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||For Jaco||John McLaughlin||5:15||£0.99||View in iTunes|
||New Blues Old Bruise||John McLaughlin||7:14||Album Only||View in iTunes|
||Wayne's Way||John McLaughlin||7:06||Album Only||View in iTunes|
||Just So Only More So||John McLaughlin||9:56||Album Only||View in iTunes|
||To Bop or Not to Be||John McLaughlin||6:41||£0.99||View in iTunes|
||Dear Dalaï Lama||John McLaughlin||12:28||Album Only||View in iTunes|
||Senor CS||John McLaughlin||7:38||Album Only||View in iTunes|
||Mother Nature||John McLaughlin||5:08||£0.99||View in iTunes|
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, Rovi
Why does it take a 63 year old?
Stunning. Husband, Mondesir, Colauta, Chambers and the immortal Zakir Hussain, all playing on one 8 track album. This album is a rhythmical masterpiece. Mclaughlin has clearly had an ear on urban music. The influence of some London-Asian beats are clearly to be heard. But this is Mclaughlin, those influences have been elevated to a much higher level. Some of the best players in the world playing out of their skins over fresh compositions. If I have any complaints it is with the guitar sound. For some time Mclaughlin has been playing straight to computer. I for one long to hear his devestating attack through amps or on the acoustic. Of course this is an individual opinion but the sound perhaps lacks a 'live' feel. His playing however is, as usual, perfect. This album is truly new and innovative. I cannot remember the last time I was able to honestly say that. I only wonder why it takes a 63 year old? Hopefully the next one will come soon.
inspiring guitar playing from the THE guitarist of all times
at 65,mclaughlin still sounds like he's in love with guitar playing and reminds everyone once again that intuition and a unique sense of improvisational taste are the perfect ingredients for innovative musical statements
Born: 04 January 1942 in Yorkshire, England
Years Active: '60s, '70s, '80s, '90s, '00s, '10s