Customer Reviews

Thieves & Poets

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4 star:		(1)
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Johnny Mac's compositional style has grown significantly. His compositional strength has always been horizontal (scales, melody, solos), but now he is equally strong on the vertical axis (chords, harmonic progression and overall structure). As usual, the rhythmic aspect of the music is as strong as in the old Mahavishu days.

The ballet pieces are orchestrated beautifully and JM's solo guitar blends in perfectly. The various solo sections maintain the high quality of the compositions while showing some individual creativity. JM is able to use 20th century harmony in a way that is both familiar and new. Some new harmonies are aggravating or cacophonic, but JM is able to use out-there harmonies in a welcome-home kind of way.

The jazz standards are acoustic guitar pieces. The arrangements are true to the original compositions while finding some new ground for both soloist and accompanist.

The power and fragility of these compositions will live on many years after we are all dust. It's great to see an artist continue to grow into his senior years.

This CD is a two-parter.
"Thieves and Poets," the first part, is a totally original and beautiful orchestral score. Performed with the 'I Pommeriggi Musicali di Milano' orchestra and with other soloists recording over the score, it is an extremely interesting and evocative suite of music. John McLaughlin is one of the most consistently excellent musicians out there and his impeccable taste is reflected in the three movements of this work. I like the first two movements better than the third which is a bit frantic; nevertheless, the music is so fresh that I don't get tired of it even after repeated listening.
The second part of the CD is 4 standards, performed with the Aighetta Quartet. If you liked "Time Remembered" you'll like these. As usual, JM has chosen four of the best: "My Foolish Heart", "My Romance," "Stella by Starlight" and "The Dolphin." The first two were standards in the Bill Evans repertoire and are played with that Evans "feel." "Stella" is my personal favorite standard of all time and the group does it justice. "The Dolphin" is my favorite of the four, played so beautifully I usually have to stop what I'm doing at the computer and give my full attention to the music.
This is a can't miss JM recording.

Any JM fan should consider this a required item in the collection.

I've been a long term fan of John, since the days of the original Shakti. My enthusiasm for his passion and conviction has often allowed me to overlook his less successful, indulgent or exploratory work (e.g., most of "Adventures in Radioland") as worthy experiments nevertheless. However, I think this may be one of his best, most complete works ever.

I know there are a wide variety of opinions of what constitutes JM's "best" work, so let me assist my fellow JM fans by prefacing that I consider his most satisfying work to include the "Time Remembered", "My Goal's Beyond", "Passion, Grace and Fire" trio album, almost all the Shakti works, as well as his two "Players" albums (with Katia Labeque), although I love his Mahavishnu Orchestra work as well. This should give you a good idea of my frame of reference.

"Thieves" doesn't strike immediately, as its theme's and development are far more subtle than "The Mediterranean". Nevertheless it is probably his most stunningly mature and composed work yet. As he might admit, he's on his knees in worship to Debussy and I sense his own sense of humor in his title for this work, but his sense of form, his economy and confidence shine through this work.

It generally avoids the bombasity of "The Mediterranean" and provides some truly sublime musical moments, especially his interplay with the clarinetist Mayer and other soloists. Those familiar with JM's work will recognize certain themes - Blues for LW as the central movement's main theme, with a quote from "Goodbye Pork Pie Hat", but its done in a truly creative and uncontrived way. Maybe he stole from his past (not too distant at the time he originally composed this), but the end result shows he did it for a noble cause.

The third movement - very reminiscent of Debussy's "La Mer" - is nevertheless a monumental piece in its own right. Concise, well composed, imaginative and passionate. Finally, credit must be given to Yan Maresz's orchestration, far more imaginative and accomplished than the Mediterranean. The use of synthesizers in an orchestral piece is not new, but his use is tasteful and appropriate.

Another review mentioned that if you liked "Time remembered", you'd like the second side's set of standards; sorry my friend, but this a gross understatement! Ten years on and this grouping has matured and has gone onto another level (a common phenomenon with JM's groups, the second album always seems to be better than the first). These pieces are perfection.

"The Mediterranean" was a curio: a piece that was a facinating experiment and highly enjoyable. However, to me, this recording shows he has far more to offer in a classical setting and I genuinely hope he takes up the challenge again.

Thieves & Poets, a 2003 release from Guitarist John McLaughlin, is another in a long series of revelations from the maestro. It begins with a three part suite, composed by McLaughlin, with orchestra, and himself and others as `soloists.' The quote marks around `soloists' are the musician's own from his liner notes. I suppose he means them ironically, because the solos are all integrated into the ensemble sound. Thieves & Poets, parts I, II, & III are meant to be the story of McLaughlin's life. The first part reflects the Old World, the second, The New, and the third is a fusion of Old & New Worlds, if I can use the word fusion in its original sense, before it became tainted by its association with a musical genre that seemed progressive, but turned out to be more of a cul de sac.

If I may be so bold as to offer my interpretation of the title, Thieves & Poets, and its relation to McLaughlin's life, it must be that he sees himself as a thief, stealing licks and phrases from other musicians who came before, but transforming them into an expression of his self, through the magic of his poetry. The first suite begins with a Spanish tinge, reminiscent of Gil Evans/Miles Davis' Sketches of Spain. And the third suite ends with an orchestral tympani flourish, like something to bring down the curtain on an opera by Verdi.

After the three part suite McLaughlin plays small group arrangements of 4 songs by other writers: Three Jazz standards and one not so familiar called The Dolphin, by someone known as Luiz Eca. The Jazz standards he chooses are Stella by Starlight and My Foolish Heart, both by Ned Washington and Victor Young, and My Romance by Richard Rodgers, with lyrics by Lorenz Hart. The last 4 songs sound like mostly just guitars and bass, a very light and breezy, but exquisitely lovely, texture: chamber music for the new millennium. Like angels plucking harps in heaven, ensconced on clouds, drinking ice tea, it sounds.

He does Stella in Bb, which is the standard key for that standard, though I personally like it in G also. But John does it in Bb, with a standard head chorus where he plays the melody, albeit, with his signature flurries and swirls of notes filling in, accompanied by another guitarist, or himself double tracking, perhaps. Stella is one of the all time best Jazz standards ever written, with a melody with very few accidentals, sounding deceptively simple, yet harmonized with devilish intricacy. Four eight bar phrases, each phrase different, yet all flowing together in balanced asymmetry. It is a marvel, and to the list of magnificent versions of Stella must be added the illustrious name of John McLaughlin.

Also lovely is the Rodgers and Hart tune: My Romance. A beautiful ballad, I am reminded of a version of it sung by Carly Simon on a television commercial, whose beauty shone through, undiminished by its thrall to commerce. McLaughlin's version is even more transcendent.

McLaughlin mostly plays acoustic guitar throughout--and nylon stringed at that. The orchestra and other instruments (besides his own guitar, there is another guitarist, a clarinet, a cello, and a tympani, among others) are all played impeccably and recorded superbly. The musician acknowledges the effort of the sound engineer, referring to it as `sound design.'

The booklet included with the CD not only have excellent liner notes, but also photos of John at home, in his music studio, packed with equipment, yet everything placed just so, and there is even a picture of his dog, no doubt his fiercest critic, yet his biggest fan. Seeing him in his native environment, John is obviously a very spiritual person, with an interest in Eastern religions, as well as Eastern music. He combines elements of Indian music, rhythms, ragas, and sitar-like bends and drones, with Jazz, and Western classical music. I think this was the real direction pointed to by another musician on a similar musical and spiritual quest: John Coltrane.

For me hearing this CD, all the pieces fell into place, and I really `got' what he has done here. I could tell he was on a different path since I heard the title of one of his earlier albums: My Goal is Beyond. The work started there continues with this latest release. Too often musicians get caught up in their egos, especially during the turbulent times of the 60's when rock musicians were looked upon as demigods. McLaughlin lived through those times, but he kept his feet on the ground, because, his Goal Was Beyond. He is a humble guy, and there is even an air of Stan Laurel about his whimsical smile in one picture of him playing his guitar.

There is clarity of purpose in everything the man does. You hear it in his playing, but also check out his website: www.johnmclaughlin.com

I saw John McLaughlin perform two times, and while they were both revelations, when he played electric guitar with the Mahavishnu Orchestra in San Francisco, and a full electric band, it was great, but too loud. Everyone had their amps turned up to 11. Much better to see him in a small club called The Bodega in the sleepy suburb of Campbell, California, where he played with a small acoustic group of Indian musicians, playing violin, tabla, and so forth. Or better yet, hear him playing this stuff: Thieves & Poets.

Very reminiscent of his John McLaughlin: Concerto for Guitar & Orchestra "The Mediterranean" - but not as good. Pleasant, but here is nothing that makes it stand out.

I started listening to John McLaughlin back in the Mahavishnu days, mid-70s. He brought a distinctive style and approach to the then-newly-emergent genre of jazz fusion. It was a taste of world music merged with the intensity of electric blues and the complexity of modern jazz. He has always been a musician who communicates, who relates his inner world to his audience. This passion for communicating is the essence of improvisation. It is fascinating for me to imagine the creative process of a musician extending the dynamic and timbral reference frame of the guitar, an intimate instrument, to the deep and mysterious cosmic heart of Western musical creation, which is the orchestra. This is one vision realized for us. We should try to understand it on its own terms.The Book: On the Taboo Against Knowing Who You Are

The title says it all, its a real modern day classic.
A real joy to listen to John's creation.

Why is he bumble fumbling around on his guitar. My Dad played his old Mahavishnu records and this sounds like he is asleep.
Maybe his son if he has one could play better.
This stuff makes me want to go to sleep.
All the reviews sound like they were by people that listend to him for too long! and are fooled like the emerpiors new clothers.
Thank you, \
Megan