Given the predilection in jazz for improvisation, it's not surprising that
"East meets West" encounters have taken place. After all, to anyone who's heard
music from India, extended playing, or "jamming", can be one of its most
obvious qualities.
Listening to guitarist/composer/bandleader John McLaughlin's Shakti With
John McLaughlin (the first of three recordings by the group of the same
name), the implied, if not obvious connection is made with another master of
extended improvisation: John Coltrane. Like Trane, McLaughlin was - and still
is - attracted to the lengthier forms offered by traditional Indian music and
the possibilities for integration with the more traditional Western methods of
harmony, melody, and rhythm; in this instance, with the thoroughly Western
expression known as jazz.
A vital link for both men to East was sitarist Ravi Shankar, known to millions
as a major inspiration to ex-Beatle George Harrison. Shankar's virtuosity was
not lost on any of these Western musicians. Likewise, his openness to cultural
exchanges has left an indelible mark on a whole generation of players,
including scores of Shankar's contemporaries as well as students and musical
descendants. The other members of Shakti are all cases in point.
But back to our central figure. In light of John McLaughlin's recorded output
to date, Shakti stands as the preeminent "blowing date", the recording
that gives us a more wide-open view of John McLaughlin the improvisor. Jamming
on music devoid of traditional harmonic structures and in accordance to
shifting melodies, it's certainly no coincidence that Shakti was a live
recording, as were most of Trane's extended blowing dates from the '60s. Seen
from this perspective, the cultural distinctions fade, leaving us with pure
artistry and invigorating displays of group dynamics, interplay, and the
unexpected - elements common to both Indian music and jazz alike.
Unlike Coltrane, however, McLaughlin's use of Eastern and Middle Eastern
effects had gone beyond the occasional inclusion of, in Trane's case, the
stringed oud and Trane's prolific use of soprano sax. It wasn't "just" a
sincere interest in new musical forms amd a new spirituality that so captivated
McLaughlin. Rather, it was the eventual immersion of one person into another
culture, allowing himself to be transformed in the process. Two examples need
suffice.
First, there was McLaughlin's initial interest in Eastern philosophy and
religion, which led to his becoming a member of the English Theosophical
Society in the '60s. In the spring of 1970, he became a disciple (note the
level of personal commitment suggested) of the guru Sri Chinmoy, under
whose sway McLaughlin was to change his name, adding the prefix "Mahavishnu"
(meaning "divine compassion, power, and justice"). McLaughlin's level of
commitment to music demanded extra-musical considerations be integrated,
considerations that would have lifechanging effects.
Secondly, aside from the lifestyle questions of dress, diet, and personal
habits associated with a life of spiritual discipline, McLaughlin's approach
to the music he played initially had him hanging up his electric guitar for an
acoustic one. Certainly not the first time that happened, but
undoubtedly the first time he recorded himself with the kind of ensemble
gathered for My Goal's Beyond, in 1970. Remember, this was during a
period when the guitar-heavy sounds of Hendrix, Clapton, Beck, et al., were
surging right alongside McLaughlin's own electric jazz and rock adventures
with, among others, the Tony Williams Lifetime, Miles Davis, and from his own
projects, documented on such seminal albums as Extrapolation ('68),
Where Fortune Smiles ('69), and Devotion ('70). Along for the
ride on My Goal's Beyond - and to get back to our second example of
cultural immersion - were non-Western and/or non-jazzer types Badal Roy
(tabla), Mahalakshmi (tambura), and Airto Moriera (percussion). Typically,
it was split between primarily solo "jazz" guitar - reflecting influences Tal
Farlow and Django Reinhardt and including such standards as Mingus' "Goodbye
Pork-Pie Hat" and Miles' "Blue In Green" - and music which used those musicians
listed above along with jazzers Charlie Haden on bass, sopranoist Dave Liebman,
violinist Jerry Goodman, and drummer Billy Cobham on two pieces much more
modal and Eastern in approach, not to mention length. Both Goodman and Cobham
were to follow McLaughlin into his next major (and most commercially successful
to date) venture: the stunning, jazz-rock fusion archetypal Mahavishnu
Orchestra. Ironically, Mahavishnu John McLaughlin's My Goal's Beyond
music, acoustic and tempered by comparision, was to be blown out by electric
infusion of free-jazz and rock elements; an essentially funky raga of sorts,
miles and miles from India's serene, albeit oftentimes intense, modalities.
Mahavishnu Orchestra's Inner Mounting Flame was its first and finest
recorded example of spirit-meets-the-flesh jazz-rock.