Walter Kolosky is a businessman and jazz fan who lives in South Natick, MA, USA
Almost 30 years after its recording, producer Bob Belden came across the master tapes of what would become The Lost Trident Sessions. Belden had been working on the re-mastering of Birds of Fire when he found the tapes. The rest is history. At long last the aborted final studio effort of The Mahavishnu Orchestra was going to see the light of day.
Initially, the sessions were considered not up to snuff by JM to have them released. Instead, the live Between Nothingness and Eternity was released which featured several numbers from the failed recording sessions. In hindsight I think he was probably right. After all, if the vibe wasn't right and he was less than pleased, so be it. But, just because McLaughlin didn't think the sessions were up to standards, doesn't mean they weren't good. They are good and of historical significance. That is justification enough for there delayed release.
Apparently, all of the old members were contacted and asked for permission to release the recording, warts and all. This was probably done as a courtesy from Belden, because as far as any one can tell, the band members have absolutely no control over their Columbia Records output anyway.
At any rate, The Lost Trident Sessions provide us with the future direction of the MO. That is, they were going to break-up. This is evidenced by the appearance of 3 tunes contributed by members other than McLaughlin. Jan Hammer's piece "Sister Andrea" is familiar to us from the Live Between Nothingness and Eternity. Jerry Goodman's "I Wonder" and Rick Laird's "Steppings Tones" (SIC) also appear. In addition, JM penned pieces include "Dream", "Trilogy" and "John's Song #2". "Dream" and "Trilogy" were also found on BN&E, while "John's Song #2" is new to McLaughlin's recorded output.
"John's Song #2" is the album's standout. It serves as a precursor to style heard on Visions of The Emerald Beyond. The rapid-fire starts and stops and ever-changing themes make it a classic uncovered fusion treasure. It also serves as a particular showcase for Goodman. Jerry's violin soars on this album to a much greater degree than his earlier efforts.
The tighter versions of the BN&E tunes are welcome. "Trilogy" in particular is a taut composition which was later fleshed-out on the live album. Hammer's "Sister Andrea" is also pleasing and includes enough distinction to make it recognizable from the live performance. Hammer's soloing is more impressive on the studio effort.
Initially, the sessions were considered not up to snuff by JM. So, instead, the live Between Nothingness and Eternity was released. It featured several numbers from the failed recording sessions. In hindsight I think he was probably right. After all, if the vibe wasn't right and he was less than pleased, so be it. But, just because McLaughlin didn't think the sessions were up to standards, doesn't mean they weren't good. They are good and of historical significance. That is justification enough for their delayed release.
The most surprising aspect of the recording is the standout, up-front performances from Goodman and Laird. We all knew by this time how great McLaughlin, Cobham and Hammer were. Laird and Goodman, although clearly talented, seemed to be along for the ride. This recording corrects that misconception. Both players make strong statements and surprisingly, these statements are not made on their own compositions. For those of you who seek to validate Laird, go back and listen to "One Word" from Birds of Fire.
The sound quality is great for tapes which were gathering dust for all those years.
This album is an important historical find which contains some awesome music, but also gives indications as to why the band was running into problems. This is a must own for any fusion fan and any critics dismissing its quality or importance, should be summarily court-martialed.
Walter Kolosky
smsi@attbi.com
Walter Kolosky is a businessman and jazz fan who lives in South Natick,
MA, USA