Guitarist John McLaughlinHistory by Sandy Freeze (a.k.a.:guitalife) |
[E|--------r0|E\ [B|----a0++++|B \ [G|------m5++|G 3x [D|--k4++++++|D...\ [A|,---,---;-|A_& \ [E|K4++++++++|E k5K7k0 [~`Ab7+9b13 | Arpeggios from ~BIRDS OF FIRE~ _______________ _______________ _______________ K\/k_r)a)m) |
[E|--------r0|E\ [B|----a0++++|B \ [G|------m7++|G 3x [D|--k6++++++|D...\ [A|,---,---;-|A_& \ [E|K6++++++++|E k6K7k0 [~`Bb7b9b5 |
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My links are from fellow McLaughlin-aholic links belOW, for "OW-er" musician of most mutual interest, The Musician |
See John McLaughlin's Official Web Page http://www.johnmclaughlin.com |
_ARRIVAL_ John McLaughlin had to do more than look out for New York City's right hand lane traffic patterns in the Big Apple. Upon going to the U.S., the guitarist found himself, a white English-born European, standing in The Club Baron in Harlem, playing with the sparkplug of Miles Davis' late `60's rythym section, Tony Williams, and another personal favourite, organist Larry Young. In the club also, that evening was, the equally ground-breaking, Larry Coryell, who related to the late Leonard Feather, in Down Beat magazine," I first heard John at Count Basie's in Harlem with Tony Williams and Larry Young. After 30 seconds of his first solo,I turned to my wife and said,' this is the best guitar player I've ever heard in my life' That night ,everybody was there.. everybody from Cannonball (Adderly)'s group; I think Miles was there...Dave Holland... and we were all totally knocked out by that fantastic debut of John." McLaughlin told C.B.C.'s Robert Karsten's (sic?) in 1978, that, to a European jazz musician, playing in Harlem, was a major achievement. That is, even in context, still British understatement. Miles Davis wasted no time in asking McLaughlin, at the trumpet player's home the next day, to come in and record. Those present on "In A Silent Way" from Dave Holland, Tony Williams, and Saxophonist Wayne Shorter, to the Keyboardists Herbie Hancock, Joseph Zawinul , and Chick Corea, all took care. Miles' approach to the Zawinul compositions performed was a bare bones harmony largely, but it is McLaughlin's guitar that that sings first on the title cut. It predates "My Goal's Beyond" for an example of the lyrical abilty of the otherwise tumultous guitarist. More work with Tony Williams Lifetime, albeit poorly promoted, prevented McLaughlin from accepting long stints in Miles' band, but several sessions including the equally revolutionary "Bitches Brew" prove the Davis ear for talent did not hear the word 'NO' as a case-closed status. Miles would record hours of music for "BITCHES BREW", one cut, under 5 minutes, features John McLaughlin playing over a couple of C Minor vamps. It shocked the guitarist to see "JOHN MCLAUGHLIN" as the title of that tune! (Miles sat out.) "ON THE CORNER" , another Miles Davis session, had McLaughlin riffing mean lines over vamps and incessant percussion textures, guaranteed to tick off Miles' fans of his '60's style. Tony Williams' "EMERGENCY" and "TURN IT OVER" are the legacy of a trio, then a quartet, with The Cream bassist Jack Bruce stepping on board. Any copy or reissue of this work will reward the listener with a most exciting, and disturbing sound. |
___A LITTLE HELP FROM MY FRIENDS__ The circle of musicians that McLaughlin made from meeting Wiiliams, Young, Davis and others turned into a mutual admiration society. Larry Coryell let McLaughlin stay at his home for a while. "SPACES" is an album that reflects the generosity and respect of the day. It's Coryell's all the way. McLaughlin turns in on some tunes, one, "Rene's Theme", a pure acoustic guitar gem, can still keep the word "woodshedding" in a musician s vocabulary. (The album notes by the writer, the late Robert Palmer hold true) Druumer Billy Cobham, bassist Miroslav Vitous, and Chick Corea round out this classic of Coryell's. Music. Period. Miroslav Vitous was an athletically driven Czeckoslovakian emigre. In the 1960's had impressed Joe Zawinul at a music competition in Europe and had subsequently left the Communuist Block country, as had a young pianist ,Jan Hammmer. The Berklee School of Music was in fact a magnet for maybe half of the European musicians of this field to go the U.S.A.. Zawinul had gone there briefly, before establishing himself on the American scene. Guitarists may hang out together, but one singer that may seem an odd name in McLaughlin's Discography is the assured self accompanist, James Taylor. They had mutual acquaintances, luthier Mark Evan Whitebook, and Michael Brecker, the saxophonist, being two of those. McLaughlin's song "Someone" is a very sincere lyric of longing, which JT carries well on "ONE MAN DOG" .McLaughlin weaves a solo in, quite nicely. I loaned out the album to a Brecker fan, never got it back! "Don't Let Me Be Lonely", indeed! |
"Follow Your Heart" Vamp, bars 1-4. "Joe Farrell Quartet" version |
(Play 4x)where (,---)=1/4 beat & (;-)= 1/8 beat ~\,---,,,,,,,,,---;-/~ E|----Z2++++++++++Z4|E B|----Z3++++++++++Z5|B G|----Z2++++++++++Z4|G D|----Z2++++++++++Z4|D A|--k2++++++++++K4++|A E|K0++++++++++K0++++|E ~/ 11/8 meter \ |_,---,---,---,---;-_| |
"Joe Farrel Quartet" has McLaughlin 's "Follow Your Heart" in his single all- out appearance (besides "scratching" in on another cut) ,while Corea (again) sits out. The luminous tone that he had on "In A Silent Way" shines once more. Wayne Shorter, the saxist/composer lynch-pin of Miles Davis 1960's group , once referred to McLaughlin, upon seeing the hirsute bearded hippie cat walk in, "here comes Prince Valiant", in reference to the Classic Comics Character(?). Shorter's "MOTO GROSSO FEIO" and "SUPER NOVA" feature the fierce nordic swordplay of McLaughlin (heh, heh). And Chick Corea plays drums! "MOUNTAIN IN THE CLOUDS" by Miroslav Vitous has a related spirit of music. With Jack de Johnette on drums and Joe Henderson ,on board . John McLaughlin was reportedly asked to join "WEATHER REPORT" but declined. "PURPLE" by Vitous ,includes Zawinul ,McLaughlin,and Cobham,but I haven't heard it. "A TRIBUTE TO JACK JOHNSON" by Miles Davis,may serve as the window on the musical relationship that began between the young percussionist, Panamanian-born Billy Cobham, and McLaughlin on various MILES DAVIS sessions. Cobham described how McLaughlin started off a jam, supposedly while Miles had told the musicians not to play. McLaughlin's harmonic twist from a demented E7 shuffle, to a BFlat 7 SUS11, when the trumpeter steps in is my idea of musical Napalm. He shoves old turnaround sequences into the mix, and spars with Miles in the process. |
...Right Off (M. Davis) 27:00... ~` `~ E|------------------------|------------------------|E B|------------------------|------------------------|B G|----k8----k8----k8----k8|----k7----k7----k7----k7|G D|--K6++--K6++--K6++--K6++|--K6++--K6++--K6++--K6++|D A|,---;-,---;-,---;-,---;-|,---;-,---;-,---;-,---;-|A E|K6++++K6++++K6++++K6++++|K6++++K6++++K6++++K6++++|E ~` Bb7 Sus Bb7 `~ |
Some of McLaughlin's personal satisfaction with this album came from Miles saying it was his favourite. The spontaneity was not altered by Teo Macero's judicious editing with an electronic interlude. It is not the music for the Jack Johnson bio-film "The Great White Hope", though. "DEVOTION" was McLaughlin's venture into electric realms on his own terms, with fellow TWL member Larry Young, Hendrix Band of Gypsy's Buudy Miles,and (as much as I know) Paul Butterfield's bass guitarist Billy Rich. Not edited well, by McLaughlin's standards, he was touring and left it up to the producer. "Devoted" fans can only guess at the cutting room floor's gain, but the LP never had Violinist Jerry Goodman on it, if you happen to see a current CD copy! |
___SEX,POLITICS,AND RELIGION___ Charlie Parker once declared on a form at Customs, that music was his religion. On the home front ,McLaughlin was married to one Eve, in the early 70's. She and John fell under the influence of Sri Chinmoy, a poet/guru. A student of non-Western customs and philosophy, if a lapsed Catholic, himself, McLaughlin had experimented with meditation, hippie cat that he was, and had met Chinmoy at a UN cultural event.The guru's sincere grasp of McLaughlin's spiritual quest led to a change in diet,no meat,no alcohol, no Smoking(?), appearance (so long Prince Valiant, hello G.I. John?),and dress: white . Absolutely dhoti? McLaughlin had also began to focus on his music, disappointed to find The Tony Williams Lifetime was so poorly managed. Miles still asked McLaughlin to join his group (LIVE-EVIL album being the main example of John live playing with Miles, read JACK CHAMBER'S excelllent biography MILESTONES), but further request turned into advice. Davis realized that McLaughlin needed to be in charge, and impressed on him three points ,eventually: ]A start his own group, ]B get a good drummer, ]C get Nat Weiss, an experinced music businessman, to manage him. The other change in McLaughlin's life was that his other guru (heh heh), Chinmoy had given him a new name from Hindu teachings . _MAHAVISHNU JOHN McLAUGHLIN__ Sri Chinmoy's teachings about life, love ,and God let John McLaughlin focus his music, on one hand, to the greater good. The guru's community of followers had a worldly presence in a New York City neighbourhood, Chinmoy is still an active spokesman (lately his demonstration of physical health led to a 2001 public elevation of my own Canadian Member of Parliament!). The purging of various toxins from McLaughlin's physique may have aided in what soon became a famous agility of fingers and imagination. Many guitarists have entered the dexterity semi-finals in the 20th century, but so few had wielded a flatpick with a sense of density in phrase. As his energized Lifetime volleys were wicked skirmishes with Tony's "impeccable" sense of time, the electric guitar gave John an underground reputation that couldn't have died ,in the ears of club patrons that included members of the Allman Brothers Band, the late Janis Joplin, and Carlos Santana, with his drummer Michael Shrieve. Oddly enough, pictures of the trio show McLaughlin played an acoustic guitar with a pickup! However, this current balance of McLaughlin's strength as a performer was not a mere ticket, to indulging in the fast lane ,that took so many people besides Joplin around that time . From his roots, Miles and the translucent work of a one time Davis sideman Bill Evans, to Charles Mingus (the rampaging soul of double bass until his death ),and various others, (that pesky Chick Corea!) John McLaughlin greeted the world, clean shaven, and humble in the face of his own human shortcomings offering an album that spoke a whole new voice of guitar. |
__A BRIDGE TO INDIA? _ "MY GOAL"S BEYOND" had the appearance of McLaughlin, on the cover , cradling an Ovation roundback guitar, in a bright apartment room, photos of Chinmoy, friends , pictures of Indian life and legend. |
As opposed to: | 2003__ |
At a time when acoustic guitar was slapped and tickled by singers protesting the Vietnam war, or moaning about their "baby", McLaughlin spared us his throat, and tuned up. Never a village square Yorkshireman, McLaughlin had travelled on the ryhthms of various peoples' music. His early adulthood friend Graham Bond had exposed McLaughlin to things like The Theospohists. The effect of hearing Indian music, in the wake of George Harrison and the rest of the Fab Four's sojourns was a deep response of wanting to learn the music. One of the muscians John had met in New York,was Badal Roy, a tabla player.They jammed in Indian restaurants,and the understanding of Indian music did not end there, for OW-er John. From his wide circle of musician friends, to his wife, now named Mahalakshmi, Mahavishnu John McLaughlin wove a particular masterpiece. |
~"Follow Your Heart" vamp; My Goal's Beyond" version : bass E dropped W-step to'D'** |
Bars 1-4 (play 4x) E|----Z0++++++++++Z2|E B|----Z1++++++++++Z3|B G|----Z0++++++++++Z2|G D|----Z0++++++++++Z2|D A|--k0+++++++++k2+++|A **D|K0+++++++++K0+++++|D** |
The pedulum of lyrical melodies, on the foundation of western Anglo-Afro- American song forms comes to the fore on the suite McLaughlin presents alone (with some percussion) on guitars, measured in good weight between the melody and harmony . Both 6-string and 12-string guitars are featured, the latter's combination of octave bass-string pairs, and treble unison giving a rich texture. Mahavishnu may have been the "lead" guitarist but John McLaughlin definitely was the ryhthm guitarist, I'd say! The balance of his over-dubbing fairs well, some of the more convoluted harmonies in juxtaposition with vigourous rhthyms giving to a rich seamless transport. Beautiful. Then there's the group... John McLaughlin's new friend Badal Roy may not have known that the guitarist who "sat in" with him at the restaurant was such a well known musician, but McLaughlin asked him to play on this recording session. Billy Cobham,and soprano saxist Dave Liebman,as well, as the ubiquitous Airto Moreira, Brazilian percussionist from the Miles Davis sessions, McLaughlin's wife Mahalakshmi on an Indian gourd-string instrument, (the man Mingus called "Bass") Charlie Haden, and a formally trained violinist, McLaughlin culled from a band called "The Flock", Jerry Goodman. It was once noted , Airto Moreira was common to the groups Weather Report, and (equally ubiquitous) Chick Corea's original Return To Forever, by the way. Billy Cobham had appeared on at least one tune on an LP by The Paul Winter Consort, ~ICARUS~, which featured , in turn, some of the future members of the group Oregon, where the guitarist/pianist Ralph Towner established a classical guitar approach, no less stunning. See some music transcibed from the MY GOAL"S BEYOND LP. Peace One and Peace Two give the listener a day in the country, India, that is. Peace One's D Minor bass line later MOdulated into ~OPEN COUNTRY JOY~'s D MAjor violin melody , on ~BIRDS OF FIRE~ ,at that! |
___It's Hammer Time, m' Laird, not Murray , Divine Sarah ,and Buddy___ The chemistry McLaughlin found with Jerry Goodman's lyrical and dynamic talent was a very resonant voice for the melodies McLaughlin wrote. The Mahavishnu had a voice ,and in Cobham a force of nature. Where McLaughlin had turned down the offer to join Weather Report, his bassist friend Vitous had recommended fellow Czeck ex-pat Jan Hammer as a possible pianist for this new direction John was taking. The keyboardist was impressing American musicians, currently working with legend Sarah Vaughn. Since the record company CBS was looking at McLaughlin's talent favourably, the prospect was good for a band lead by the virtuso guitarist. Hammer left with Miss Vaughn's blessing. Meanwhile, one of the few funny lines I've caught about "bad connections" comes from bassist Tony Levin who worked around N.Y. .McLaughlin and Levin had actually been involved with a public demonstration of Dr Robert Moog's sythnthesizer that, in turn, went south when the lattice of patch cords suffered a foul-up. But it is Tony's Mom, who relayed a phone message, from McLaughlin, that "a Murray Vishnu Orchestra" called, short circuiting one possible gig for Levin. Another bassist, who was asked ,stuck to his upright stance. Stanley Clarke, soon to form Corea's fluid ryhthm section with Airto, said he would only play doublebass, not bass guitar. (Heh heh). McLaughlin, had been talking with Buddy Rich's current bassist, old friend Rick Laird, when Lifetime did a double bill with Rich, and the band that eventually tested the limits of critics' descriptions, was born . |
_____Not Just Another 5-man Electrical Band____ Mahavishnu John McLaughlin informed his guru that he would be calling his new group "The Mahavishnu Orchestra",and immediately had the blessing of Chinmoy Ghose, whose poetry was a liner note and LP sleeve staple of McLaughlin's albums for a while. The stunning combination that emerged after a couple weeks rehearsal, caught the ears of people weaned on forms of music that had all had their day, in the 20th century's second half. Beethoven ,Leadbelly, Muddy Waters, Tal Farlow, Django, Charlie Parker, Miles Davis, Coltrane , Sonny Rollins, Bill Evans, Gil Evans , America , Spain's Flamenco, India's tal rythym and ragas, all made a formation on McLaughlin. Teaming up with 4 young but road-ready musicians,all versed in different forms had to be a new challenge for Mahavishnu John McLaughlin: leading a band. The combination was rare; Violin was not a staple of the popular bands ; the electric and acoustic piano music, that Hammer played, came out Europe's rivers, not the Mississippi; few bass players could master the odd-meter and polychordal recipes of McLaughlin's tunes, and, between John Bonham and Tony Williams, few drummers ever drew the drum solo into a concert delight, keeping the sum of the parts together, tutti, with the group. Last, but not least, no guitar player mastered the guitar like Mahavishnu John McLaughlin. Fast? Speed was an inadequate description of McLaughlin's approach. Percussive, dense attack blended into jagged melodies, McLaughlin's riffs doubled and tripled by violin, piano, and bass guitar, sometimes and soundly balanced by Cobham's powerful kit, which included the double bass drums. The intense musical interplay of all 5, 4, 3, 2, or just 1 member's outlay could stun audiences and carry them all at once. The LP " The Inner Mounting Flame" could floor a listener! Oddly enough, McLaughlin, center stage in concert would first ask for 5-minute silence of the audience. They'd give it. McLaughlin had an acoustic guitar and an a electric guitar. The dexterity of his unamplified flatpicking (over the PA as demonstrated on a later live LP) was exciting both in the execution and the communication. The Les Paul that roared, and whispered through the standard Marshall amp stack was nothing like the 4/4 shuffling of the day. Dynamically, McLaughlin was all-embracing, from soft |
~Birds Of Fire~ came next from Columbia Records. The title track alone would prove the fluidity possible in ,otherwise non-typical harmonies, and rythyms. Aside from Dave Brubeck , odd meters were not a feature of Western popular acts. The breadth of compositions is awing, intense ,and passionate. This was not pizza'n beer party music in any way, and rarely hum-able in diatonic fashion, but , IT KICKED! Grumblings from a couple of bandmates about using their music, credited, or otherwise, added to the pressure of relentless touring without a little reflection. McLaughlin aimed at a wider "goal beyond", a symphonic project, which was not warmly embraced by the dissenting members. A studio LP only released in the 1990's ,as "The Lost Trident Sessions", was this group's last such non-live recording, but "(Live) Between Nothingness and Eternity" captured some of that swansong material,with respectable flair. McLaughlin disbanded the first Mahavishnu Orchestra late in 1973. |
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John McLaughlin was approached along the way by Rex Bogue, a talented luthier about guitars. McLaughlin challenged him to make a double-neck instrument, which would accomodate artistic, philosophic and tonal parameters. One remarkable eature , was sizing the 12-string headstock down (by angling every other tuning head on both sides), to make it symmetrical with th 6-string head. A wide harmonic selection from the pick-ups let McLaughlin follow his heart, for a couple of years until "The Double Rainbow" fell from a perch backstage, and split. This guitar was a treasure to hear. |
MO II... the Apocalypse...Visions Of the Emerald Beyond...Inner Worlds |
John McLaughlin gave his MO band the boot, called another violinist up, and opened the door to some even younger talent . Jean-Luc Ponty, was heir to the French jazz violin tradition, if via Coltrane, of Stephane Grappelli. He had been an early choice for that instrument in Mahavishnu's lineup but immigration had been a hassle. Meanwhile while John found the very admirable Jerry Goodman, Ponty (pon-tay) found his way clear to the U.S.A. and landed a gig with the composer performer Frank Zappa. This was as good a intro to the culture of America, as a Bengali guru would be to a India-Phile like McLaughlin, one could say? McLaughlin met drummer Michael Walden , Bassist Ralphe Armstrong, and a lovely singer/pianist Gayle Moran , and added violin, viola, cello, and trumpet and flute. He talked to the conductor Michael Tilson-Thomas about a symphonic / MO collaboration and found another willing talent , the unflappable magician of The Beatles works, George Martin to blend the sound in the studio. In his book, "All You Need Is Ears", Martin relates how he put the now larger Mahavishnu funk-band/meets-chamber quartet in one studio, with the London Symphony Orchestra in another, cues being matched and watched through TV cameras and monitors. It is a rich undertaking, "APOCALYPSE". |
Ponty stayed on through the next LP, "Visions Of The Emerald Beyond", which made the most of the MO's wide talents, bereft of of the larger symphonic tapestry, but equally deep in texture. Funk met pastorals, in moods and titles. McLaughlin, a power engineer's son, waded into the electric streams beyond the guitar, jack chord, and amplifier trinity, with a Frequency Shifter, giving his imagination, "On The Way Home To Earth", some fly-bys that no Flight Controller would sanction.... However, as personal life, and professional appearances abruptly took its toll. |
McLaughlin, ever-restless, gave most of the newer Mahavishnu Orchestra members the pink slip, reducing to just a trio rythm section, now including a young keyboard player Stu Goldberg. The guitarist expanded his pallete with a guitar synthesizer capable of awesome expression. A third LP ~INNER WORLDS~ seemed to reflect turmoil, distracted as he was, the depths of feeling almost ponderous. A single 12-string acoustic guitar solo on ~IN MY LIFE~ let McLaughlin do as much as the (multi-thousand-dollar) prototype syth did on the rest of the album, and a pretty melody, ~LOTUS FEET~, was underlayen with a beautiful waltz, a 3/4 time arpeggio pattern on acoustic guitar. The programming that Goldberg and McLaughlin put into some pieces was incredible, though, and, as ever, Ralphe Armstrong and Narada Michael Walden were solid and sympathetic. This was still a holding pattern, until McLaughlin closed the electric guitar door, for almost three years. |
http://www.geocities.com/guitalife/jrgig1977.html |
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__For tablature... I can only suggest the following!_ ~` ______ `~ E|-------------///////-----------------------------|E B|------------///////------------------------------|B G|-----------///////-------------------------------|G D|----------///////--------------------------------|D A|---------///////---------------------------------|A E|--------///////----------------------------------|E ~` `~ |
~` _Joy_ Bar One ' _Joy_ Bar Two `~ E|:-:-:-:-:-:-:-:-:-:-:-k0K1------|:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-:-|E B|--------------------K3----k3K5++|++++K3----k3--------------------|B G|--------------k1K2k4----:-:-:-:-|------k4K2--K4k2K3k2K4k1K3k1----|G D|K0k2K3k2K0k2K3------------------|----------------------------K3k2|D A|;---;---;---;---;---;---;---;---|;---;---;---;---;---;---;---;---|A E|,-------,-------,-------,-------|,-------,-------,-------,-------|E ~` ' `~ |
For a full history of ~SHAKTI~ and a later group ~REMEMBER SHAKTI~ see: http://www.remembershakti.com/index.html Hosted By Rajiv Pandey, Dallas, Texas, U.S.A. Many exellent features and details |
See John McLaughlin's own web site http://www.johnmclaughlin.com/past/past.html Past... |
Then, there's this mess... really... http://www.geocities.com/guita_room/Sh_L.html ...guita_room , get a life, is more like it! |
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UNDER CONSTRUCTION, EXCUSE THE MESS
Dave Marshall's John McLaughlin Tribute server Pages Of Fire II Based in Cardiff, Wales,U.K. OW! For information regarding e-mail subcription to: The John McLaughlin Mailing List (a.k.a. one-word...), please see one-word/Majordomo Info... and READ CAREFULLY. If you've never subscribed to a list, READ CAREFULLY! If you've never un-subscribed from a mailing list , READ CAREFULLY! Now, please understand, guitarist John McLaughlin , himself , is the subject of the list, but not a communicant, eh? He's a busy guy; got a guitar, got a life. OW! |
Dr. Julian Derry's Pict-ish John McLaughlin Tribute
in Scotland, U.K. |
A John McLaughlin DiscographyCompiled by Johann Haidenbauer |
Massimo Marrone's tribute to John McLaughlin In Italy Massimo Marrone's link page |
The Love Devotion ,and Surrender Tribute by Pierrot Jain In Basil Switzerland. |
A U.S.A. Site From Scott Bosley |
A Tribute By John McCullagh John McCullagh's OW-n discography |
In Vancouver,B.C.Canada Alex Bunard's McLaughlin Page Eh? |
Marco Anderson's Reg... WEB PAGE in England ,U.K. |
A John McLaughlin Discography
Rajiv Pandey's Shakti_/\_Remember Shakti tribute http://remembershakti.com |
John McLaughlin is currently a Verve Recording artist. |