Customer Reviews

Inner Mounting Flame

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1 star:		(1)

 

 

The Mahavishnu Orchestra's 1971 debut album _The Inner Mounting Flame_ is a treasure in the world of fusion. It's rhythmically complex and involved, but dynamic and fiery. Jazz-inflected rock made accessible to nearly anyone who appreciates rock with sophistication. But, sophisticated doesn't necessarily mean feeble, as this music is bursting with energy and intensity.

Guitarist John McLaughlin (who had worked with Miles Davis not too long before this album and band came together) composed all of these tracks, which are spirituality-oriented - as evidenced by some of the song titles. These spiritual leanings can be latched onto, or they can simply be ignored - intentionally or inadvertently, either way, the music is powerful enough to outweigh any cogitation on the underlying motives of the music. It more than likely will grab hold of you in the biggest way possible, regardless of your disposition towards spirituality. While virtuosic musicianship is abound, you'd be challenged to call this nothing more than a tasteless exhibition of technical prowess. There's plenty of meat with flavor in this smorgasbord.

"Meeting of the Spirits" opens up with a suspended musical atmosphere, full of ominous tension, and fairly explosive drum pyrotechnics from Billy Cobham. What follows is a slightly angular, yet tasty rhythmic combo comprised of passionate guitar soloing from McLaughlin, tasteful, complementary violin work, thumping basslines, and flavor-filled snare hits from Cobham. Of course, his snare drumming is not the only thing impressive here, and on the album in general. An excellent opener.

"Dawn" is an extremely beautiful ballad-like number with a 7/4-ish rhythm, and exhibits subtle touches of R&B, jazz and modern classical. McLaughlin finds time amidst this beauty to inject the atmosphere with some passionate soloing. Later, in the second half of the track, things speed up, and we are treated to a genuinely moving melody embedded in the up-tempo jam exhibiting a mix of rock, R&B and gospel. Could easily see this played in church. Extremely moving, and gets loads of repeat time in my stereo.

"Noonward Race" is fast-paced like it's title would possibly suggest. Highly energetic playing from Cobham, fast soloing from McLaughlin, as well as the swapping of instrumental lines between each member of the band. Jerry Goodman gives us charged violin lines, Jan Hammer gives us fast, but tasteful and interesting keyboard lines, and Rick Laird, while mostly playing a supporting role here, does no more than he needs to.

"A Lotus On Irish Streams" gives us a break from the fast-paced energy preceeding this, with it's gently serenading, ethereal and elegant atmosphere. While on the gentle side, McLaughlin finds time to display a lightning-fast solo here and there. Lush, willowy keyboard textures from Jan Hammer dominate this track, but the contributions from violinist Jerry Goodman add extra relevance to the flavor and overall atmosphere of the track.

"Vital Transformation" features what is probably the hottest, funkiest, tastiest, most groove-oriented 9/8 meter to be experienced: almost guaranteed to get that old rump of yours shaking, ditto with the rest of your body, as well as your soul. This track is jam-packed with energy and charisma: powerful, charismatic drumming, tasty guitar & violin dueling, excellent basswork -- an absolute knockout. A mix of mutated country, R&B, funk and rock: progressive in all the right ways. Virtuosism combined with taste is at a maximum here.

"The Dance of Maya" displays snaky, mind-teasing rhythmic patterns, as parallel with the melodic lines. Cobham plays a bluesy drum pattern in 10/8, which continues through the remainder of the track. Later, this blues-romp kicks in, and Billy, once again, plays the blues-derived 10/8 meter, while this time, the instrumental motif shifts to fully parallel that of Billy's blues-romp rhythm. The sudden switch of instrumental motifs (excepting Billy's drum rhythm) may lead many to believe that the meter, and Billy's drum pattern have changed, when they more than possibly have not. The whole track, I believe is in 10, yet there are so many subtle tricks going on rhythmically, I fear embarrassment if I attempt to articulate them all. Excellent track here.

"You Know, You Know" is a slow jam in common time, but features odd accent placements, which can confuse many listeners into thinking that the tune is in an odd time signature. Another one of those tracks to let you gain a breather from the high-energy musings of past. Fluid, tasteful R&B-infused arpeggios and basslines dominate this track. Billy Cobham takes on more of a subtle, but equally effective role here, which in the least, showcases his versatility on his instrument.

"Awakening" sees the boys saving the wildest for last. This is the most energetic, fast-paced, virtuosic track on the album. Machine-gun drumming, lightning-fast passages from guitar, bass, violin and keyboards: all in unison, and at other times, separately. Strangely, this is the shortest track on the album, though with all of the hyperactivity crammed here, one gets the sense that it need not be any longer. Excellent musicianship all-around.

High-quality musicianship and taste to match. Fans of high-energy, virtuosic rock should soak this up. If you're into Jimi Hendrix, Frank Zappa, King Crimson or the like, you shouldn't pass this up. Rumor has it that the Mahavishnu Orchestra had an influence on the 1973-1974-era King Crimson. If there's any truth to that, I wouldn't be surprised. This outfit were highly influential on many musicians, especially of the virtuosic category. Pick this up, and see what all the fuss is about.

In 1971 when Mahavishnu John McLaughlin formed a band with Jerry Goodman (violin), Jan Hammer (keyboards), Rick Laird (bass) and Billy Cobham (drums), he probably had no idea of what was to come. With the exception of the Beatles in the pop world, no group of musicians had a bigger influence on music than the Mahavishnu Orchestra. In a very short period of time they forever changed the musical landscape. There probably isn't a guitarist, keyboard player or drummer today, who wasn't influenced directly or indirectly by McLaughlin, Hammer and Cobham.

The remastered CD of their debut album THE INNER MOUNTING FLAME is a true gem. Yes, the music is the same; "Dance Of Maya" is still mesmerizing with its complex rhythms and melodies, "Vital Transformation" is still mind blowing by its incredible tempo and orchestral themes and "Lotus On An Irish Stream" is as beautiful as ever and showcases the acoustic side of these electric pioneers. However, for the first time it can be heard as if you were in the studio with the band. The original LP was probably compressed in the mastering process due to the limitations of vinyl. When it first became available on CD several years ago it was a marked improvement from the vinyl LP but the dynamic range was still limited. After one listening to this remastered CD I felt as if I had heard it for the first time.

This album is a must for any serious music listener. You don't have to be into jazz, progressive rock or fusion to appreciated it, but if you are, it is surely to be one of your favorite albums. Let's hope that Sony is going to release a remastered CD of the band's second mastrpiece BIRDS OF FIRE.

For all of you Mahavishnu fans and soon to be fans what was once rumor is now a fact. This September, Sony is going to release the Mahavishnu Orchestra's third studio album which was recorded in August 1973 just prior to the band's breakup and was never released, then apparently lost for 26 years. It's appropiately called THE LOST TRIDENT SESSIONS as it was recorded at Trident Studios in London. I'm already waiting in line online.

Having just recorded with Miles Davis (Tribute to Jack Johnson, 1971), guitarist extraordinaire John McLaughlin and thunderous drummer Billy Cobham joined together with Jan Hammer (electric and acoustic piano), violinist Jerry Goodman, and electric/acoustic bassist Rick Laird to produce this remarkable 1971 debut. The approach taken on the Inner Mounting Flame fused the energy of rock with an admixture of jazz, resulting in a rock-jazz hybrid (with an emphasis on the rock side of the equation).

The music on this album simply burns and at times the intensity is frightening. Odd meters abound (e.g. 5/8, 9/8, although even more exotic meters are used), with numerous and hairpin metric shifts and some really weird root movements. McLaughlin plays with such passion, volume, and sheer speed that he makes contemporary electric guitar "shredmasters" look like they are moving in slow motion...or simply asleep. Although this album really knocks you for a loop, there are also some great grooves and quieter, more calm and reflective moments (A Lotus on Irish Streams). All of the guys in the band are excellent musicians and most importantly, they listen to one another - as a result there is some excellent interplay, especially between McLaughlin, Hammer, and Goodman. Cobham of course is a true virtuoso and his superb technique never ceases to amaze. Last but not least, bassist Rick Laird is the anchor in the band and keeps everybody from launching into orbit around the Earth.

The remastering of this album is OK and features some detailed liner notes and good sound quality. Of course, as somebody who once owned this on vinyl, the CD will never hold the same magic, but the music will always be incredible, no matter what format it is presented in.

This landmark recording is very highly recommended along with the follow-up album Birds of Fire (1973).

There are just some experiences you NEVER forget, and for me, at age 15 was hearing this groundbreaking disc by The Mahavishnu Orchestra! My initial impressions were of complete awe, even a bit of terror, wonderment, curiosity and a determination to get my brain around this frighteningly intense yet very spiritual and lofty music. Years later, it STILL stirs many of those same feelings for me.

One of the most striking things aside from the music itself (a very natural, unforced vet fierce melding of Coltrane, Hendrix, blues and Indian ragas) was John McLaughlin's choice of musicians. Jerry Goodman was the only member of MO Mk I that had no previous jazz experience, yet was able to integrate his classical, folk and rock sensibilities into the mix very beautifully! Jan Hammer bought to the table an incredibly varied and colorful piano style and even turned in some SMOKING organ and Rhodes (a shame he didn't play more organ, he sounded GREAT on it!). Drummer Billy Cobham had just the right balance of sheer technique and soul (having logged in time with Miles Davis and James Brown among others). Bassist Rick Laird provided a solid bedrock for the others to build on, yet if you listened closely, he played very melodically in an understated way. Five VERY headstrong musical personalities like this coming together made for some exciting musical fireworks AND for some serious personal tensions (which would blow the band apart a couple years later), but in that brief time, revlutionized music!

1. Meeting Of The Spirits - Beginning with a powerful introduction of mysterious chords and swirling sounds, the band calls us to higher loftier realms, with McLaughlin playing EVERY NOTE as if his life dpended on it. Great opener with mesmerizing power and ferocity!

2. Dawn - Starting off low key with Hammer chiming away on his Rhodes, the band lets forth a gently soaring melody that gradually builds intensity to some fiery interchanges between Goodman and McLaughlin before winding back down.

3. Noonward Race - Full throttle for John as he leads the band through a funky raga-ish wild ride, interesting solo from Jerry Goodman and one just marvels at how they play this fast and STILL land on the right spot!

4. A Lotus On Irish Streams The romantic/classical side of McLaughlin Goodman and Hammer comes out with this dense yet very beautiful piece, conjuring up vivid images of rural Ireland and Britain.

5. Vital Transformation - Billy Cobham leads the charge at an insane tempo as McLaughlin and Goodman come in with a raga-ish figure that builds to frightening intensity and just as you think it's going to blow up, the whole band scrreches to a near halt and delivers a rousing melodic chorus before picking up steam again. McLaughlin's solo here is not only notable for its intensity but also tons of melody takes place at frightening speeds. I LOVE the edge of the seat flavor of this piece!

6. The Dance Of Maya - The blues holds sway here, as McLaughlin's deliberate and ominous arpegiated figures give way to an equally ominous melody from Goodman's violin, and then the band gets down to DA BLOOZ for abit before coming back to that ominous main theme and blowing the roof off the joint with a rousing ending. Call this blues from another dimension!

7. You Know, You Know - In a quieter more introspective vein, McLaughlin paints the scene with a minor key blues-inflected figure as his bandmates weave in and out interjecting a key moments. An understated masterpiece of building something very complex off a relatively simple figure. This would sound great in some parts of a detective flick!

8. Awakening - With all the subtlety of an air-raid-siren going off next to your bedroom window, the whole band unleashes a ferocious raga-like fusillade at a frighteningly fast tempo and then Jerry Goodman lets forth a soaring yet fierce melodic Middle Eastern-inflected solo on his violin. The band miraculously comes back at full throttle and then Hammer gets his turn, the tempo slows down a bit as he unleashes brilliant ideas which are gradually mutated and twisted beyond recognition with a ring-modulator on his Rhodes, and without warning, that raga figure roars back, and this time McLaughlin takes it out (and I mean OUT!!!) into space with his ferocious yet melodious solo and thenm somehow manages to bring the band back in as it lands on its feet with ungodly precision!

At first, all I could say was HOLY (...), HOW DID THEY DO THAT?

Years later, that feeling STILL happens when I pull this disc out.

Want mindblowing? Listen here!

After seeing the Mahavishnu Orchestra live I couldn't speak for an hour. When this appeared in the 70s it was totally shocking: much more than just jazz/rock fusion (as offered by Chick Corea or Weather Report) this was a previously unheard-of mixture of the rawest-sounding rock guitar with jazz complexity and mind-stretching Indian beats, all executed by brilliant players (Billy Cobham is simply a freak - on another occasion I saw him playing with 2 sticks in each hand, each stick doing something different, and on this album you'd swear there are 2 drummers, but no, it's just Billy, with no overdubs - and Jerry Goodman injects some of the tastiest rock violin ever).

McLoughlin was in the middle of a 5-year devotion to guru Sri Chinmoy, and as his earlier album's title put it, 'My Goal's Beyond'. So if you want pretty music, or rock, or jazz, this isn't it - this is beyond convention, even beyond beauty (though Lotus On Irish Streams, the one acoustic track, is very beautiful): it walks up to and makes friends with the dark and chaotic side of the universe, though always revealing a strict if complex structure underneath. Subsequent Mahavishnu albums got more and more commercial-sounding: the follow-up, Birds of Fire, is very good but much tidier than this, while their last, Inner Worlds, is utterly domesticated and toothless. Only the live album, Between Nothingness and Eternity, comes anywhere near the brutal and, why not say it, cosmic power of this untamed tiger.

I wasn't even born during the Mahavishnu phenomenom that began in 1971, but I sure feel envious toward those that were around then. Those lucky souls were able to bear witness to the beginning of the jazz fusion movement. Nowadays, "fusion" is associated with overflamboyant musicianship and soulless, unemotional arrangements. Now the Mahavishnu Orchestra may have been flamboyant, but they were not without soul or emotion. You see, in order to play with the gut-wrenching intensity of the Mahavishnu Orchestra, energy is needed. And energy is derived from feeling. So that puts that argument to rest.

Their first album The Inner Mounting Flame is a perfect example of five virtuoso musicians throwing themselves with reckless abandon into their music. Guitarist and bandleader John Mclauglin's fretwork continues to sound jawdropping more than thirty years later. His wild and uninhibited playing contrasted vividly with his clean cut appearance. Keyboardist Jan Hammer and violinist Jerry Goodman provided a classy ambiance to bassist Rich Laird's and drummer Billy Cobham's funky and complex rhythms. Also noteworthy is the band's cultural diversity: Mclaughlin is an Englishman with a love for Eastern philosophy and religion, Goodman is an American trained in European classical music, Hammer is Czech, Laird is Irish, and Cobham was born in Panama but became a U.S. citizen via the U.S. Army. How many albums have came out before or since with Indian, Celtic, jazz, classical, blues, rock, and country influences all wrapped together in one neat package?

As for the songs, you are better off hearing them than reading my musically illiterate descriptions. The opener "Meeting of the Spirits" is beautiful, and majestic and infectious. "Dawn" starts out slow and tranquil enough, but boy does it ever pick up. There's the warp speed insanity of "Awakening" and "The Noonward Race". "The Dance of Maya" has a ominous psychedelic beginning until a blues breakdown erupts 2 and 1/2 minutes into the song. "You Know You Know" is a ballad that at times threatens to explode into pandemonium. How many ballads do you know of that have their own stinkin' drum solo? The Celtic hued "A Lotus on Irish Streams" displays some subdued, but still very fine playing.

The Inner Mounting Flame shows what popular music was once capable of, and can be capable of again. But sadly, popular music is overran with glory hogs who feel they have compensate for their lack of talent and justifiably declining sales by humiliating themselves with ludicrous publicity stunts (i.e. 5 day marriages, stripping at the Super Bowl). So I say to you fellow music lover or to anyone reading this review, disconnect yourself from the talentless cavalcade of EmpTyV excrement and give real music a chance.

A stunning achievement and surely one of the greatest albums ever made, The Inner Mounting Flame defies categorization as it juxtaposes rock, jazz, classical, Indian, and Celtic influences in a way that is at once aggressive and subtle. Inexorable and driving, John McLaughlin (guitar), Jerry Goodman (violin), Jan Hammer (keyboards), Rick Laird (bass), and the incredible Billy Cobham (drums), each of whom is from a different country, blend their unique instruments and styles into a ferocious, beautiful sonic landscape. Easily capable of shifting from symphonic walls of sound to hard-edged blues and back again in the same song, the Mahavishnu Orchestra may be the most technically versatile group ever assembled. From the gentle, lilting, Celtic sounds of "A Lotus On Irish Streams" to the dizzying, frenetic pace of "Vital Transformation" to the dark blues of "The Dance of Maya," if this album doesn't shock you with its musicianship and musical synthesis, leaving you in total awe, then rigor mortis may have already set in.

My high school buddies and I had never heard of John McLaughlin or the Mahavishnu Orchestra (or of jazz-rock fusion for that matter) when we went to see the group in November of 1972, only because Joe Walsh of the James Gang was opening the show (although we had heard a rumor that McLaughlin was even better than Hendrix.) Mahavishnu's opening piece, a 15 minute version of "Meeting of the Spirits" simply blew me away. McLaughlin's guitar playing was something I could never have imagined. Featuring songs from the recently released "Inner Mounting Flame", they played much longer verions live to allow plenty of extended soloing by the five musicians. McLaughlin, Goodman and Cobham in particular were incredible. An absolutely electrifying and unforgettable concert. I bought the album a few days later, have been listening to it ever since, and it forever changed the way I listen to music. It ain't top 40, that's for sure, but it captures the fire and intensity of this superb group of talented musicians. In my humble opinion, this is the Mahavishnu Orchestra's finest hour.

J.R. I'm sorry but you don't know what you are talking about. Probably because you never saw this band live. This music is a lot easier to pick up on when seen live, but once you grasp it it's special.

I've seen most of the people you mention as being better composers. Sorry. NOPE! NO WAY! NADA! I've seen acts that were this good but never seen one that was better or more impressive in ANY way. And I've seen my share of composers. Zappa, Mingus, Miles, Sun Ra, Terry Riley, Steve Reich. This stuff stands up quite well to time.

The compositions may not be on the level of Beethoven or Miles Davis (wrong about him too) but they broke ground, and they continue to be a bar that few bands, or composers, reach. This band at it's heights was spectacular, no, unbelievable. The metric stuff alone cracked open the world of music. Of course it's partially improvised so it's a group compositional effort. It remains raw which is way better than 99% of the polished stuff that followed. It's harder to listen to than a lot of jazz rock but it's well worth the effort. Most fusion or jazz rock is actually pretty lame, not this.

In fact some of the "composers" you mention, I don't want to name names because these are all fine musicians, but some of them have put out some awful, lightweight elevator music in terms of composition.

Some of the later Mahavishnu albums are not that great and I will agree that McLaughlin tends towards virtuosity rather than composition, but you've got it wrong on this one and Birds of Fire. THESE two are definitely NOT elevator music and BOTH deserve more than 5 stars compared to some of the crap that gets 5 stars. I would call them inspired nearly devine.

However if you are a conservative listener... go for what J.R. recommended.

Its strange (to me at least) how much people rave about Jimi Hendrix when you consider what John McLaughlin was doing with the instrument at the same time. And anyone who thinks Yngwie Malmsteen was the first shredder needs to hear this album from 1971 - McLaughlin beat him to the punch and managed to do it with taste and diversity (which is more than can be said about the Pork Viking). Frank Zappa's Hot Rats may have been the album that initially sparked my interest in jazz and fusion and Miles Davis' Bitches Brew may have been the album to solidify it but nonetheless, The Inner Mounting Flame remains an important part of my personal development as a music fan.

Don't be under the impression that this band are all about chops (though all five members are incredibly accomplished musicians). They use to their technical ability to wondorful effect with furious, fiery improvisation and an intesity that matched the early heavy metal of the time. Not that Inner Mounting Flame is simply a rock album played by jazz musicians - there are moments of beauty and calm among the madness that could almost match the smoothest, most subtle jazz.

If you're a rock fan looking to get into jazz, or even vice versa, or you're simply a fusion fan who somehow missed this the first time round then you need this album. Hell, I'd recommend it to ANYONE looking for great instrumental music.