughlin - six- and twelve-string guitar
Carlos Santana - guitar
Larry Young - organ
Doug Rauch - bass
Armando Peraza - congas
Billy Cobham - drums


Concert Summary

In 1973, guitarists John McLaughlin and Carlos Santana were both venturing down a similar path. Both had become disciples of the spiritual teacher, Sri Chimnoy and they were both actively pursuing a spiritual path within their music. Both musicians also held the music of John Coltrane in the highest regard and these common interests led them to collaborate on an album. That recording, Love Devotion…entire summary

In 1973, guitarists John McLaughlin and Carlos Santana were both venturing down a similar path. Both had become disciples of the spiritual teacher, Sri Chimnoy and they were both actively pursuing a spiritual path within their music. Both musicians also held the music of John Coltrane in the highest regard and these common interests led them to collaborate on an album. That recording, Love Devotion Surrender was greeted with mixed reactions at the time, but there was no denying that it contained some of the most blistering guitar playing ever committed to tape. For Santana, the album was a serious departure from the Latin-flavored rock that his fans had embraced, but was clearly a signpost to where he was heading. McLaughlin was already one of the most respected jazz guitarists on the planet and had been directly involved in some of the most influential music of the past few years, having played with Miles Davis during his transition into electric music and with his own group, Mahavishnu Orchestra. The album was not for the faint of heart or the casual listener. The depth of concentration between the musicians was difficult to fathom at first, but repeated listening revealed that these musicians had indeed tapped into something very special. In retrospect, the jazz-rock fusion recorded for this album holds up rather well and the brief tour that occurred in support of the album contained some the most inspired performances of either guitarist's career.

Two of the most memorable concerts of that tour occurred at the intimate Berkeley Community Theater. The early show begins with the plaintive and delicate "Meditation," setting a tone of quiet contemplation. This transitions into the first serious exploration, "The Life Divine." This complex composition is not unlike McLaughlin's work with Mahavishnu Orchestra, containing a heavy emphasis on rhythm with a freeform jazz quality running throughout. It vacillates between moodiness and an infectious funkiness. Although the guitar soloing is often relentless, it is never without expressiveness. The guitarists have left their egos behind here and the concentration level is staggering.

After almost 19 minutes of blazing musicianship, they transition into their interpretation of John Coltrane's masterpiece, "A Love Supreme." Any attempt at performing this piece, which stands as one of Coltrane's ultimate compositions, was bound to be met with plenty of skepticism and controversy. However, these musicians create a beautiful and reverent exploration that manages to capture the energy of Coltrane's original work. Initial listening can be disorienting, as the guitar and electronic instrumentation is radically different from the original, but the musicians respect for the religious and spiritual qualities, as well as their passion for the composition itself are obvious. The group's improvisations are fantastic explorations, and although individual musicians can easily be singled out for their incredible technique and precision, there is a beautiful balance here, with everyone contributing to this passionate performance. The free flowing improvisation never abandons the lyrical beauty of the composition.

"Flame Sky" continues the set with another lengthy exploration. This again features an unbelievable energy level, with plenty of searing guitar solos. Larry Young's organ playing is relentlessly creative and distinctive on this piece and Cobham's drumming is nothing short of awe-inspiring. Like the guitarists, in this particular context, all the musicians are performing with a dexterity that seems superhuman.

The set concludes with "Let Us Go Into the House of the Lord," originally the longest song on the album. Based on a recording by Pharoah Sanders, this is one of the most interesting compositions in this group's repertoire. It is also probably the most accessible to Santana fans, as it incorporates rock, blues and Latin influences more overtly than the group's other material. While at times the music is more melodic and cerebral than what preceded it, there is still plenty of technical virtuosity making this one of the most captivating performances of the concert. Santana has never sounded more passionate or confident than he does here and the interplay between he and McLaughlin is nothing short of astounding. These musicians are on fire, playing with an intensity and passion that has rarely been achieved in front of an audience. The adjective "intense" has been applied to many performances throughout history, but never was it more applicable than it is here.

The late show begins with the plaintive and delicate "Meditation," setting a tone of quite contemplation. This transitions into the first serious exploration, "The Life Divine." This complex composition is not unlike McLaughlin's work with Mahavishnu Orchestra, containing a heavy emphasis on rhythm with a freeform jazz quality running throughout. It vacillates between moodiness and an infectious funkiness. Although the guitar soloing is often relentless, it is never without expressiveness. The guitarists have left their egos behind here and the concentration level is staggering. While only half the length compared to the early show performance, it is nonetheless bubbling with creativity and leads into even more amazing performances.

Following "A Life Divine," they transition into their interpretation of John Coltrane's masterpiece, "A Love Supreme." Any attempt at performing this piece, which stands as one of Coltrane's ultimate compositions, was bound to be met with plenty of skepticism and controversy. However, these musicians create a beautiful and reverent exploration that manages to capture the energy of Coltrane's original work. Initial listening can be disorienting, as the guitar and electronic instrumentation is radically different from the original, but the musicians respect for the religious and spiritual qualities, as well as their passion for the composition itself are obvious. The groups improvisations are fantastic explorations and although individual musicians can easily be singled out for their incredible technique and precision, there is a beautiful balance here, with everyone contributing to this passionate performance. The free flowing improvisation never abandons the lyrical beauty of the composition.

Not included in the early show, "I'm Aware Of You" follows. This again features an unbelievable energy level, with plenty of sizzling guitar solos. Larry Young's organ playing is relentlessly creative and distinctive and the interplay between Santana and McLaughlin is nothing short of astounding. A close listen will reveal the group touching on several other Coltrane classics within the context of their improvisations. At one point they soar into Coltrane's "Afro Blue" and at another, Santana can be heard quoting Coltrane's phrasing on "My Favorite Things."

Although incomplete, this set once again displays these musicians playing with an intensity and passion that has rarely been achieved in front of an audience.

http://fp.io/b413mcae/

JOHN MCLAUGHLIN / CARLOS SANTANA - RECORDED LIVE IN CHICAGO 1974

John McLaughlin (born 4 January 1942, Doncaster, South Yorkshire, England), also known as Mahavishnu John McLaughlin, is an English jazz and jazz fusion guitarist and composer. He played with Tony Williams's group Lifetime and then with Miles Davis on his landmark electric jazz-fusion albums In A Silent Way, Bitches Brew, A Tribute to Jack Johnson and On The Corner. His 1970s electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused eclectic jazz and rock with eastern and Indian influences. His guitar playing includes a range of styles and genres, including jazz, Indian classical music, fusion, and Western classical music, and has influenced many other guitarists. He has also incorporated flamenco music in some of his acoustic recordings. The Indian tabla maestro Zakir Hussain has called John McLaughlin "one of the greatest and one of the important musicians of our times". In 2010, Guitarist Jeff Beck called him "the best guitarist alive". In 2003, McLaughlin was ranked 49th in Rolling Stone magazine list of the "100 Greatest Guitarists of All Time".
http://www.fileserve.com/file/82FecX2