Record Reviews
📝 2096 reviews| Artist | Title | Review |
|---|---|---|
| Mike McClellan | An Evening With Mike McClellan | |
| Mike McClellan | Laughing In The Dark | |
| Bobby McFerrin | How The Rhinoceros Got His Skin | |
| Kate & Anna McGarrigle | Dancer With Bruised Knees | |
| McGhee & Terry | Pick A Bale Of Cotton | |
| McGuinness Flint | Lo And Behold | |
| Ellen McIlwaine | Honkytonk Angel | |
| Ellen McIlwaine | We The People | |
| Ellen McIlwaine | The Real | |
| Ellen McIlwaine | Everybody Needs It | |
| McKendree Spring | 3 | |
| McKendree Spring | Tracks | |
| Murray McLauchlan | Song From The Street | |
| Murray McLauchlan | Boulevard | |
| Murray McLauchlan | Hard Rock Town | |
| Murray McLauchlan | Storm Warning | |
| John McLaughlin | My Goals Beyond | <p>After bouncing around on a couple of labels, the CD reissue of this album ultimately ended up on Rykodisc. The startling thing about this record is that it points the way toward two directions McLaughlin would take in the future — exploring Indian music and the acoustic guitar — and this while he was in the thick of the burgeoning electronic jazz-rock movement. The first half is a John McLaughlin acoustic guitar tour de force, where he thwacks away with his energetic, single-minded intensity on three jazz standards and five originals (including one genuine self-penned classic, "Follow Your Heart") and adds a few percussion effects via overdubbing. The second half is devoted to a pair of marvelously intricate fusions of Indian rhythms and drones called "Peace One" and "Peace Two," with jazz flights from flutist/soprano saxophonist Dave Liebman, a simpatico encounter with future Mahavishnu cohorts Billy Cobham on drums and Jerry Goodman on violin, and Airto blending his sounds seamlessly with the Indian tambura and tabla. Throughout, McLaughlin's acoustic lines faultlessly straddle the line between the subcontinent and jazz, and the ethereal results still hold up beautifully today.</p> — <b>Richard S. Ginell</b> |
| John McLaughlin | My Goals Beyond | <p>After bouncing around on a couple of labels, the CD reissue of this album ultimately ended up on Rykodisc. The startling thing about this record is that it points the way toward two directions McLaughlin would take in the future — exploring Indian music and the acoustic guitar — and this while he was in the thick of the burgeoning electronic jazz-rock movement. The first half is a John McLaughlin acoustic guitar tour de force, where he thwacks away with his energetic, single-minded intensity on three jazz standards and five originals (including one genuine self-penned classic, "Follow Your Heart") and adds a few percussion effects via overdubbing. The second half is devoted to a pair of marvelously intricate fusions of Indian rhythms and drones called "Peace One" and "Peace Two," with jazz flights from flutist/soprano saxophonist Dave Liebman, a simpatico encounter with future Mahavishnu cohorts Billy Cobham on drums and Jerry Goodman on violin, and Airto blending his sounds seamlessly with the Indian tambura and tabla. Throughout, McLaughlin's acoustic lines faultlessly straddle the line between the subcontinent and jazz, and the ethereal results still hold up beautifully today.</p> — <b>Richard S. Ginell</b> |
| John McLaughlin | Shakti with John McLaughlin | <p>For his next act, the decibel champion of electric jazz shocked the world by unplugging and returning to South Indian music before an excitable audience at South Hampton College. Yet the alert John McLaughlin follower will note that beyond the reliance upon South Indian instruments and scales, there are unbroken links to records like My Goal's Beyond and the high-speed electric music that McLaughlin was casting aside at the moment. McLaughlin called his new quintet Shakti, which means "creative intelligence and beauty and power" and the music here has all of that and something else, a ferocious streak inherited from the Mahavishnu days. McLaughlin ignites "Joy" by playing at a blazing speed, his cohorts Lakshminarayana Shankar (violin), Ramnad V. Raghavan and T.H. Vinayakram (mridangam), and Zakir Hussain (tabla) keeping up with the furious unison tempos with great dexterity and discipline, while a reworking of "Lotus Feet" forms a meditative interlude. Side two is taken up by a single, lengthy raga-like track in which McLaughlin combines his rapid-fire Western manner with note-bending techniques clearly emulating a sitar, and the Indians get plenty of dueling room. In its way, this fire-eating acoustic music is just as energizing as the most electrified Mahavishnu flights.</p><p>—<strong>Richard S. Ginell</strong></p> |
| John McLaughlin | Greatest Hits |
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