Mahavishnu Orchestra Mahavishnu
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- by John McLaughlin ~ Extrapolation ~ $12.54
- Released: June 11, 2002
- Label: Wounded Bird Records
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- 9.When Blue Turns Gold
Mahavishnu Orchestra: John McLaughlin (guitar, Synclavier); Bill Evans (soprano saxophone, tenor saxophone, flute); Mitchell Forman (piano, Fender Rhodes piano, keyboards); Jonas Hellborg (bass); Billy Cobham (drums, percussion).
Additional personnel: Katia Labeque (piano, keyboards, Synclavier); Danny Gottlieb, Hari Prasad Charurasia, Zakir Hassain (percussion).
Recorded at Ramses Studios, Paris, France in May 1984.
Personnel: John McLaughlin (guitar, synthesizer, Synclavier); Bill Evans (flute, soprano saxophone, tenor saxophone); Mitchel Forman (piano, Fender Rhodes piano); Katia LabŠque (piano, synthesizer, Synclavier); Jonas Hellborg (bass guitar, fretless bass); Billy Cobham (drums, percussion); Hariprasad Chaurasia, Danny Gottlieb, Zakir Hussain (percussion).
Audio Mixers: Brian Risner; Jean Louis Rizet.
Recording information: Ramses Studio, Paris, France (04/1984-05/1984).
Photographer: Arthur Elgort.
John McLaughlin resurrected the esteemed old Mahavishnu Orchestra for his mid-'80s quintet, even getting old mate Billy Cobham to fill the drum slot on the band's first album. But this is an entirely different conception than any of the '70s Mahavishnu outfits. The sound is cooler, less strident, more thoroughly dominated by advanced electronic textures -- including a sleekly elegant digital guitar played through a Synclavier. Instead of a violin, Bill Evans contributes some swirling and sometimes bop-flavored work on saxes, and McLaughlin gets mobile but not overly combustible support from keyboardist Mitch Forman and bassist Jonas Hellborg. The homages continue; the opening of "Nostalgia" is exactly that, a throwback to "In a Silent Way" as filtered through digital gear. While this is undeniably prog-minded, beautifully played electric music, it is not terribly absorbing; the quality of the material and the intensity level aren't too high. ~ Richard S. Ginell
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