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38 of 41 people found the following review helpful:
5.0 out of 5 stars
Mahavishnu Played Fusion, October 31, 2003
The Mahavishnu Orchestra are widely known for breaking new ground in the world of popular music. They (unsurprisingly) upset many jazz purists (one of them would be musician Wynton Marsalis), while conversely, offering new ways of looking at jazz. This band may have been responsible for helping listeners (particularly of the younger crowd) ease their way into works of "pure" (for lack of a better term) jazz, but saying that largely undermines the integrity and musical power that The Mahavishnu Orchestra possessed. So to be more specific, this band may have helped broaden the appreciation of jazz, especially to a younger audience, while also (and more importantly) blowing the minds of many with their own dazzling musicianship.
Led by guitar virtuoso John McLaughlin, the Mahavishnu Orchestra specialized in blending rock with elements of jazz, Eastern, R&B, classical, country and other elements to form an indescribable brand of music. Not only that, every musician in this band were virtuosos, so the band were not without exhibiting feverish flights of aggression and intensity. However, this band were one of the rare breed of virtuosos who displayed a sense of taste, passion and fluidity in their virtuosic displays, and could rarely be criticized for dryness, or exhibiting nothing more than virtuosic chops all by itself. Another gift this band seemed to possess was a certain accessibility to their music -- it was complex and technical, yet, it could be very addictive, and utterly inviting.
These tracks (which were all composed by John McLaughlin) all seem to be exercises in spirituality. Birds are creatures that fly - they seem to soar above everything. Fire = passion, inspiration, stamina, energy - a life-affirming source. This is transcendent, high-energy music played with soul, passion and purpose. The title track features a main lick, which gives off a slightly ominous, but penetratingly regal sound, while drummer Billy Cobham's crash cymbal seems to add a bit more atmospheric relevance to it's ever-present mystical aura. This main lick is in an astounding 18/8 time signature (but is really a set of 9/8, played twice), and features McLaughlin (guitar) and violinist Jerry Goodman dueling to the point where the two respective instruments sound indistinguishable--the two seem to become one. On a personal note: I've listened to this one track on repeat for two hours straight, and I could have easily kept it on repeat -- it was THAT addicting. Funky numbers like "Celestial Terrestrial Commuters" groove in 19/16, but still remain tasteful and addicting. The band softens things up with tracks like "Thousand Island Park" and "Hope." The former sounding like an unconventional cross between Indian classical and folk-country music (very hard to describe), which is very beautiful and soothing, though it isn't without some lightning-fast soloing. The latter sounding like a mix of Oriental, classical and instrumental ballad.
On "One Word," the band really lets loose with a forbidding and frightening fire that will send many running for cover. For the majority of the first half, the band seems to play in a straightforward R&B-rock jam: John uses the wah-wah (or what I call the 'wow-wow') pedal to tasty effect, and bassist Rick Laird lays down some solid grooves underneath it all, and later, the rest of the musicians trade licks with one another on their respective instruments. The second half is where it gets more intense, as tension is built from drummer Billy Cobham, as he gets a solo spot. Here, he exhibits his drumming skills, which start off smoothly, then escalate in speed and dynamics. Upon hearing this, you know to expect some sort of explosion ahead. Then, John McLaughlin (and band) kick in with a 13/8 meter, and for the rest of the song, this 13-rhythm continually increases in speed to reach a hair-raising climax. Within this 13-rhythm, closer inspection will reveal an almost mathematical technique in McLaughlin's guitar line: a 6-5-4-3-2; 6 strokes/notes on the first line, 5 on the second, 4 on the third, 3 on the fourth and 2 on the fifth. McLaughlin is basically blazing and zigzagging on a pentatonic minor scale, and you will find McLaughlin, Jerry Goodman (on the violin) and Jan Hammer (synth/keyboard)--not to mention Billy Cobham pounding out this 6-5-4-3-2 pattern on the snare--playing this exact motif in unison, while Rick Laird is anchoring this spiritually cathartic flame with an utterly tense bassline to produce something so beautiful, divine, searing, orgasmic and powerfully devastating: it is my absolute favorite moment out of the entire (original) Mahavishnu Orchestra catalog.
Much of the album is hard to describe in mere words, so this review is pretty much over. This album is recommended to all rock music fans, particularly if you're a fan of Hendrix or King Crimson. Prog-rock fans will probably love it, and they may find it to fall closer to that category, than it does pure jazz. If you're new to the Mahavishnu Orchestra, this is probably the best place to start, then pick up 1971's INNER MOUNTING FLAME.
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34 of 37 people found the following review helpful:
5.0 out of 5 stars
Birds of Fire, March 5, 2003
This album has enough energy and power to have been recorded in the birth of a supernova. Only the inner sanctum of guitarists had known a few years earlier of McLaughlin's arrival from England as a living legend, but the message quickly flew to the general public. The Orchestra featured McLaughlin's double-neck blinding speed; Jan Hammer's keyboard outcries; Jerry Goodman's electric violin playing both classical themes and twin lead lines; Rick Laird's trembling bass, and Billy Cobham's super-speed percussion and footwork. If you need any more help, think of the legendary live Fillmore track of "Elizabeth Reed" and consider that as close kin. Pure kinetic outbursts of notes and turbulent rhythms whip and rage on these 10 cuts, but there's also a few brief glimpses of relative calm in the eye of the hurricane. It's perhaps appropriate that Cobham's gong splashes and rolling percussion alongside Goodman's chanting violin herald the title song with an Asian Indian-like mantra, as McLaughlin awakens with a piercing, rising flurry that sounds like a peacock in a courtship frenzy. The ritual reply comes back from Hammer's synthesizer, and then it's back to the guitar and violin as they weave and intertwine like DNA strands. "Miles Beyond" (dedicated to the late trumpeter) emerges slowly from the jazzy fog of electric piano, and then watches as Laird and Cobham raise the curtain for an opening statement by McLaughlin and Goodman. What follows next requires headphones-as much as you want to believe it's muted electric guitar, it's really a fascinating pizzacato on Goodman's violin, supported by more electric piano musings. The band then throws themselves into a brief summary, only to have McLaughlin and Cobham devastate the landscape, sounding like a ferocious firefight from the worst days of warfare, with machine gun-like guitar bullets flying in front of a bombardment of cymbal-and-drum mortar explosions. The song ends as the opening phrase is once again firmly planted in the ground like a waving banner. Like a scurrying swarm of ants in action (or New York City in rush hour), "Celestial Terrestrial Commuters" features more electric guitar/violin duets and twin lead lines, swept along by the pace of Cobham and Hammer like two men with push brooms in a hyperactive frenzy to clean up after the crowd. It's followed by the brief (23-second) bit of electronic chatter of "Sapphire Bullets of Pure Love." The M.O. then offers one of the most delicate electric pieces ever recorded, "Thousand Island Park," with McLaughlin's flamenco-like acoustic performing a jazz ballet movement with Hammer's piano as his partner, praised by Laird's bass. With almost poetic resolution, "Hope" builds in what can be best considered grandeur, strengthened by Cobham's percussion and Laird's upright bowed bass, capturing some of the rich arrangement ideas that George Martin used so effectively with the Beatles on albums like Magical Mystery Tour's "I am the Walrus." Track seven, "One Word," was born in the deep realms of space in a galaxy that contains life-forms unlike any found on Earth. Beginning with Cobham's skintight inside-out snare solo, the band frantically careens through the narrowest of channels like a bobsled race without brakes. They miraculously arrive unharmed with the rescue effort of Laird's solo, only to mutter and fuss behind his melodic tumbling notes. However, it's too easy to be safe, and in a three-way argument of "my opinion, and yours-be-damned," McLaughlin, Hammer, and Goodman take turns venting their thoughts and gestures with dramatic, flamboyant phrases. The climax is reached as each man/creature tries to shout down his colleague with overlapping statements that sound like a marriage counselor's nightmare day in the office, and Cobham steps up to clear the brawl. A muscular drum solo follows as he rolls effortlessly back and forth on his tom-toms, and the double bass drum pedals thump like a dangerous blood pressure reading. A series of staccato notes signals that the band is ready to snap its chains again and breaks into a final exhausting sort of cosmic orgasm. Something is sure needed to calm down the fury, and it's time to seek "Sanctuary," a song that must be a eulogy from the casualties of all this turmoil. Hammer's grief-stricken synthesizer solo weeps behind the wails of dual violin-guitar lead, and there appears to be no light at the end of the tunnel. However, this isn't the case, as "Open Country Joy" (a song that Kottke did on Dreams and All That Stuff and the newly-reissued 1971-1976: Did You Hear Me?) awakens like the first warm day of spring. Gliding violin and 12-string guitar preface the false ending, which bursts into full bloom behind McLaughlin's electric warbling, Hammer's return calls, and Goodman's ecstatic freedom. Cobham unleashes a summer shower while the sun shines, then pulsates away, switching to brushes while the others frolic and dance. All these adrenalin rushes have to find the time to regenerate, and "Resolution" closes out as the band redoubles its intention and vigor with a "you haven't seen the last of me" conviction that is almost patriotic in its foundation. If anything is needed, it's a towel and a shower as these five musical massage therapists have just finished pummeling the daylights out of your mental muscles. Do not, under any circumstances, give this CD to anyone who is under a doctor's supervision and requiring bed rest. On the other hand, if you need to paint the entire house in one day (or build one) and don't mind doing the job yourself, the Mahavishnu Orchestra will gladly haul any gear or heavy construction material you need with the pure power of sound at its best-and it could move a mountain. I'll bet they don't require a ladder, either, because they know your speakers will use anti-gravity to get the job done. Crank it up and watch!
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14 of 14 people found the following review helpful:
5.0 out of 5 stars
The Classic 2nd LP, October 5, 2001
Whoever says that this album sucks apparently didn't spend too much time listening to it. All of the musicians play with an intensity that I have heard nowhere else. Was "Inner Mounting Flame" more intense? Yes, but the music on that album had a much darker feel than on this album, so the band needed to generate a more ferocious sound. Frankly, I think the JAZZ on this album is more open to repeat listenings than IMF. I could hit repeat on the title track and let it run all day and not get tired of it. Jerry Goodman's violin solo in that song (and it took me quite a while to realize that it was a violin in the second solo section) blows me away every time! Billy Cobham is simply the best fusion drummer there is. It's a shame that he was never able to duplicate the musical success of "Spectrum" in the rest of his fusion catalog. Jan Hammer was an awesome keyboardist (note the "was"). Rick Laird, well, when he laid into a groove, he wasn't moving for anything; wonder what he's done since Mahavishnu! And there's nothing anyone can say about John McLaughlin. As a guitarist myself, I can tell you: this man is beyond all definition and comparison. Over the years, he has made complete 180 degree turns in his style that he just refuses to be pigeonholed. If I could play with just one quarter of his talent, I would...well, I don't know what I'd do, but a be a pretty freakin' good guitarist!
And all I'm talking about is the FIRST SONG on the album. You still have 9 more tracks to go!
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~ Mahavishnu Orchestra
~ Mahavishnu Orchestra
~ John McLaughlin
~ John McLaughlin
~ John McLaughlin
by Mahavishnu Orchestra 
