John McLaughlin: A Devotion to Other People's Music
          An Essay by Walter Kolosky


          Over the years, John McLaughlin's virtuosity has been a curse as well as a Godsend. His musical genius has intimidated many musicians who were just too afraid to ask John to play on their albums. Their fears were not totally unfounded, as JM has said "No" on some occasions because he wasn't into the planned music. (An invitation from string-player Steve Kindler comes to mind). Additionally, scheduling conflicts, contracts and bad timing may have also added to the list of sessions that never took place. And, of course, many of his contemporaries may have not seen John's playing style fitting into their music. At any rate, the point is that considering his musical staying power and career longevity, John McLaughlin has not appeared as a guest on as many records as one would suspect. (His early years of studio playing are outside the framework of his fame). Addressed in this review of his guest appearances are all recordings that are easily obtainable. His appearances on Miles Davis' recordings will not be included as they are of paramount importance in the development of music and deserve a forum of their own.

          Wayne Shorter and John McLaughlin were born to play together and they would have done so much more often if JM had accepted Weather Report's invitation to "join the band". But McLaughlin was forming The Mahavishnu Orchestra and NOTHING was going to stop that! Super Nova was recorded in 1969 and featured a Who's Who of future Jazz-Rock superstars. JM shared guitar duties with the late Sonny Sharrock. For much of the album their playing, quite frankly, is indisguishable from each other. (This may have led to the many rumors that Sharrock also appeared and played many of the famous parts on Miles' Tribute to Jack Johnson instead of JM. Repeated listening of TJJ, I believe, proves quite otherwise). Jack DeJohnette and Chick Corea play drums. Miroslav Vitous is on Bass. Airto is the percussionist and Walter and Maria Booker add their talents on guitar and vocals.

          Super Nova is a showcase for Shorter and a learning ground for McLaughlin. Certainly, his musical personality is somewhat hidden and comes in the general form of backgound noises. (Again, this is when it can clearly be identified). McLaughlin's jangly chords can be heard here and there and it is easily imagined this young man, relatively new to the U.S. and his fellow musicians, searching for a groove. Super Nova is 93% jazz and 7% rock and for its day, delivers enough goods to be worth the investment. Shorter's "Water Babies" is the outstanding cut of the album.

          Shorter's Motto Grosso Feio is a much different matter. Recorded one year later than Super Nova, it clearly displays a John McLaughlin with a musical direction and a strong personality. This recording was "lost in the vaults" for several years before it was discovered and released. This session was acoustic, much more relaxed and full of free-formed melodies and sub-melodies. Find this CD and purchase it. Shorter again is the leader, but by no means is this an album that features him. All musicians are in fine form. Once again, Chick Corea is employed in the percussionist vein. Dave Holland lends a hand or two on bass and guitar and Ron Carter cellos out some very fine lines. The drummer for the occasion was a 19 year-old female wunderkind, Michelin Prell. Of her future years, we know not. (Strong rumor has it that Michelin Prell was a pseudonym for Tony Williams because of a contractual issue. Update: It appears there is indeed a Michelin Prell. But even that is just a rumor)!

          At about this same time, McLaughlin was making appearances on two albums from the great Bassist Miroslav Vitous. McLaughlinıs contributions to Mountain in the Clouds, also known as Infinite Search, are very noteworthy. This album also featured Joe Henderson. I highly suggest any serious listener obtain this album. It is full of exciting early fusion work. Purple is a rare find. It is also not such a good record.

          In the early 1970's, the Jazz and Rock worlds hung-out with each other. Friendships were formed on the basis of concert tours which featured Santana, Miles Davis, The Mahavishnu Orchestra, Eric Clapton etc. Surely, it is on one of those occasions, John McLaughlin met and became friends with James Taylor. Otherwise, why such a collaboration as appears on James Taylor's One Man Dog? The tune, music and WORDS by JM is entitled "Someone" and although it doesn't derserve to be on James Taylor's Greatest Hits...is quite beautiful. In addition to his vocals, James plays guitar. News Flash! For those of you not aware of James Taylor's guitar playing. He is killing! McLaughlin rips for a chorus or two but sticks to the folk formula for this outing.

          Linda Ronstadt appeared on One Man Dog as well. She also appeared on another recording with JM, Carla Bley's and Paul Haines' Escalator Over The Hill. (Ronstadt and McLaughlin appearing together on two recordings is a true sign of how the "times have changed"). Recorded over threes years, 1968-1971, EOTH is a behometh of a production starring hundreds. JM's mate Jack Bruce appears as does the late Jazz great, Don Cherry. EOTH is very difficult to categorize. Rock-jazz in nature, it seeks to the higher limits of achievement and, for the most part, arrives there. It was lushly packaged and featured an extensive program complete with lyrics and pictures. (I still own the original vinyl release). Featuring 27 "tunes", the album effectively captures many fine performances and many "so what" performances. It is certainly an important record for McLaughlin as his playing dominates even when not heard. EOTH is an excellent recording to own if you are a JM fan and have several hours to kill listening to its entire production. McLaughlin's playing is fierce and betrays his upcoming guitar stylings to a great degree.

          The late Joe Farrell was a soul who died too young. A brilliant reed-player, Farrell released an Album, The Joe Farrell Quartet, in 1970 and helped define the continuing melding of Jazz and Rock. This album is a consummate piece of work that features beautiful playing from Farrell, Corea, DeJohnette, Dave Holland and McLaughlin. The first fully realized reading of McLaughlin's classic "Follow Your Heart" appears on this record. To my ears it is the most pleasing version JM has recorded. This "Follow Your Heart" has the guts and soul of his non-titled electric version from Extrapolation and the wild abandonment of his acoustic work on My Goal's Beyond. The album is a stellar performance and should be listened to continuously until your CD player breaks.


          A guitar compatriot over the years, Larry Coryell, released a groundbreaking record in 1969. It was called Spaces. Spaces is a must for any serious listener and to this day features Larry's best-playing. Larry and John provide the hottest acoustic guitar duet of the time with "Rene's Theme". Coryell has said this is the best John McLaughlin ever sounded on record. A self-serving comment for sure, but if Larry says so it is because JM brought out the best in Coryell's playing. From the opening cut, "Spaces", is an electric smorgasbord of snapping guitar strings. The entire album is blessed to also include the Chick Corea, Miroslav Vitous and Billy Cobham who destroy all pre-conceived notions of what jazz or rock should be. Spaces is a five-star outing and is a seminal recording in the musical evolution of John McLaughlin. Mclaughlin also appears on Coryell's Planet End. It is quite possible the performances on this album didn't make the cut for the Spaces. This record is only for the John McLaughlin "completist".

          McLaughlin plays up a storm on his pal Carlos Santana's Welcome. The tune is called Flame Sky. The album is hard to get and for that reason the performance is surprisingly little known.

          In 1975, McLaughlin appeared on Stanley Clarke's great album, Journey To Love. In a trio format along with Chick Corea, McLaughlin and Clarke rip through the acoustic "Song To John". "Song To John", which appeared in two parts, was dedicated to John Coltrane. Blistering runs and sympathetic accompanying prevail. McLaughlin appears to have used his scalloped Shakti guitar. If he did not, I am even more amazed. Journey To Love is an album every fusion-head should own. The rest of the album is strong with just a couple of "smooth" moments that foretell what would later ruin Stanley's musical development.

          The beautiful "Desert Song" was collaboration on Stanley Clarke's School Days. Again, an acoustic outing that truly showcased Clarke's abilities. McLaughlin, as usual, displayed dominance of his instrument and translated this tune into one of great meaning. Someday, perhaps, these two giants of their instruments will find common ground and perform together again.

          Larry Coryell surfaces again on Paco DeLucia's Castro Marin. Recorded in 1980, this session features the ill-fated McLaughlin, Coryell, DeLucia Guitar Trio. Which was eventually dismantled either because of commercial reasons over Coryell's drawing power or personal problems Coryell was dealing with at the time. "Palenque" is the tune the trio recorded and it is truly a fine piece of music. Since the trio never was able to release a record, this is the only opportunity to listen to its recorded vitality. (Unless you can obtain The Meeting of the Spirits video).
          Coryell certainly is a different player than Al DiMeola and gives the trio a different sound. As far as a comparison of the two...certainly not worth the time as it would be an unfair exercise for both of them. John's guitar, as always, sounds as if perfection was its middle name. And what can be said of Paco which is not of a drooling nature? This is an album which should be in the collection for sure.

          In 1981, Creed Taylor released an over-produced Fuse One. The idea of it was to feature many of the day's top jazz performers crossing-over and playing on each other's tunes. In other words, "No real band leaders". Overall, this recording, which also showcased lush orchestral backgrounds was a dismal failure.

          In many ways, it was a father to what we now know as that GODAWFUL "smooth-jazz". Caught-up in this ill-advised session, along with JM, was George Benson, Wynton Marsalis (YES!), Stanley Clarke, Dave Valentin, our heroes Tony Williams, Joe Farrell, Larry Coryell and many others.

          Now for the good news. On its re-release on CD, compiled with a second Fuse recording, the orchestra was removed. The bad news is that much of the album still remains an awful mess. However, JM certainly saves the day with two awesome showstoppers! TO WHOM ALL THINGS CONCERN is one of the best McLaughlin Jazz-Rock anthems he has ever written. (This tune comes driving through this album like a Mack Truck!) Its performance outclasses the rest of the record and I want him to record it again so that those of us lucky enough not to own this album will have a chance to hear it. This is a hot cut and features Stanley Clarke, Joe Farrell on Tenor and a driving Ndugu on drums. Friendship, the other McLaughlin piece is more reserved but forthright nonetheless.

          Clearly, through John McLaughlin's career there have been peaks and valleys. And with the exception of some guest performances with Miles Davis, not to be dismissed, McLaughlin's guest appearances became more infrequent in the 1980's. Whether it is the commercialization of the period, reputation or John's own desire, only several releases feature John as a guest during the decade.

          In the mid 80's John reformed a new Mahavishnu and featured the ex-Miles' sax-player Bill Evans. In 1985, Bill Evan's released The Alternative Man. Alternative Man featured the state of the art Jazz-Fusion of its time. Just a taste of "Pop" would enter from time to time, mostly in the form of an ingratiating hook, but the overall musicality of the album is at the highest levels. So to with its enjoyment. And as always, JM's guest appearance on two cuts offers a totally different take than the rest of the album. Both cuts showcase John on acoustic guitar and on "Survival Of The Fittest" it is at its fluttering best. This tune is a cycle of fleeting chords and whispy soprano sax. It builds and disappears. "Flight of the Falcon" arrives and never goes away. It is the highlight of the album and deservedly ends it. The Alternative Man is a delightful album. Good luck in finding it.

          In 1986, John McLaughlin, in his movie debut, looked at the camera and mumbled something non-memorable. A movie star he is not. A shooting musical star he is and will always be. In Round Midnight, yet another fascinating but downer jazz film, JM played the guitar in one of Dale Turner's (Dexter Gordon) bands. It was the 1950's, and McLaughlin played his part by playing the part of a 1950's guitar player. He did rather well and his playing, although breaking no ground whatsoever, was evocative and fitting for the soundtrack and non-recorded sound-track companion recordings which were released in 1986. If you want to hear JM with Dexter and Herbie play some standards and sound-track themes - go for it. If not it is understandable. But you should see the movie, edit out some of the plot and enjoy the performances.

          Another Mahavishnu bandmate, Danny Gottlieb, released Aquamarine in 1987. This is an absolutely impressive album and should be obtained. McLaughlin plays acoustic guitar to Gottleib's brush and snare in a duet called "Duet" which should have been released on a Mahavishnu album as it certainly doesn't quite fit here. At any rate, a very interesting McLaughlin composition, "Peace of Mind", from Shakti days appears as a duet featuring Gottlieb and Bass star Mark Egan. All in all, a pleasing performance worth the effort of the search.

          John McLaughlin made a major contribution to the beautiful Zakir Hussain album, Making Music. Released in 1987, Making Music set the standard for good World Music. Along with ZH and JM, Making Music is floated on the haunting flute of Hariprasad Chaurasia and deep tenor and soprano saxes of ECM God Jan Garbarek. McLaughlin races with the devil on this outing as his acoustic trailblazes through every planet in the Eastern universe. The ensemble certainly would make a superlative touring band and I actually wonder if they ever got together for a show? Haunting and lyrical, fancy-free and meditative, Making Music is one the highlights of JM's guest appearances. This album is to be searched for, found and hoarded. That is a direct order! (McLaughlin wrote "Zakir" for Hussain. Its best recorded version appears as cut #2).

          Another guest appearance, other than with Miles, wouldn't take place until 1995's In From The Storm, the Jimi Hendrix tribute album. Producer Eddie Kramer asked JM to get a bass player and a drummer and pick a tune to be backed by a symphony orchestra. JM picked Sting and Sting's drummer, Vinnie Colaiuta, soon to be fusion super-star, along with rhythm guitarist Dominic Miller to play "The Wind Cries Mary". Pure and simple, John kicks ass on this record as he hadn't done in 15 years! Sting and John protested the orchestral background would damage the final release and so it appears, unlike every other tune, without it.
          Sting sings sweetly and carries his own on bass and Colaiuta must have been in heaven because his playing is religious in its power. Oh, the rest of the album...buy it for this cut and we'll say nice thoughts and "nice try" to the other fellows. There is certainly some nice work here but in order not to embarass the lesser efforts, let's just say its a well-meaning recording that achieves mixed results.

          Jazz to the World is a 1995 Christmas charity record which is enjoyable to listen to during the holiday season. JM's old friend, Jim Beard arranged and performs on keyboards etc. with an over-dubbed acoustic McLaughlin on "O come. O Come Emmanuel". It certainly is an enjoyable piece and the two should be commended for their contribution.

          In recent years, McLaughlin has appeared with Chick Corea, from many years ago and with Leni Stern. This reviewer has not heard those cuts.

          More times than not John McLaughlin is playing his own music. In several instances I have mentioned, he plays his own compositions, but with somebody else's band. The truth of it is that his major contributions to music have come from his early collaborations with Miles Davis and Tony Williams and all of his own-lead bands from The Mahavishnu Orchestra and Shakti to The Guitar Trio and the Free Spirits. His legend lives on in his consumate musical knowledge and prowess. And in that arena he is without equal in the last quarter century. This is stated with the strongest of convictions as more and more musicians are beginning to acknowledge McLaughlin's influence. And many more musicians are influenced without their knowledge.

          It is however, when McLaughlin devotes himself to interpreting "somebody else's" music, we realize how "different" he truly is. His interpretive playing stands-out on these recordings because it is not of the standard fare. And this non-standardness, sticks out, like a jagged rock, to this very day.



          Walter Kolosky
          smsi@attbi.com


          Walter Kolosky is a businessman and jazz fan who lives in South Natick, MA, USA