John McLaughlin Trio: Live At The Royal Festival Hall 30 Years On

Recorded 30 years ago, Live At The Royal Festival was the beginning of John’s live career in concert halls rather than ‘rock’ venues, at least as far as the UK goes.

I’m not sure why I wasn’t at this gig, but, in those days, even major shows could easily go under the radar. If it wasn’t listed in Time Out or The Wire, you could easily miss it. Or maybe I was just turned off by the lack of ‘stars’ appearing with John.

Which was a big mistake, because this album introduced two monster players, both hitherto unknown to UK audiences. Bassist Kai Eckhardt was yet another miraculous bass find for McLaughlin, apparently fresh out of the Berklee School of Music. Trilok Gurtu brought the best aspects of American jazz and fusion playing but also rhythmic concepts and sounds from his native Mumbai (including a water bucket and tablas). In short, he was a perfect fit for McLaughlin.

It had been a weird few years for the guitarist, closing down Mahavishnu for good, duetting with bassist Jonas Hellborg and guitarist Paco De Lucia but also recording the fabulous Mediterranean Concerto which was finally released in 1990. So his return to the acoustic guitar had thus far been a partial success, but Live At The Royal Festival Hall was the beginning of an acclaimed trio that lasted nearly three years (though weirdly it doesn’t appear to have made it to streaming platforms yet).

The album starts slowly but gets better and better; a gentle take on Miles/Bill Evans’ ‘Blue In Green’ is nothing special but demonstrates John’s rich, Gil Evans-inspired chord concept. Adventures In Radioland tracks ‘Florianapolis’ and ‘Jozy’ are quite superb, beautifully rearranged for the trio. When Gurtu lays into the half-time shuffle on the latter, it’s one of the great bits of modern fusion drumming.

His ‘Pasha’s Love’ is an intricately-arranged version of a track on an impossible-to-find Nana Vasconcelos live album. But the album’s centrepiece is ‘Mother Tongues’, the debut of a tune which is a mainstay of John’s live sets to this day. The only disappointment is the over-extended ‘Blues For LW’, almost derailed by some dodgy group vocals, Gurtu beatboxing and throwaway references to ‘Are You The One?’ and ‘Miles Beyond’.

Eckhardt didn’t stick around for long after this gig, for undisclosed reasons – Dominique Di Piazza came in, yet another Jaco-influenced chops monster. But Trilok stayed on for the decent 1992 studio album Que Alegria. Then it was time for another change – John’s forte.

Great Guitar Solos Of The 1980s (Take One)

Steve Stevens

What do we expect from a great guitar solo? A sense of contour, of line, a bit of colour, a good tone and maybe a touch of – that horrible word – narrative. A bit of flash never heart anyone either, but mostly we’re probably listening for emotion and ‘storytelling’.

Luckily for us, the 1980s featured an embarrassment of riches on the guitar soloing front, a decade when you could hear everything from glorious cameos of post-punk insanity, slabs of avant-garde weirdness, shock-and-awe widdlefests and sometimes perfect little compositions in themselves.

Sometimes great solos came from the guitarist in the band, but more often than not they came from the ‘ringer’, the session player. Truly great players of all stripes could find themselves blowing on a top 10 single. Their job was to add the pizzazz, the zing, the memorable bit that all the kids wanted to learn.

So here’s a selection of goodies from the guitar-shaped chocolate box, featuring some rock, some blues, some fusion, some soul, some new-wave, some pop, some metal, some funk, some jazz. (With a disclaimer: lots of great guitarists missed the cut including David Torn, Eric Johnson, Stevie Ray Vaughan, Albert Collins, John Scofield, Skip McDonald, Bill Frisell, Billy Gibbons, Terje Rypdal, James Blood Ulmer, Sonny Sharrock, just because I couldn’t think of era-defining solos, and maybe also because they played so much guitar…)

26. Tears For Fears: ‘Everybody Wants To Rule The World’ (Guitarist: Neil Taylor)

25. Marillion: ‘Easter’ (Guitarist: Steve Rothery)

24. Michael Hedges: ‘Aerial Boundaries’

The whole thing is a solo, of course, but it’s one of the most astonishing examples of solo guitar in recording history, a mixture of tapping, strumming, thumping, hammering and plain old melody. No overdubs and a very strange tuning on the classic title track to Hedges’ 1984 album.

23. Tribal Tech: ‘Tunnel Vision’ (Guitarist: Scott Henderson)

An almost perfect solo from the jazz/rock master’s album Nomad. It’s so complete it sounds almost pre-composed (though apparently only the first eight bars were hummed to him by the tune’s writer Gary Willis), each interesting idea following completely logically from the last. Starts at 1:13:

22. Talk Talk: ‘I Don’t Believe In You’ (Guitarist: Robbie McIntosh)

This one taken from the classic album The Colour Of Spring can be filed in the ‘minimalist’ category, but it’s brilliant. The way the veteran Pretenders/McCartney guitarist bends into his last note, perfectly fitting with the key change, is sublime. Starts at 2:52:

21. Johnny Guitar Watson: ‘Telephone Bill’

Johnny G pulled out all the stops for this barnstorming bebop-meets-blues breakdown, from the Love Jones album, closing out his funny proto-rap in some style. He also gets extra points for quoting Dizzy Gillespie’s ‘Salt Peanuts’. Starts around 3:30:

20. Bootsy Collins: ‘Kissin’ You’ (Guitarist: Stevie Salas)

From Booty’s now forgotten 1988 album What’s Bootsy Doin’, a brief but flamboyant classic from one of the great unhinged metal guitarists of the decade, often used as a ringer by George Clinton, Bill Laswell and Shakespear’s Sister to good effect. Gets started around the 2:44 mark:

19. Thomas Dolby: ‘Budapest By Blimp’ (Guitarist: Larry Treadwell)

The LA-based guitarist was part of a Christian duo backing the Pope on his infamous ‘Popemobile’ tour of American stadiums when he answered Dolby’s magazine ad, and he excelled himself on this epic track from Aliens Ate My Buick, coming up with a strong melody over the funky break and even throwing in a little Dave Gilmour homage. Starts around the 5:30 mark:

18. Trevor Rabin: ‘I Can’t Look Away’

The title track of the Yes guitarist’s 1989 solo album was a song of two brilliant solos, but I’m going for the opening salvo, a brutal, flashy classic that features all the notes he knows and more.

17. Robert Cray: ‘Waiting For The Tide To Turn’

You could choose almost any solo from Mr Cray’s Bad Influence album, but this one seems to be best encapsulate his classy string-bending, snappy rhythmic sense and ice-cold Strat tone. Starts at 1:33:

16. Nile Rodgers: ‘Stay Out Of The Light’

A brilliant player not necessarily known for his solos, but this closing track from his forgotten second solo album B Movie Matinee finally showed exactly what he could do – a fantastic mixture of Charlie Christian and Jimmy Nolen. Starts at 3:37:

15. John McLaughlin: ‘The Wait’

McLaughlin plugs in the Les Paul and unleashes one of the most vicious solos of his career, gradually developing in intensity, with even a touch of his old mucker Carlos Santana at times. Unfortunately it mostly fell on deaf ears, coming from a nearly-forgotten 1987 album Adventures In Radioland. Starts around 1:43, with crap sound quality:

14. Defunkt: ‘Eraserhead’ (Guitarist: Ronnie Drayton)

One of those great, unhinged solos that starts at ’11’ and then just carries on in the same vein. The underrated session great is given his due and goes for it. From the punk/funk legends’ forgotten, excellent 1988 comeback album In America.

13. Yngwie J. Malmsteen: ‘Black Star’

This piece, kicking off the Swede’s Rising Force opus, is a guitar masterclass from top to tail, but the first few minutes demonstrate some extraordinary touches like a legato section that you’d swear was achieved with a delay pedal. Starts around 0:29:

12. Stanley Clarke: ‘Straight To The Top’ (Guitarist: Carlos Santana)

The song – which kicked off Stanley’s 1981 career nadir Let Me Know You – may be a disco cheesefest but Carlos’s solo is a stonker, an emotive showstopper with a luscious, creamy tone and lots of emotional moments. It was a good period for Santana – see also Herbie Hancock’s ‘Saturday Night’ and Carlos’s own ‘Stay Beside Me’ and ‘Song For Devadip’. Starts at 2:21:

11. It Bites: ‘You’ll Never Go To Heaven’ (Guitarist: Francis Dunnery)

The Cumbrian gunslingers wrote a great ballad here and Dunnery laid his claim as one of the great Brit guitarists of the ’80s with this extreme solo, a sometimes lyrical, sometimes demented mixture of flash and panache. From the lads’ debut album The Big Lad In The Windmill. Starts at 5:09:

10. Billy Idol: ‘Rebel Yell’ (Guitarist: Steve Stevens)

He produced several memorable moments alongside the 6’2” blond bombsite born William Broad, but Stevens excelled himself here with a memorable, well-organised solo full of flashy bits and unexpected ‘outside’ notes. Starts at 2:27:

9. Joe Satriani: ‘Ice 9’

Satch’s sophomore album Surfing With The Alien of course produced some guitar highlights but this track featured one of his most distinctive solos ever, Allan Holdsworth meets Eddie Van Halen, no doubt helped by the cool little drum fill that introduces it at around 1:15:

8. Randy Crawford: ‘You Might Need Somebody’ (Guitarist: Steve Lukather)

This gets in for superb tone and admirable restraint, apart from that fantastic flurry of notes in the middle. Luke could hardly do any wrong around this time. Just around the corner was Quincy’s The Dude, ‘Rosanna’, Joni Mitchell’s ‘Love’ and Jacko’s Thriller. Starts at 1:50:

7. Red Hot Chili Peppers: ‘Sex Rap’ (Guitarist: Hillel Slovak)

One of those great solos that sounds like it could fall apart any second, and it frequently does. From the lads’ uneven but sometimes thrilling George Clinton-produced Freaky Styley album. Starts at 1:14:

6. Yellowjackets: ‘Monmouth College Fight Song’ (Guitarist: Robben Ford)

In the days when Robben’s trump card was playing bebop/blues with a distorted guitar, and when he loved blowing over interesting chord changes, this track from 1981’s Casino Lights is a guitar classic. A super-sophisticated mixture of Charlie Parker and Albert King. Starts at 1:35:

5. Sting: ‘Little Wing’ (Guitarist: Hiram Bullock)

Hiram could be relied upon to produce classic solos in the late 1980s, as he did with Steps Ahead, Terri Lyne Carrington and on his solo records, but this one from Sting’s …Nothing Like The Sun was just sublime. Starts at 1:27:

4. Pink Floyd: ‘Comfortably Numb’ (Guitarist: David Gilmour)

Take your pick between two fantastic solos from The Wall album, but I’m going for the first one, a beautiful feature with a killer tone and great use of whammy bar. Starts at 2:38:

3. XTC: ‘That’s Really Super, Supergirl’ (Guitarist: Dave Gregory)

He apparently rehearsed it alone for hours in a little room stinking of rat poison in Todd Rundgren’s rather rundown studio complex in Woodstock, upstate New York, but it paid off, a memorable, melodic, chiming classic. A few phrases even bring to mind Robert Fripp. Starts at 2:08:

2. Mike Stern: ‘Time In Place’

The title track of Mike’s second solo album demonstrated definitely one of the slowest solos of his career, and also one of the best. Starts at 1:35:

1. John Martyn: ‘Johnny Too Bad’

This was one of the more memorable solos of Martyn’s career, during a decade when he was more interested in songwriting than making extreme guitar statements. But he sure found his Les Paul’s sweet spot on a classic cover version from Grace And Danger. Starts at around 1:28:

Next time: Part two of our rundown of great 1980s guitar solos.

Gig Review: John McLaughlin @ Barbican, 23rd April 2019

If this was John’s final London gig, what a way to go out. Though the audience’s response was at times reverential and/or strangely undemonstrative, the outpouring of emotion at the conclusion was heartfelt and seemed to come as quite a shock to the performers too.

It’s hard to think of another ‘jazz’ band which has endured for so long with the same personnel as The 4th Dimension. This unit (McLaughlin – guitars, Gary Husband – keyboards/drums, Etienne M’Bappe – bass, Ranjit Barot – drums) has toured the world and elsewhere since 2010, playing a fiery mix of jazz, rock, blues, Indian, old-school R’n’B and industrial.

Tonight was no exception, though there was a much larger dose of spiritual jazz than usual, courtesy of not one but two Pharoah Sanders covers: ‘The Creator Has A Master Plan’ and ‘Light At The Edge Of The World’. You could take or leave the slightly dodgy band singing, but the message of love and understanding was powerful and still relevant.

One can also take or leave John’s guitar tone these days (sometimes one wishes for a far less ‘refined’ sound), but his playing sounded back to its brilliant, fluid, lyrical best tonight, a little like his return to the electric in 1978 after the long acoustic sojourn in Shakti. And if the mood of the evening’s music was generally uplifting, with new takes on the frenetic modern classic ‘Hijacked’, Mahavishnu favourite ‘Trilogy’ and raunchy ‘Echoes From Then’, ‘Gaza City’ was heartfelt and touching, a lament for a lost place.

Just a few gripes: one occasionally hankered after another soloing foil for John, an L Shankar or Gary Thomas; this music asks a hell of a lot from Husband and Barot. Also, listening to the latter’s ‘hit everything all the time’ ethos (though his konakkol vocal/rhythmic interludes are always fascinating), one realised what a tasteful, selective drummer Dennis Chambers had been during the ’90s organ trio/’Heart Of Things’ era.

John started the evening heralding a slight return not to Great Britain but to ‘Great Brexit’, and ended it with a gentle: ‘You’re all one. Thank you’. A powerful, important concert, especially if we don’t see him on a British stage again.

Narada Michael Walden: Looking At You, Looking At Me/The Nature Of Things/Divine Emotion

Singing drummers: the ’80s were chock-a-block with ’em. But Narada seems a somewhat forgotten example, at least compared to the far more popular Phil C, Don H, Stevie W and Sheila E.

Yet he started the decade as the one you’d probably have put your money on, ending the ’70s as he did with an impressive run of R’n’B hits.

Narada had of course started his music career as a jazz/rock drumming tornado in the second incarnation of John McLaughlin’s mighty Mahavishnu Orchestra, going on to record famous fusion sides with Jeff Beck, Weather Report, Tommy Bolin, Alphonso Johnson and Jaco Pastorius.

During the ’80s, he was one of the most in-demand producers on the planet, helming Whitney Houston’s ‘I Wanna Dance With Somebody’, Aretha Franklin/George Michael’s ‘I Knew You Were Waiting For Me’ and Starship’s ‘Nothing’s Gonna Stop Us Now’. But his solo career was somewhat in limbo during this period, so it’s fascinating to check out a new, nicely-appointed three-album survey of his 1983-1988 output.

Looking At You, Looking At Me (1983) is the best of the three albums, but a frustratingly inconsistent record. Listening to the superb title track, you’d think he might have found hit his true metier, a languid, luxurious, West Coast pop/jazz, similar to the kind of music Al Jarreau or Manhattan Transfer were making at the time.

But an OK duet with Angela Bofill, passable cover of ‘Reach Out (I’ll Be There)’ and sick drum-machine/horn workout ‘Shake It Off’ aside, the rest of the album is fairly unmemorable R’n’B with occasional virtuosity from guitarist Corrado Rustici and bassist Randy Jackson.

The followup, 1985’s Nature Of Things, is even more problematic, sounding mainly like a kind of soft R’n’B version of the ‘Top Gun’ soundtrack, with way too many synth-based ballads. But Divine Emotion (1988) was a partial return to form, led by the effervescent title track (with one of the great ’80s basslines) which gave him a timely UK hit.

Narada had obviously been prompted into action by his highly successful production work – his vocals and arrangements have never been better. But while Divine Emotion sounds like a million dollars, there are still issues on the songwriting front. Put simply, only the title track, ‘But What Up Doh’ and closer ‘We Still Have A Dream’ have memorable hooks (the latter also features some brilliant jazz/rock kit work from Narada).

One wonders what might have happened if he had hooked up with some great ‘pop’ songwriters like Kenny Loggins, Rod Temperton, Michael McDonald, Carole Bayer Sager or even Burt Bacharach at the outset of the decade rather than relentlessly ploughing his own furrow. ‘Looking At Me, Looking At You’ offers tantalising possibilities.

But looking at his career as a whole, it’s all turned out fine – Narada’s always been one of the coolest, most talented musician/producers around, and apparently he’s an absolute joy to work with.

Memorable Gigs Of The 1980s (Part Two)

9. David Sanborn Band/Al Jarreau @ Wembley Arena, November 1984

We were sitting high up behind the stage with a great view of two of the great modern American drummers: Steve Gadd (with Sanborn) and Ricky Lawson (with Jarreau). To be honest, my parents and I left in the middle of Al’s set but Sanborn was fantastic with Marcus Miller and Hiram Bullock running amok on the huge Arena stage. The saxophonist was at his commercial peak here and probably could have headlined the show.

8. Marc Almond @ The Palladium, 12th October 1986

I have absolutely no memory of why I was at this gig but it was a genuine eye-opener. Almond was long past his pop fame and seemed to be acting out his own private, Berlin-inspired drama. Looking at the footage today, I’m still not sure if it’s brilliant or total sh*te.

7. Miles Davis @ Hammersmith Odeon, 21st April 1982

I remember someone shouting ‘Turn the guitar down!’ Poor Mike Stern wasn’t the critics’ flavour of the month and Miles was obviously exceptionally ill, but the gig was unforgettable. One of my first and very best. I saw Miles three or four times during the ’80s but this was the bomb for sheer atmosphere and occasion.

6. Robert Palmer @ Hammersmith Odeon, 25th September 1988

There really isn’t anyone around these days like the much-missed Robert with his gravelly voice, weirdly cosmopolitan compositions and ever-present smirk. He had a highly-drilled, sh*t-hot band with him at the Hammie Odeon too featuring Frank Blair on bass and Eddie Martinez on guitar. The gig started with a five-minute Dony Wynn drum solo which fair blew the minds of my brother and I.

5. Yes/No People @ Limelight, 9th September 1986

I think this gig was part of what was then known as the Soho Jazz Festival. There was a lively crowd of ‘jazz revival’ hipsters and rare-groove fans – this was my first taste of an underground scene that was quickly building momentum. DJ Baz Fe Jazz kicked off with some Blue Note post-bop (yes, people actually danced to that stuff) and then Yes/No People featured Steve Williamson on sax and the cracking Mondesir brothers (Mark and Mike) rhythm section. The band only lasted a year or so but nearly dented the charts with their ‘Mr Johnson’ single.

4. John McLaughlin/Mahavishnu Orchestra @ Hammersmith Odeon, 12th July 1984

The sign on the door said ‘Billy Cobham will not be appearing’ – heartbreaking to me at the time (McLaughlin apparently dumped Billy just a week before the tour). But Danny Gottlieb sat in with some style and John rattled off some outstanding licks in black shirt and black headband. It was bloody loud too. It was the first time many British fans had seen him since Mahavishnu Mark 1 days and as such there was a big hippie turnout.

3. Bill Withers @ Hammersmith Odeon, 18th September 1988

From memory, Bill spent most of the gig sitting at the front of the stage, talking about his life and career while Pieces Of A Dream accompanied with gentle jazz/funk. Bill wore a sweater and golfing slacks and seemed incredibly old, more Val Doonican than Curtis Mayfield.

2. Weather Report @ Dominion Theatre, 26th June 1984

The duels between keys man Zawinul and drummer Omar Hakim were spellbinding. This was clearly the dog’s b*ll*cks. Well, it was better than Duran Duran anyway. Omar’s huge shades, trash-can cymbal and big grin linger in the memory.

1. Level 42 @ Wembley Arena, 12th January 1989

Level again, but this time for all the wrong reasons. We were in the back row of the dreaded Arena, and the band were flogging their substandard Staring At The Sun album. The audience reaction to the ‘new stuff’ was distinctly subdued. After a contractually-obliged encore of ‘Chinese Way’, Mark King returned to the stage alone. ‘You ‘ad a good night?’ he bawled. The audience erupted. ‘Well, you can all go and f**k off home then’, deadpanned the thunder-thumbed one. Reply – and further encore – came there none…

Bubbling under:

Mike Stern/Bob Berg Band @ Town & Country Club, November 1989

Will Downing @ Hammersmith Odeon, 20th November 1988

Coltrane Legacy (Alice/Ravi Coltrane, Reggie Workman, Rashid Ali) @ Logan Hall, 10th July 1987

Ry Cooder @ Hammersmith Odeon, 27th May 1982

Bill Frisell @ Town & Country Club, 24th April 1989

Ornette Coleman/Prime Time @ Town & Country Club, 28th August 1988

Check out the first selection of memorable gigs here.

Were you at any of these concerts? Let me know your memories.

John McLaughlin: Music Spoken Here 35 Years On

WEA Records, released August 1982

Bought: Shepherd’s Bush Record & Tape Exchange, 1990?

8/10

All great artists with any kind of career longevity have very distinct periods, and John McLaughlin is no exception. Apart from his mid-’60s output, the early 1980s (let’s face it – the whole of the 1980s… Ed.) is probably his least understood/appreciated era.

McLaughlin had moved to France and formed a new band occasionally known as The Translators featuring a top-class American drummer (Tommy Campbell) and otherwise French unit including his new paramour, the outrageously talented keyboardist Katia Labèque.

His music too had turned away from electric jazz/rock and moved towards a gentler – but still intense – fusion of jazz, classical, blues, flamenco, Indian and Latin music, centred around the acoustic nylon-string guitar.

I was a major John completist in the late ’80s/early ’90s but didn’t have a clue Music Spoken Here even existed until chancing upon a vinyl copy. You’d be hard pushed to find it in any jazz reference book these days; it’s virtually been written out of his discography. Some would say with good reason, but to these ears it’s one of the nuttiest, most piquant albums of John’s career.

At times you can feel him edging again towards the Mahavishnu reunion which happened a few years later in ’84, reaching for the Les Paul on a few cuts and pushing the drums and synths higher in the mix. But in its own way, and considering what else was going on in the jazz world at the time (Wynton, Branford and the Young Lions traditionalists) Music Spoken Here is as shocking an album as The Inner Mounting Flame.

‘Blues For LW’ is the album’s centrepiece, a thrilling, richly-chorded tribute to the Polish activist Lech Welesa with a neat quote from Miles Ahead and completely insane Chick Corea-meets-Rachmaninoff synth solo. ‘Honky Tonk Haven’ is brilliant too, a cacophony of early hip-hop beats, modal keyboards and a killer guitar/synth melody line borrowed from the Shakti track ‘Get Down And Shruti‘. You’ve gotta think that Miles would have dug it.

The cover of Egberto Gismonti’s ‘Loro’ may be taken a tad too fast but the arrangement kicks ass. Elsewhere, the album is full of sunny, fresh, cosmopolitan grooves, with frequently outrageous guitar and keyboard playing – the latter way too high in the mix though.

Music Spoken Here was another two fingers up to the purists of the music world, and another artistic success. It reached #24 on the US jazz album chart, a reasonable return but not exactly a big hit for an artist of his magnitude. It’s crying out for a remaster though, one of the muddiest-sounding records of McLaughlin’s career. The Translators played live on and off during summer 1982 too (see below).

Next stop for John was a so-so trio album with Al Di Meola and Paco De Lucia, and then the aforementioned return to Mahavishnu, reuniting with Billy Cobham and also adding Bill Evans, Jonas Hellborg and Mitch Forman. Needless to say, it would be another hard sell for the critics…