Reflections on John McLaughlin’s newest Record and Tour

Words of praise

 

Let’s stop for a moment with deep gratitude to consider the music of John McLaughlin

Notes on the recent John McLaughlin/ Shakti show I attended at NJPAC:

I was dumbfounded and maybe permanently altered after seeing Shakti last August. I saw John at Town Hall some five some years ago in what was supposed to be a farewell tour. He publicly stated that his arthritis was too problematic to continue. And when I spoke to him about it after the show, he seemed resigned to never touring again. But for him to return so triumphantly, playing so incredibly again, some kind of voodoo had to have occurred. I read in interviews that he simply started saying “I love you” to his hands, and the pain disappeared. There must be more to the story. I’ve tried telling my hands that I love them, and they’ve spurned my advances. But then John’s life is clearly unique. There are traits that defy common logic and the visible laws of the natural world.

            The most salient point I can make about John, at age 81, is this: He invented a new kind of music. How many people have done that? Furthermore, at this late stage the unique blueprint he made sounds better than ever. I have deeply considered the concept of fusing the music of multiple cultures my whole adult life. I’ve made my own “hybrid” records with my collaborator, sarodist Anupam Shobhakar. But what John has done with Shakti, and doubled down on with this last record, makes all so-called Indian /jazz hybrids sound aspirational. Unlike most everyone else, John has deeply studied both sides of the equation. Shakti is essentially South Indian music played by a jazz guitarist.

            I heard that John collaborated on the new compositions during the pandemic over skype with South Indian percussion master Vikhu Vinyakram, Shakti’s original percussionist and Selvaganesh’s father. The depth of this union is profound. It is seamless. Having worked myself with Selvaganesh, I can hear the obvious Carnatic rhythmic molding of the pieces. However, there’s never a feeling of anything being forced. It’s a lesson in our common humanity, and a model for all composers. What makes it more so is that John's playing is freer in a harmonic context than ever before. It’s as if something in him let go, and he’s experiencing some sort of ecstatic freedom. In the first Shakti records he stays fairly close to the ragas. With this record he advances into extended jazz harmony, and it’s like a cascade of colors or spices. To me, his phrasing has never sounded so beautiful. It all seems absolutely effortless. But of course, it’s not. I was told by insiders that during this tour John never put the guitar down. This degree of obsession and dedication is very moving to me. You have every right at age 80 to slow down. He’s done just the opposite.=

The concept of collaboration is key here. It means investing time and space in the wisdom of your collaborators. It means writing with them in mind. It means leaving an open door inside your ideas through which external forces can enter. It takes curiosity and humility. You have to know yourself, and know your partners, and learn where the 3rd space in which their sum lives.

            The addition of the singer to this group is brilliant. The vocals add an element of heart to the ensemble, elevate it into the universal sphere. Also, the compositions are deeply considered, all different from one another. In the original Shakti there were a number of similar sounding (and amazing) pieces that were essentially one- chord blowing sessions. Not this time. There's a lot of nuance and mediation in the structures.

            As for John’s tone— having been effusive in praise, I will admit that over the past decades I have not been a fan of his sound. I prefer the unhinged Mahavishnu tone to the sound of the PRS plugged into the board. However, I loved his sound on the show. I don’t know if he did anything differently. It just worked. And by the way, I saw Mahavishnu in 1973. Hard to believe I had my life changed by this man twice over a span of five decades!

            The delight with which these players interacted with each other was infectious. He and Zakir—over 50 years! I suppose you could call this a supergroup. Everybody is the best at what they do. Sometimes supergroups disappoint us. The parts don’t always add up to the whole. But obviously it’s John’s strong guidance, and his interest and investment in the brilliance of his collaborators, that makes this unit one of the great groups of our lifetime. There are none like him. And will never be again. The next few generations will be running as fast as they can to catch up. It’ll be like chasing the wind.

The record itself seems a miracle. The fact that this was recorded in isolation, without everybody in the same room, is mind blowing. Had I not been told I never would have known.

John has had a career of over 60 years starting with the likes of Jack Bruce in London.

Here are some of my favorite McLaughlin recordings. It’s really just a start.

1.     Inner Mounting Flame (Mahavishnu Orchestra)

2.     Birds of Fire (Mahavishnu Orchestra)

3.     With Miles Davis: Live at the Cellar Door

4.     With Miroslav Vitous: Mountain in the Clouds

5.     The Music of Bill Evans (arranged for classical guitars)

6.     Shakti with John McLaughlin

7.     John McLaughlin with the London Symphony Orchestra (gtr concerto)

8.     Paco de Lucia, Al Dimeola, John McLaughlin

9.     JM Trio with Kai Eckhardt and Trilok Gurtu

10. John McLaughlin: The Heart of Things

11. This Moment (latest Shakti record)