Another thing I’ve been hesitant to post, but which is unique, and high enough in quality – despite a few drawbacks – to warrant attention…

The drawbacks, and the reasons for my hesitation, start with the fact that this concert is over twice as long as the previously posted concert by the Mahavishnu Orchestra at the BBC, and I know full well that many people find this band pretty hard to take (but see below, third paragraph under rubric “Some Thoughts”…). Then there’s the problem of the sound being less than sterling – especially during the first few minutes. Finally, the film editing was probably considered pretty creative in its day, but now, despite having its many good moments, seems also to include far too many moments that can only be described as irritating – including, for instance, jiggling close-ups of the mixing board during at least one instrumental solo (Why? one asks…), and some very rapid cuts during the central drum solo that verge on the headache-inducing.

When I first watched this video I was pretty much underwhelmed – and maybe a little bewildered.  But I kept being drawn back to it, and it grew on me.  Ultimately the good outweighed the bad in my judgment.  In fact, the music is among the most astounding I’ve ever heard.

A Little History:

After the breakup of the original Mahavishnu Orchestra (known among aficionados as the First Incarnation), early in 1974, John McLaughlin reconfigured the band, using the same instrumentation but with all new personnel (other than himself, of course), plus the addition of a string quartet and two players of brass and winds, to create an ensemble more than twice as large as the original. Here’s the lineup of the then-new configuration, known as the Second Incarnation:

The “Core” Band:

Guitar*, compositions (also: triangle):  Mahavishnu John Mclaughlin;
Solo electric violin (also: cowbell):  Jean-Luc Ponty;
Keyboards†, vocals:  Gayle Moran;
Bass:  Ralphe Armstrong;
Drums:  Narada Michael Walden.

The String Quartet:

First violin:  Steven Kindler ;
Second violin (also: background vocals):  Carol Shive;
Viola (also: background vocals):  Martia Westbrook;
Cello:  Phil Hirschi.

The Brass and Winds:

Trumpet, flugelhorn, flute:  Bob Knapp                                                                  (also: gongs, cymbals, cowbell, tambourine);
Trumpet, flugelhorn, piccolo trumpet:  Steve Frankevich                          (also: cowbell, tambourine).

Program (as listed by YouTube poster Musical Time):

“Sanctuary”
“Smile of the Beyond”, Part I ‡
(Drum Solo)
“Smile of the Beyond”, Part II
“Dawn”, Part I
“Dawn”, Part II

Some Thoughts:

There have been quite a few posts on the BB recently about the Divine Masculine. For my money, in looking for examples of that aspect of reality, one could do worse than to peruse some of the video concert footage of the Mahavishnu Orchestra’s First Incarnation. Although they are capable of great lyricism, have a sense of dynamics that is beyond excellent (ie: they play at many different volumes, from soft to loud and everything in between), and almost constantly vary the texture of the music (rather than all playing at once), their sound tends to muscular and energetic, sometimes even bordering on the manic. Aside from the BBC concert posted below, there is some truly fine video concert footage posted on YouTube, notably of concerts in Munich (reminds me of that quotation from Mario Andretti on the BB quotation wall), Châteauvallon (a nice long set, allowing the music to really stretch out and develop), and Syracuse. (check out Jan Hammer’s tribute to J. S. Bach in his solo toward the end of the final piece).

As to the Second Incarnation of the Mahavishnu Orchestra, it’s almost as if, when he decided to reconstitute his band, McLaughlin set out to include much more of the Divine Feminine. The softer, more lyrical moments are noticeably more frequent and prominent, though the fiery virtuosic playing is still very much in evidence, making for a different balance, a more even proportioning – one might even call it a fusion. This is especially true due to the inclusion of singing by actual women’s voices. Perhaps McLaughlin was seeking to create or embody a kind of “Divine Androgyny”?

And speaking of fusion, the Mahavishnu Orchestra is generally considered to be a Jazz/Rock fusion band, but this is such an oversimplification as to completely obscure the point.  McLaughlin started out as a Classical player, but learned about the Blues from his older brothers.  Those same brothers then introduced him to Flamenco.  Later, as an adult living and working as a professional musician in London, McLaughlin was exposed to – and learned how to play – Jazz, R&B, Rock, Pop, and Indian music.  So the Mahavishnu Orchestra was really a Classical/Blues/Flamenco/Jazz/R&B/Rock/Pop/Indian Fusion outfit.  The big problem with so many influences is getting them to all hang together; the advantage is that one can create something that is truly a “music of continuing surprises” – the constant navigation of the dividing line between order and chaos…

Note:

The above video was recorded at the Festival Mondial du Jazz Antibes/Juan-les-Pins. Also currently posted on YouTube is some other live video concert footage of the Second Incarnation of the Mahavishnu Orchestra drawn from the same period – notably three pieces from their set at the Montreux Jazz Festival (possibly constituting their whole set, though I’m far from clear on that…): “The Power of Love”, which shows the classical element of this music very clearly; another version of “Smile of the Beyond” – in case one is wondering how much of this music is structured and how much improvised; and the remarkably-titled “Vision is a Naked Sword”,  Part I and Part II / On the Way Home to Earth, which seems to exist in a musical space connected equally to Classical, Indian, Funk, and electric Miles Davis style Jazz (at least!) – though this particular video seems to cut off a little too soon (full version, audio only, here).

________

* In this video McLaughlin plays a guitar known as the Double Rainbow, built for him by Rex Bogue and Ren Furguson in Venice, CA, during the mid ’70s – a place and time many of the BB readership will remember with great fondness.  This guitar was very much on the cutting edge at the time of its construction, incorporating all kinds of innovative on-board electronics, thanks to Rex Bogue’s passion for such things.  Also, check out the gorgeous mother-of-pearl inlays, especially on the two fretboards!

† Fender Rhodes electric piano, Hammond B-3 electric organ.

‡ This is the only piece in the set that has any lyrics; here they are:

I follow your smile
And try as I might
I can’t get it
Out of my heart
It’s captured my heart

I follow your mind
And though it may be unwise
I see nothing else
You’re part of myself

I follow your soul
I know it will make me whole
With you I am one
My vision is one

Once I thought my goal was so far away
My long and endless search

Now I see
Within your very smile
The way
Within my heart
It ever plays
A symphony
That sings of endless days

Smile of the beyond

Lord of the day
Your face is an endless ray
Of love in my life
Light in my life

Please let me stay
And be by your side forever
Watching you smile
I live for your smile

Smile of the beyond

Blessed are the pure in heart
Blessed are the pure in heart
(repeat)

Please let me stay
And be by your side forever
Watching your smile
I live for your smile

I see
Within your very smile
The way
Within my heart
It ever plays
A symphony
That sings of endless days

Smile of the beyond

– Mahalakshmi Eve McLaughlin (Mahavishnu John McLaughlin’s then wife – her first name probably given to her by Sri Chimnoy, as was her husband’s…).