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Industrial Zen
Released: May 22, 2006
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The ever peripatetic and ever restless {$John McLaughlin} returns again to the electric {\jazz} field that he once commanded in the early '70s, while never quite landing on the same spot where he... Continue[+]

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The ever peripatetic and ever restless {$John McLaughlin} returns again to the electric {\jazz} field that he once commanded in the early '70s, while never quite landing on the same spot where he left off. A few of the familiar components are still whirring away -- the dizzyingly fast and jagged unison themes; the furious interplay with his teammates, whose personnel change on every track. But the landscape has changed again: {$McLaughlin} immerses himself deeply into the high-tech digital scenery, programming loops and backdrops (the mood piece {&"New Blues Old Bruise"} is merely a sleeker impression of what {$Pink Floyd} was doing more than three decades before). Those voices you hear on a few tracks are, of course, not real; they're sampled chorus effects as played through a controller of some sort (which anyone can do at home on a Yamaha keyboard these days). Memories of {$Shakti} -- {$McLaughlin}'s sporadically recurring Indian experiment -- are hinted at but not recalled in toto as tabla master {$Zakir Hussain} is called upon repeatedly, working himself into a frenzy on the 12-and-a-half-minute tone poem {&"Dear Dalai Lama."} Saxophonist {$Bill Evans} arrives from the 1980s version of {$Mahavishnu}; he knows his way around the {$McLaughlin} mazes of notes as well as anyone, and on the closing passage of {&"Just So Only More So,"} he and {$McLaughlin} carry on a touching, conversational dialogue on their instruments. {$Hadrien Feraud} pays effusive, voluble tribute to {$Jaco Pastorius}, not only on the obvious title {&"For Jaco,"} but also on {&"Senor C.S."} While {^Industrial Zen} is a reminder to all that {$McLaughlin} remains a formidable electric player in his sixties, the only track that really sticks in the memory is the last, {&"Mother Nature,"} with its {\electronic} revolving ostinato and {$Shankar Mahadevan}'s keening vocal. {^Industrial Zen}, indeed. ~ Richard S. Ginell, All Music Guide

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Guitar & Bass
Released: Nov 30, 2004
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John McLaughlin Montreux Concerts - BONUS CD
Released: Mar 23, 2004
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Thieves and Poets
Released: Oct 14, 2003
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Since the late '60s, {$John McLaughlin}'s name has been synonymous with electric {\fusion} guitar. But {$McLaughlin} is equally accomplished on the acoustic guitar; he has a long history of... Continue[+]

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Since the late '60s, {$John McLaughlin}'s name has been synonymous with electric {\fusion} guitar. But {$McLaughlin} is equally accomplished on the acoustic guitar; he has a long history of excelling on that instrument, which he plays exclusively on {^Thieves and Poets}. This 2003 release, in fact, isn't {\fusion} in the amplified {\jazz-rock} sense but rather acoustic-oriented {\post-bop} with Euro-{\classical} leanings. {^Thieves and Poets} finds {$McLaughlin} joining forces with two of Europe's {\classical} outfits: {$the Deutsche Kammerphilharmonie} (with {$Renato Rivolta} serving as conductor) and the much smaller, guitar-oriented {$Aighetta Quartet}. The former appears on the title track, a lavish, three-movement, 26-minute orchestral work that has hints of Spanish {\flamenco} at times. Meanwhile, {$Aighetta} joins {$McLaughlin} on four {\standards}, all of which are dedicated to pianists he admires; the British guitarist acknowledges {$Bill Evans} on {&"My Romance,"} {$Herbie Hancock} on {&"Stella by Starlight,"} {$Chick Corea} on {&"My Foolish Heart,"} and {$Gonzalo Rubalcaba} on {$Luiz Eca}'s {&"The Dolphin."} But he certainly does so in a personal, introspective way. Yes, {&"My Romance,"} {&"Stella by Starlight,"} and {&"My Foolish Heart"} are warhorses that have been beaten to death over the years -- great songs that have been recorded so many times that some {\jazz} enthusiasts feel there should be a moratorium on them in the 21st century. But {$McLaughlin} is such an accomplished, distinctive musician that he's allowed a warhorse or two (or three). Besides, he plays beautifully on these {\standards}, and his lyricism is extremely individualistic. Hearing {$McLaughlin} (who turned 60 in 2002) embracing {\Tin Pan Alley} songs with a {\classical} guitar group is hardly the same as hearing some 19-year-old, knee-jerk {$Sarah Vaughan} wannabe attempting to squeeze the last drops out of blood from them. It's the difference between mindlessly going through the motions and saying something personal -- and on this memorable CD, {$McLaughlin}'s playing is undeniably personal. ~ Alex Henderson, All Music Guide

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Meeting of the Spirits
Released: Jun 3, 2003
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Belo Horizonte - WOUNDED BIRD
Released: Jun 18, 2002
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Remember Shakti - BOX SET
Released: Mar 26, 2002
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On {^Remember Shakti}, {\jazz} guitarist {$John McLaughlin} returns to one of his chief inspirations -- {\classical Indian} music -- by reforming his '70s group {$Shakti}. Original members {$Zakir... Continue[+]

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Saturday Night in Bombay: Remember Shakti
Released: Jun 19, 2001
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{$John McLaughlin} brought his revived Indo-jazz project {$Shakti} to Bombay (Mumbai) in late 2000, and the result is this live disc, which features only four compositions but runs over an hour in... Continue[+]

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Collection
Released: Nov 28, 2000
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Remember Shakti: The Believer
Released: Oct 3, 2000
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When Eastern classical musicians and Western jazz or pop musicians get together to jam, the result are always heartwarming; two wildly disparate traditions coming together to make music is such an... Continue[+]

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When Eastern classical musicians and Western jazz or pop musicians get together to jam, the result are always heartwarming; two wildly disparate traditions coming together to make music is such an irresistible gesture of human unity and cross-cultural cooperation. What's not to love? Frankly, what's not to love is often the music itself, which all too frequently is long on multicultural good intentions and short on things like coherence, interest, and hooks. The intermittently mystical jazz guitarist {$John McLaughlin}, who has been nursing an India jones for decades now, is hardly innocent of such offenses. But on {^The Believer}, a live set featuring {$McLaughlin}, electric mandolinist {$U. Shrinivas}, kanjira and ghatam player {$V. Slevaganesh}, and legendary tabla player {$Zakir Hussain}, he delivers a gloriously tight, rhythmically thrilling program of original compositions (as well as one contribution each from {$Shrinivas} and {$Hussain}). The group is called {$Remember Shakti} in reference to {$Shakti}, the similarly configured band that {$McLaughlin} co-led in the mid-'70s. If anything, his playing has grown more exciting than it was then; listening to him negotiate the thorny rhythmic changes of this music in unison with {$Shrinivas} and to both of them bouncing off the complexly woven rhythmic patterns laid out by {$Hussain} and {$Slevaganesh} is not only impressive, but uplifting as well. Highlights include the downright funky {&"Anna"} and {$Shrinivas}' composition {&"Maya."} Very highly recommended. ~ Rick Anderson, All Music Guide

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Jon McLaughlin

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Jon McLaughlin Albums, Jon McLaughlin Songs