The Montreux Box Set MUSIC PROJECT [MBMP] _AT_ONE-WORD

Below you will find the raw (unformatted and unedited, apart from anti-SPAMMING) transcripts of the MBMP carried out on the One-Word Mailing List. Entries are presented in the order that they arrived at One-Word. 



From walterkolosky@comcast.net Thu Apr  1 19:53:08 2004
Date: Mon, 29 Mar 2004 08:56:37 -0500
From: Walter Kolosky 
Reply-To: one-word@cs.cardiff.ac.uk
To: One-Word 
Subject: [OW] MBMP#5-  Cds #10 and 11- JM and Paco


MBMP is now underway.  Let's discuss CDs # 10 and 11...John McLaughlin and
Paco DeLucia..






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From m.chiste@tin.it Thu Apr  1 19:53:08 2004
Date: Wed, 31 Mar 2004 02:29:39 +0200
From: Claudio Zanvettor 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] MBMP#10 and 11 - JM and Paco

Disc 10
 
  One Melody & My Foolish Heart - John. John opens and sets evrything
going ok from the very start :-)
 
  El Panuelo - Paco. There are no two's like him in the field, his
message goes beyond flamenco, he can enlighten any sort of music.
 
  Spain - John and Paco. It's all harmonious, perfect interplay in every
part of the song, inspiring ideas coming and going from one to the other
of both musicians in perfect and dynamic exchange.  
 
  Chiquito - John and Paco.
 
  Florianapolis - John and Paco
 
Disc 11
 
  Frevo - (comp. by Egberto Gismonti) 
 
  David - (John's composition, first released on MusicSpokenHere)
 
  Sichia - (composed by Paco de Lucia, included in PassionGrace&Fire) 
 
  Guardian Angels - (played also in "Electric Dreams")
 
  You just listen, and get charmed. Both discs certainly contribute in
giving the MCB a good deal of its incomparable worth.   
 
  ...  that's music, folks. The great one with a capital M, played by the
finest five-strings players in the world. There's nothing better than
that. All tracks show depth, taste, great rythmic patterns and
inspiration. 
 
  Claudio
 
 
 
 
 
 
 
 
 
 


From aksundaram@yahoo.com Thu Apr  1 19:53:08 2004
Date: Wed, 31 Mar 2004 19:59:46 -0800 (PST)
From: Anant Sundaram 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] I must post this now


Just felt like I had to share this, folks.

This morning, I walked out the front door to pick up
the newspaper, and nearly stumbled over an Airborne
Express package that was on the doorstep. It was the
Montreux Box Set (thanks, Souvik!). Must have arrived
the previous evening and I missed it because I had
come into the house through the garage.

I had to leave for work early, so I did not get the
chance to start listening. But I left work early to
rush back home to start devouring the the thing.

I cheated (sorry, Walter): I started with Disc 4
(Shakti), since it has Nata and I have for long had a
huge weak spot for 'What Need Have I...' (just the
original title alone is worth the price of admission).
I put it on. Well.... It was great, but I think I
prefer the original from Shakti 1 (a better build up,
more substantive solos, and Vikku is far better in the
original).

Then, Kriti. Yes, yes, in the the South Indian
classical scheme of things, Kriti's are not much more
than 'I can do this contortion, just in case you are
wondering....' I know some of you have mentioned that
it is not your thing. Not mine either, in the
original. But this version just blew me away--I
couldn't believe that the sounds I was hearing were
actually being played live. I cannot remember hearing
mastery and precision of this magnitude, EVER. Just
one sentiment overwhelmed me at the end: A sense that
I could challenge **anybody** playing **any
instrument** to replicate it. My prediction: One could
not (indeed, I wonder if even JM himself could, now).

Then I put on Disc 3 (Shakti, again). That is when all
hell broke loose. Just the first 1'45" of 'Joy' were
worth about $200 out of the $230 that I paid for the
Box Set. To paraphrase Rob (whom I now understand), I
think I may have leaked in my pants. (I am glad the
wife and kids are out of town, or I would have run the
serious risk of embarrassing myself in front of an
8-year old and a 5-year old, not to mention the dog).
I was pulsating; I was gyrating; I was forthing at the
mouth. I just could not believe it: This was
musicianship and musicality of a level that I had
trouble comprehending. This is from another planet, I
kept saying to myself. And then, guess what--it just
got better.....and then, better..... I don't think I
have the vocabulary to express my feelings about this
one, folks. This has to be one of the greatest musical
experiences of my life (even the irritating electric
tamboura and the occasional feedback sounded just
right!).

I think I held my breath (or had a lump in my throat)
for the next 13 minutes or so. Then, I had to pour
myself a stiff scotch, and go out for a smoke. 

I can't take any more for the rest of the day. And, I
knew I had to post this.

Can't wait to mine the rest. I think I may even pop
open that bottle of the '88 Cos d'Estournel I have
been hoarding, waiting for the right occasion.....

Sorry if all this sounds silly, but who cares...

Cheers
Anant

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From rasibley@rasibley.cnc.net Thu Apr  1 19:53:08 2004
Date: Thu, 1 Apr 2004 01:54:46 -0500
From: Rod Sibley 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] MBMP# 5: CD's 10 & 11 - Juanito y Paco


Hello to All,

   Listening to the JMcL & Paco CD's reminded me of the reaction a lady had
at a Trio concert. It was my second of two shows that evening, and she was
seated next to me. After the first piece played with all three musicians
onstage, she said, [amazed] "Gee, those guys are gooood!"

   That about summed it up.

   It almost describes the CD's. The only thing I would say is: "Gee, those
guys are great!" It's just one of those concerts where you're grateful that
it was captured on tape. Not in a dreamy "it's full of magical moments"
type of way; but in a gut-level "John is having a great night, and Paco is
The Lord of the Strings" type of way.

   Regarding this particular concert, "three" really would have been "a
crowd". I'm not taking a shot at Al: it's just a noticeable point. The duo
setting gives John, Paco, and the songs some breathing room. The
"million-notes-per-second syndrome" isn't assaulting your ears. Don't get
me wrong, flaunting the chops can be cool; but sometimes it wears a bit
thin after awhile.

   The duo setting also has a sense of intimacy to it: like you're
listening in on a jam at one of their homes. All that's missing is a couple
of beers, a bag of pork rinds, and a few Playboy magazines. The audience is
respectful [and mixed low], so you don't hear a lot of that whooping and
cheering BS whenever John or Paco turn on the afterburners during a solo.
This, and the intensity of the performances, makes these CD's very
enjoyable.

   No point in me making comments on individual tracks because EVERY one of
them is *Hap-nin'*.

   These CD's are another reason to buy the box set.

   That about sums it up.


'nuff said,

r



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From mbuchanscot@yahoo.com Thu Apr  1 19:53:08 2004
Date: Thu, 1 Apr 2004 12:11:32 -0600 (CST)
From: Fernando Fernández 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Cc: mbuchanscot@yahoo.com
Subject: [OW] MBMP# 5: CD's 10 & 11 - Juanito y Paco

Greetings from Spain!
 
I´ve just finished the first audition of these discs. I must say that
they are great, and it seems to me that the year 1987 was good for the
ensemble JM-Paco de Lucía because I have a bootleg of these two guys in
Germany and they sound amazing.
 
CD 10: One Melody & My Foolish Heart, El Pañuelo, Spain, Chiquito and
Florianapolis
CD 11: Frevo, David, Sichia and Guardian Angels.
 
I love "One Melody" in the album but I must recognize that I didn´t read
the title till the end and I didn´t know in this case that they were
playing that tune. "El Pañuelo", "Spain" and "Chiquito" are probably the
best treated themes and sound wonderful, including a small remembrance of
"Concierto de Aranjuez" towards the end of "Spain". With respect to
"Florianapolis", I truly love the piece in whatever version I´ve
listened, and this one results good but a little slow (?).
 
Second CD is a succession of classics very well interpreted. It seems to
me that they knew perfectly the repertoire and how to seek the best of
each of the pieces. Nevertheless, I continue thinking that they become
slept sometimes, but the sound and the interrelation is marvellous.
 
The CDs could have been released in one and only CD but this point has
been discussed before in the list. One good thing of this is that I feel
like coming back to the vinyls, changing the sides (although the
timing of the CDs is by far more lenghty).
 
Cheers,
Fernando.
P.D.: Nick, we want you here back again as soon as possible. Have a great
recovery!


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From walterkolosky@comcast.net Wed Jun  9 11:35:32 2004
Date: Wed, 7 Apr 2004 12:38:19 -0400
From: Walter Kolosky 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP#10 and 11 - JM and Paco

A Reminder that 

MBMP#10 and 11 - JM and Paco

 

is currently in progress.

 

There seems to be a paucity of posts.

 

Regards,

 

Walter



From walterkolosky@comcast.net Wed Jun  9 11:35:32 2004
Date: Sun, 11 Apr 2004 20:25:58 -0400
From: Walter Kolosky 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP#10 and 11 - JM and Paco

The dynamic duo do the worst version of Frevo I have ever heard from
them..but otherwise what a magical show!  I too , prefer the duo instead
of the Trio.  My favorite tune is probably Florianapolis..since we didn't
really get to hear that played too often...The love and respect these
players have for each other is real and it is conveyed in every note they
play.  I am amazed that Paco and John have not put out a record just
featuring the two of them.
 
Have they played as a duo since 1996?  I ask because I was lucky enough
to be backstage after the show for the Trio's Boston concert.  Into
John's dressing room bounds Paco who gives John a big hug and a couple of
kisses and says he will see John down in Sao Paolo.  (From my memory.) 
At any rate, this was apparently when Al decided not to show up for the
Brazilian show and John and Paco played it as a duet.  I seem to remember
a list member being really bummed out that Al wasn't there- and then
changing his mind because he seemed to enjoy just the two of them better.
 
Regards,
 
Walter
 
 
P.S.  This is the last day for MBMP# 10.  If we have another two weeks
like the last, with so few posts, I will go back to the original plan and
feature only week long MBMPs the rest of the way.


From walterkolosky@comcast.net Wed Jun  9 11:35:32 2004
Date: Sun, 11 Apr 2004 20:38:28 -0400
From: Walter Kolosky 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] # 5  MBMP#10 and 11 - JM and Paco

I'm sorry...this was MBMP # 5.


From mstaskau@qualcomm.com Wed Jun  9 11:35:32 2004
Date: Sun, 11 Apr 2004 17:41:59 -0700
From: Mark Staskauskas 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] MBMP#5-  Cds #10 and 11- JM and Paco


     Late again with my post...business trip plus parents visiting from 
back east equals little time for music listening...

     I saw the Guitar Trio twice in concert.  The first time was in 1981 at 
the Hollywood Bowl, a great outdoor amphitheater.  Each musician played a 
solo piece to open the concert.  I will never forget John's solo: he strode 
out on stage, dressed in white, and played an incredibly powerful and 
moving improvisation that centered around the tune "David".  It's one of 
those live concert moments that I wish I could have captured on tape to 
listen to again and again...  I went to this concert with a friend and his 
girlfriend.  Neither of them were familiar with the music beforehand, but 
they were blown away by the concert.

     The second time I saw the trio was in '82 or '83, when Steve Morse 
joined Al, John and Paco.  Another outdoor venue, this time at San Diego 
State University.  I enjoyed Steve's playing, though I never did get around 
to checking out his work with the Dixie Dregs.  I remember chatting with 
one of the event staff, who mentioned that there was an enormous spread of 
food and wine backstage for the players and their lady friends.

     Discs 10 and 11 were recorded in 1987, by which time John and Paco had 
played many gigs together, and their growing rapport with each other really 
shines through here -- though most of the pieces are familiar ones from 
FNiSF and PGaF, we are treated to some interesting variations and new 
arrangements, as well as some delicious solos.  I remember an interview 
with Steely Dan in which Donald Fagen said they would practice their tunes 
until they could play them perfectly -- and then keep practicing some more, 
because only then did they know the tunes well enough to be able to mess 
with them and tweak them in interesting ways.  We see a similar thing 
happening on discs 10 and 11, especially on Frevo and David, which feature 
some clever reworkings compared to the album versions.

     Some observations on the pieces on discs 10 and 11:

CD 10:

One Melody & My Foolish Heart -- John opens the concert with a solo piece 
that includes the tunes mentioned in the title but seems mainly improvised.

El Pañuelo -- Paco's opening solo; his virtuosity prompts applause from the 
audience at several points.

Spain -- This tune is a great choice -- I like how it sounds at one point 
like a waltz, and it really shows off John and Paco's chops.

Florianapolis -- For me, the definitive version of Florianopolis is the one 
on Live at the Royal Festival Hall -- I love John's joyous intro on that 
performance.

CD 11:

Frevo -- I am a huge Egberto Gismonti fan.  I discovered his music in part 
because of John's choice of Frevo on FNiSF and Loro on MSH which inspired 
me to check out Egberto's music.  I remember reading an interview when 
FNiSF came out where John said he chose this tune because its Latin flavor 
would make it easy for Paco to latch onto (at the time, Paco was just 
getting his feet wet as a jazz player).

     Frevo was for me the highlight of discs 10 and 11 -- it seems to be 
played at a slower tempo here than on FNiSF, and both musicians know the 
tune so well by this time that they practically reinvent it.  Their solos 
delineate the chord changes beautifully. Can't wait to hear the 1996 
recording of Frevo that appears on Disc 17!

David -- This track begins with the somber theme and some nice improvising 
on it by John and Paco.  The two then go off in a whole different 
direction, much more upbeat and energetic, and never make it back to David.

Stas


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From mstaskau@qualcomm.com Wed Jun  9 11:35:32 2004
Date: Mon, 12 Apr 2004 07:31:34 -0700
From: Mark Staskauskas 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP#10 and 11 - JM and Paco

Hi Walter,

    Discs 12, 13 and 14 all feature the John and the Free
Spirits...should we cover these in one MBMP?

Thanks,
Mark

      The dynamic duo do the worst version of Frevo I have ever
      heard from them..but otherwise what a magical show!  I too ,
      prefer the duo instead of the Trio.  My favorite tune is
      probably Florianapolis..since we didn't really get to hear
      that played too often...The love and respect these players
      have for each other is real and it is conveyed in every note
      they play.  I am amazed that Paco and John have not put out a
      record just featuring the two of them.
       
      Have they played as a duo since 1996?  I ask because I was
      lucky enough to be backstage after the show for the Trio's
      Boston concert.  Into John's dressing room bounds Paco who
      gives John a big hug and a couple of kisses and says he will
      see John down in Sao Paolo.  (From my memory.)  At any rate,
      this was apparently when Al decided not to show up for the
      Brazilian show and John and Paco played it as a duet.  I seem
      to remember a list member being really bummed out that Al
      wasn't there- and then changing his mind because he seemed to
      enjoy just the two of them better.
       
      Regards,
       
      Walter
       
       
      P.S.  This is the last day for MBMP# 10.  If we have another
      two weeks like the last, with so few posts, I will go back to
      the original plan and feature only week long MBMPs the rest
      of the way.



From walterkolosky@comcast.net Wed Jun  9 11:35:32 2004
Date: Mon, 12 Apr 2004 11:00:39 -0400
From: Walter Kolosky 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP#6  Discs # 12,13,14 - Free Spirits

Starting the proper header.
      ----- Original Message -----
From: Mark Staskauskas
To: one-word@cs.cardiff.ac.uk
Sent: Monday, April 12, 2004 10:31 AM
Subject: Re: [OW] MBMP#10 and 11 - JM and Paco

Hi Walter,

    Discs 12, 13 and 14 all feature the John and the Free
Spirits...should we cover these in one MBMP?

Thanks,
Mark
 
 
Yes



From mbuchanscot@yahoo.com Wed Jun  9 11:35:32 2004
Date: Thu, 15 Apr 2004 09:32:58 -0500 (CDT)
From: Fernando Fernández 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] MBMP#6 Discs # 12,13,14 - Free Spirits  

Greetings from Spain!
 
Here we are dealing with a release that is fundamental in the career of
JM because they are the first "official" discs printed with the etiquet
"Free Spirits" or "the Free Spirits". Up to now we had to satisfy our
hunger with bootlegs and so on. I spent in the last 10 years pretty much
time watching and enjoying again and again my two VHS tapes from the
festivals of (I think) San Sebastián and Madrid towards 1994. The sound
was quite poor from the point of view of the mixing and displaying of the
different instrument´s sound, but even so I went to them with
satisfaction. Now in the CDs I can hear how they "really" sounded live,
and I think is wonderful.
 
From the three discs, one is from 4th July 1993 and the other two from
18th July 1995, that is, we have the same group toward the beginning and
end of his path, which more or less lasted 2-3 years. I must confess that
these probably were the only CDs that I hadn ´t listened to yet of the
entire box set, but I think this was due to personal reasons. Today I´ve
done my first audition of them and I´m quite happy with the result.
 
In my opinion, the best CD is the first, which contains 6 tunes. I
expressed here in the list my surprise to see "Thelonius Melodius" here
because I thought it was a later composition (appearing in 1996´s JM CD).
Here we have the first of the two versions of "Matinale" offered in the
box set, a "When love is far away" very solid and with a good Miles-esque
trumpet by Joey, a wonderful "Nostalgia" and two correct interpretations
of "Mother tongues" and "1 nite stand" ("Mother Tongues" appearing again
in the 3rd disc).
 
The best for me of the second disc (4 tunes) are "Sing me softly of the
blues" and "The wall will fall". The 3rd disc is only composed by 3
pieces and in my opinion is the weakest.
 
I´ve re-discovered the marvellous sound of this band and the incredible
technique of Joey. I´ve tested once more the perfect ensemble here of the
drums of Dennis Chambers and, last but not least, I´ve enjoyed the
intrincacies of the JM playing.
 
All I can say is that this is JAZZ.
 
Cheers,
Fernando.
 


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From j.haidenbauer@fz-juelich.de Wed Jun  9 11:35:32 2004
Date: Thu, 15 Apr 2004 17:57:10 +0200
From: Johann Haidenbauer 
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP#6 Discs # 12,13,14 - Free Spirits


Am Donnerstag, 15. April 2004 16:32 schrieb Fernando Fernández:
> Greetings from Spain!
>
> In my opinion, the best CD is the first, which contains 6 tunes. I
> expressed here in the list my surprise to see "Thelonius Melodius" here
> because I thought it was a later composition (appearing in 1996´s JM CD).

"Thelonius Melodius" was first played in the duo concerts with Christian
Escoude in 1980 - if I remember correctly.

                                                     Johann




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From walterkolosky@comcast.net Wed Jun  9 11:35:32 2004
Date: Thu, 15 Apr 2004 11:20:19 -0400
From: Walter Kolosky 
Reply-To: one-word@cs.cardiff.ac.uk
To: j.haidenbauer@fz-juelich.de, one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP#6 Discs # 12,13,14 - Free Spirits


...also of course, Tokyo Live was an official release.

Walter




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From mbuchanscot@yahoo.com Wed Jun  9 11:35:32 2004
Date: Thu, 15 Apr 2004 12:39:47 -0500 (CDT)
From: Fernando Fernández 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP#6 Discs # 12,13,14 - Free Spirits

Greetings from Spain!
 
I don´t know if one preview message of mine has been received by the
group (because I haven´t it), but it´s ony to say that Walter is right
and I had completely forgotten "Tokyo Live", which shows the group at a
great playing and sounding well and fresh.
 
Sorry for my -I hope- lazy mind.
 
Cheers,
Fernando.
 
- "I forgot to remember to forget", seriously... I don´t remember in this
moment the group/singer!!!

Walter Kolosky  wrote:

      ...also of course, Tokyo Live was an official release.

      Walter




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From mbuchanscot@yahoo.com Wed Jun  9 11:35:32 2004
Date: Thu, 15 Apr 2004 10:31:12 -0500 (CDT)
From: Fernando Fernández 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP#6 Discs # 12,13,14 - Free Spirits

Greetings from Spain!
 
Of course, I have completely forgotten "Tokyo Live", which was a very
good release and with a quite excellent ensemble of the instruments. Oh,
sorry... I think I will think twice before writing in my present state...
(not, not drunk, I promise...).
 
Cheers, Fernando.

Walter Kolosky  wrote:

      ...also of course, Tokyo Live was an official release.

      Walter




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From m.chiste@tin.it Wed Jun  9 11:35:32 2004
Date: Sun, 18 Apr 2004 23:12:39 +0200
From: Claudio Zanvettor 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] MBMP#6 Discs #12,13, 14 - Free Spirits

  Hello all,
 
  Walter and Fernando already said that prior to "After the Rain" and
to "Tokyo Live" of the Free Spirits in December 1993, there had been
these great Montreux performances of the trio. Fernando was right then at
the start: the Montreux shows come first after all. Strange enough as the
Tokyo concert includes most pieces of the "Que Alegria"  work, while the
Montreux show is made of live tracks of "After the Rain". I saw once the
Free Spirits in Meran (Italy) in February of 1993 - if my memory serves
me right here, with John coming out live in a brand new vest
(and offering a new, intense experience for his faithful fans to share
with him).
 
  These tree discs are a great document indeed of John McL at Montreux. I
won't say one is better than the other, well maybe in discs 12 and 13 you
can hear the best chops of each member of the trio, but disc 14 is part
of the same show of disc 13, the second part. But I listened a lot to
disc 13 today, and as John says at the conclusion of "Matinale", after a
mind-blowing drum solo of Dennis Chambers-Smith, presenting the trio
members, "the one and only: Dennis Chambers Smith!!" Indeed, you can hear
to a lot of great drummers, if you think of Gary Husband just to mention
one, but I have personally never heard someone so good as Dennis Chambers
Smith - he's the man, the ultimate drummer of all, what a power!
 
  John is here as unique as ever: that music is the best for fire, depth
and intensity. All tracks are great and showing the best of qualities in
music making: it's deep, and it has fire, and it is fresh in the energy
profused in every nook of everything that is played. 
 
  Now it's a bit difficult dwelling on each single track of the three
discs. I think, Walter, that it  would have been better IMO maybe to stay
on just one disc in the time of a week: three in a week are hard to
review in the detail, unless we summarize our feelings about all three
discs as I have done here above. 
 
  Claudio  


From walterkolosky@comcast.net Wed Jun  9 11:35:32 2004
Date: Sat, 24 Apr 2004 10:55:10 -0400
From: Walter Kolosky 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP#6 Discs #12,13, 14 - Free Spirits

 
      Two days left. 
 
 
 
I am sorry to say that I believe the two week per CD(s) has created
a project that is dying on the vine.  Let's try to perk it up.  We
only have 1 or two more MBMPs left.
 
Regards,
 
Walter
 
 



From walterkolosky@comcast.net Wed Jun  9 11:35:32 2004
Date: Sun, 25 Apr 2004 09:44:44 -0400
From: Walter Kolosky 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP#6 Discs #12,13, 14 - Free Spirits

 
      I am on record as not finding the Free Spirits to be one of
      my favorite JM projects.  I remember when I first heard that
      Dennis Chambers and Joey DeFrancesco were going to be in a
      trio with McLaughlin.  It just so happened that at the time I
      was into both players in a big way.  I was listening to
      Joey's "ReBoppin" and I can't quite remember what Dennis was
      doing that I was listening to at the time- it may have been
      some stuff from Saxist Bill Evans etc.  At any rate, I really
      anticipated something new.
 
I was disappointed when I heard "Tokyo Live".  It wasn't that I
didn't like it.  In fact, I liked it a lot.  But it wasn't
something new and as we have discussed here many times, the
processed sound of John's guitar was distressing.  I think we have
been spoiled by JM.  We always expect some new trailblazing music
from him.  We tend to feel let down when he doesn't  fulfill that
expectation. 
 
The best Free Spirits recorded performance appears on the
"Promise".   When Elvin Jones fills in for Dennis on "After The
Rain" this makes for a more pleasing affair.  But it is not because
Jones is better, it is because John's guitar sounds better.  That
is what is key to these appearances as they were recorded in
Montreux.  The guitar mix is so far superior to what I heard on CD
and in live performances that it turns the Free Spirits into the
band it should have been.  These perfromances are alive and sharp. 
In fact, I find them to be the biggest surprise of the set.  I was
prepared to only give them a quick listen.  Instead, I found myself
digging them and wishing that when I went to see this band, it
sounded this way.  Instead, JM and JD would play these amazing
unison runs, but you couldn't hear JOHN!
 
I do wonder why Joey didn't play a little synth, John didn't change
guitars etc.  Now that would have made the band different.  But all
in all, despite Joey's horn, this band kicked ass.  I wouldn't mind
seeing it come back if JM changed the instrumentation a bit.
 
Regards,
 
Walter
 
 
P.S.  Tune selection.  I enjoyed hearing this band play some of the
tunes from the JM trio repetoire.  Does anyone agree with me that
if Remember Shakti came out on stage and played an entire concert
of Mahavishnu tunes- that that would be about the greatest concert
ever?



From Dogfuchow@aol.com Wed Jun  9 11:35:32 2004
Date: Sun, 25 Apr 2004 13:41:40 EDT
From: Dogfuchow@aol.com
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP#6 Discs #12,13, 14 - Free Spirits

Walter, it seems I may be quite possibly the only person who loved John's
guitar during The Free Spirits and Heart of Things era. The Gibson Johnny
Smith always had this slightly distorted sound that I've never really
heard with other guitars and I loved the sound during all the
performances. Well, I didn't particularly love it in Tokyo Live, but any
other Free Spirits shows I was really into. I love Dennis Chambers'
playing in the Free Spirits shows from Montreux. I think the only thing
that's missing from the Montreux Festival concerts is My Favourite
Things. I have a show from 94-11-13 in which they play it quite
beautifully.
 
I love the Free Spirits!
 
-Kenny
 
In a message dated 4/25/2004 9:47:56 AM Eastern Daylight Time,
walterkolosky@comcast.net writes:
       
      I am on record as not finding the Free Spirits to be
      one of my favorite JM projects.  I remember when I
      first heard that Dennis Chambers and Joey DeFrancesco
      were going to be in a trio with McLaughlin.  It just so
      happened that at the time I was into both players in a
      big way.  I was listening to Joey's "ReBoppin" and I
      can't quite remember what Dennis was doing that I was
      listening to at the time- it may have been some stuff
      from Saxist Bill Evans etc.  At any rate, I really
      anticipated something new.
 
I was disappointed when I heard "Tokyo Live".  It wasn't that
I didn't like it.  In fact, I liked it a lot.  But it wasn't
something new and as we have discussed here many times, the
processed sound of John's guitar was distressing.  I think we
have been spoiled by JM.  We always expect some new
trailblazing music from him.  We tend to feel let down when
he doesn't  fulfill that expectation. 
 
The best Free Spirits recorded performance appears on the
"Promise".   When Elvin Jones fills in for Dennis on "After
The Rain" this makes for a more pleasing affair.  But it is
not because Jones is better, it is because John's guitar
sounds better.  That is what is key to these appearances as
they were recorded in Montreux.  The guitar mix is so far
superior to what I heard on CD and in live performances that
it turns the Free Spirits into the band it should have been. 
These perfromances are alive and sharp.  In fact, I find them
to be the biggest surprise of the set.  I was prepared to
only give them a quick listen.  Instead, I found myself
digging them and wishing that when I went to see this band,
it sounded this way.  Instead, JM and JD would play these
amazing unison runs, but you couldn't hear JOHN!
 
I do wonder why Joey didn't play a little synth, John didn't
change guitars etc.  Now that would have made the band
different.  But all in all, despite Joey's horn, this band
kicked ass.  I wouldn't mind seeing it come back if JM
changed the instrumentation a bit.
 
Regards,
 
Walter
 
 
P.S.  Tune selection.  I enjoyed hearing this band play some
of the tunes from the JM trio repetoire.  Does anyone agree
with me that if Remember Shakti came out on stage and played
an entire concert of Mahavishnu tunes- that that would be
about the greatest concert ever?



From brandontetirick@msn.com Wed Jun  9 11:35:32 2004
Date: Sun, 25 Apr 2004 19:16:14 -0400
From: Brandon Tetirick 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP#6 Discs #12,13, 14 - Free Spirits

Walter wrote>>That is what is key to these appearances as they were
recorded in Montreux.  The guitar mix is so far superior to what I heard
on CD and in live performances that it turns the Free Spirits into the
band it should have been.<<
 
This reminds me of something I have thought which is I would have liked
to hear After The Rain recorded and mixed by Rudy Van Gelder (like the
old Blue Note organ trio sessions)!  I'm not really that keen on the Max
Costa mixes that I've heard (though JM seems to favor him in a major
way). 
 
Brandon
       




From walterkolosky@comcast.net Wed Jun  9 11:35:32 2004
Date: Mon, 26 Apr 2004 16:56:59 -0400
From: Walter Kolosky 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] MBMP#7 Disc # 15- Heart of Things

Creating the proper header...


From mbuchanscot@yahoo.com Wed Jun  9 11:35:32 2004
Date: Mon, 3 May 2004 10:34:07 -0500 (CDT)
From: Fernando Fernández 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] MBMP#7 Disc # 15- Heart of Things 


      Greetings from Spain!

      11th July 1998, Stravinski Auditorium. JM dominates in
      composition: all except one piece ("Social Climate") are
      written by him. I think that some summits of this show are:
      drums solo in "Tony" by Dennis, mighty guitar of John in
      "Acid Jazz" and quickly running solo of John in "Jazz
      Jungle". Some points of remark: differents touches of Matthew
      (bass player) in "Seven Sisters" and "Mr. D. C.".

      To say the truth, I don´t enjoy too much Gary´s playing here
      and there is a case in which he interrupts -although
      previously planned, of course- a fascinating solo by John (in
      "Jazz Jungle"). JM seems to be recovering here some person
      playing at times like Bill Evans. The flute in "Social
      Climate" makes me remember (with certain nostalgia) great
      players (Joe Farrell, for example).

      I like very much JM´s companion throughout the pieces and his
      numerous tricks. With respect to Jim, his presence is quite
      important in the global result of the sound and maybe Otmaro
      is better in "Live in Paris". It´s quite logical to find
      Jim´s experiments in "Social Climate" (after all, HIS theme).
      Dennis is a monster (though here is a little in calm compared
      to other shows).

      Few months later... RS would come to fill the attention of
      JM.

      Cheers,

      Fernando.

      -Joni Mitchell, "Nothing can be done"

       


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From rasibley@rasibley.cnc.net Wed Jun  9 11:35:32 2004
Date: Thu, 6 May 2004 01:19:21 -0400
From: Rod Sibley 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] MBMP #7 - Da Heart of Things


Hello to All,

   Between the tepid performance and lame production of the studio
recording; a decent live recording; JMcL not crankin' his amp, not bending
strings, and his guitar tone (or lack there-of); Beard vs. Ruiz on keys;
etc, I think the Heart Of Things era inspires the most comments and
opinions with very little middle ground. One man's Heineken is another
man's watered-down Coors Lite ...and never the two shall meet.

   Even though the box set CD features HoT with Otmaro Ruiz, it's a bit
disappointing. The concert should have been called "The Dennis Chambers
Band wsg JMcL". JMcL lays out so often, you feel like he's sitting in with
the band. It's like someone had to go get him: "Wake up John, time for your
solo. Lemme take your shawl, pipe, and slippers". 

   Some OWer's have said that JMcL was being more of a
"bandleader/composer" with *this* band, and that you can't expect him to
play like he did in the MO [at his age]. To which I say: that's a bunch o'
BS. JMcL was bandleader/composer in the majority of his groups. When JMcL
doesn't play, it's because he doesn't have anything to say: not because he
can't. I don't think he was pushed and/or inspired enough when playing with
HoT. He's certainly capable of whipping out the can of whomp-ass whenever
Zakir is drumming and U. Srinivas is up his nose in Remember Shakti...a
line-up which came *after* HoT.

   For the sake of comparison, I played the three tracks that overlap "LiP"
and the Montreux CD back-to-back. IMO, the performances on "LiP" were the
better version. Despite Chambers (who is *always* "on"), the performances
on the Montreux CD are competent, but not exciting. The band doesn't
generate any real heat on the Montreux CD. 'Social Climate' has some nice
playing on it. But the only time my ears really perked up was during John's
solo on 'Acid Jazz': at 10:01, when he tosses in a quote of Coltrane's sax
from 'Pursuance' (from "ALS"). His solo during 'Jazz Jungle' is good; but
the tune gets cut short just when the band is starting to work up a sweat.

   There may be some bootlegs of this band kickin' ass. But as far as
commercial releases go, the HoT CD in the Montreux box set just doesn't do
it for me.

atb,

r



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From mbuchanscot@yahoo.com Wed Jun  9 11:35:32 2004
Date: Thu, 6 May 2004 03:27:42 -0500 (CDT)
From: Fernando Fernández 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP #7 - The Heart of Things

Greetings from Spain!

>Rod Sibley  wrote:

>Even though the box set CD features HoT with Otmaro Ruiz, it's a bit
>disappointing.
 
My comprehension of English is sometimes not very good, but if the above
quote implies that Otmaro was present in the box set CD, I must say that
I think it´s not correct, it´s Jim Beard who is at work.
 
Regards,
Fernando.
 
 
 
 
 
 


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From rasibley@rasibley.cnc.net Wed Jun  9 11:35:32 2004
Date: Thu, 6 May 2004 09:37:36 -0400
From: Rod Sibley 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP #7 - The Heart of Things


Hi Y'all,

I wrote:

>>Even though the box set CD features HoT with Otmaro Ruiz, it's a bit
>>disappointing. 
> 

And Fernando replied

>My comprehension of English is sometimes not very good, but if the above quote
>implies that Otmaro was present in the box set CD, I must say that I think
>it´s not correct, it´s Jim Beard who is at work.

   You're comprehension is very good, and you are correct. 

   I just made a *helluva* mistake. I switched the keyboardists in my mind
when I was comparing the two CD's and just didn't catch the goof while
typing. Totally my error.

   Barring further factual errors on my part, I stand by my comments.

   My apologes to All for the sloppy writing.

atb,

r



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From rasibley@rasibley.cnc.net Wed Jun  9 11:35:32 2004
Date: Thu, 6 May 2004 09:47:33 -0400
From: Rod Sibley 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP #7 - Da Heart of Things



Sorry again for my mistake and any confusion caused by it - RS



   Between the tepid performance and lame production of the studio
recording; a decent live recording; JMcL not crankin' his amp, not bending
strings, and his guitar tone (or lack there-of); Beard vs. Ruiz on keys;
etc, I think the Heart Of Things era inspires the most comments and
opinions with very little middle ground. One man's Heineken is another
man's watered-down Coors Lite ...and never the two shall meet.

   The box set CD features HoT with Jim Beard, and it's a bit
disappointing. The concert should have been called "The Dennis Chambers
Band wsg JMcL". JMcL lays out so often, you feel like he's sitting in with
the band. It's like someone had to go get him: "Wake up John, time for your
solo. Lemme take your shawl, pipe, and slippers". 

   Some OWer's have said that JMcL was being more of a
"bandleader/composer" with *this* band, and that you can't expect him to
play like he did in the MO [at his age]. To which I say: that's a bunch o'
BS. JMcL was bandleader/composer in the majority of his groups. When JMcL
doesn't play, it's because he doesn't have anything to say: not because he
can't. I don't think he was pushed and/or inspired enough when playing with
HoT. He's certainly capable of whipping out the can of whomp-ass whenever
Zakir is drumming and U. Srinivas is up his nose in Remember Shakti...a
line-up which came *after* HoT.

   For the sake of comparison, I played the three tracks that overlap "LiP"
and the Montreux CD back-to-back. IMO, the performances on "LiP" were the
better version. Despite Chambers (who is *always* "on"), the performances
on the Montreux CD are competent, but not exciting. The band doesn't
generate any real heat on the Montreux CD. 'Social Climate' has some nice
playing on it. But the only time my ears really perked up was during John's
solo on 'Acid Jazz': at 10:01, when he tosses in a quote of Coltrane's sax
from 'Pursuance' (from "ALS"). His solo during 'Jazz Jungle' is good; but
the tune gets cut short just when the band is starting to work up a sweat.

   There may be some bootlegs of this band kickin' ass. But as far as
commercial releases go, the HoT CD in the Montreux box set just doesn't do
it for me.

atb,

r



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From strehl985@comcast.net Wed Jun  9 11:35:32 2004
Date: Fri, 7 May 2004 01:25:44 -0400
From: W. Gondella 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP #7 - Da Heart of Things



Bravo, Rod---   well said.
You pulled my thoughts right out of my head and gave them form and shape.

WayneG


----- Original Message ----- 
From: "Rod Sibley" 
To: 
Sent: Thursday, May 06, 2004 1:19 AM
Subject: [OW] MBMP #7 - Da Heart of Things


> 
> Hello to All,
> 
>    Between the tepid performance and lame production of the studio
> recording; a decent live recording; JMcL not crankin' his amp, not bending
> strings, and his guitar tone (or lack there-of); Beard vs. Ruiz on keys;
> etc, I think the Heart Of Things era inspires the most comments and
> opinions with very little middle ground. One man's Heineken is another
> man's watered-down Coors Lite ...and never the two shall meet.
> 
>    Even though the box set CD features HoT with Otmaro Ruiz, it's a bit
> disappointing. The concert should have been called "The Dennis Chambers
> Band wsg JMcL". JMcL lays out so often, you feel like he's sitting in with
> the band. It's like someone had to go get him: "Wake up John, time for your
> solo. Lemme take your shawl, pipe, and slippers". 
> 
>    Some OWer's have said that JMcL was being more of a
> "bandleader/composer" with *this* band, and that you can't expect him to
> play like he did in the MO [at his age]. To which I say: that's a bunch o'
> BS. JMcL was bandleader/composer in the majority of his groups. When JMcL
> doesn't play, it's because he doesn't have anything to say: not because he
> can't. I don't think he was pushed and/or inspired enough when playing with
> HoT. He's certainly capable of whipping out the can of whomp-ass whenever
> Zakir is drumming and U. Srinivas is up his nose in Remember Shakti...a
> line-up which came *after* HoT.
> 
>    For the sake of comparison, I played the three tracks that overlap "LiP"
> and the Montreux CD back-to-back. IMO, the performances on "LiP" were the
> better version. Despite Chambers (who is *always* "on"), the performances
> on the Montreux CD are competent, but not exciting. The band doesn't
> generate any real heat on the Montreux CD. 'Social Climate' has some nice
> playing on it. But the only time my ears really perked up was during John's
> solo on 'Acid Jazz': at 10:01, when he tosses in a quote of Coltrane's sax
> from 'Pursuance' (from "ALS"). His solo during 'Jazz Jungle' is good; but
> the tune gets cut short just when the band is starting to work up a sweat.
> 
>    There may be some bootlegs of this band kickin' ass. But as far as
> commercial releases go, the HoT CD in the Montreux box set just doesn't do
> it for me.
> 
> atb,
> 
> r


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From walterkolosky@comcast.net Wed Jun  9 11:35:32 2004
Date: Fri, 7 May 2004 09:31:24 -0400
From: Walter Kolosky 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] MBMP #7 - The Heart of Things


With the exception of "Social Climate" which at times is sweet and syrupy, I
think this is a pretty good outing.  Better than the studio version, not
nearly as good as the Live in Paris.  I actually like Thomas quite a bit
here.  I think he challenges McLaughlin more.  I have always been on the
fence with Gary and still am, but I think some of his playing here is
clearly good.  (JM's recent interview on www.abstractlogix.com shows he
really admires Thomas.  I know Herbie Hancock thinks the guy's playing is
brilliant as well.  Is there something we are missing about Gary?)

I am also in disagreement with my friend Rod about the frequency of John's
playing.  He seems to be working pretty hard to me.  I also think the
version of Jazz Jungle is good and I am glad to have a live version as they
never played it when I saw the band.  Yes, yes, I wish John had used a
different guitar and yes, yes, poor Jim Beard, also loved by other famous
musicians, isn't as good IMHO as Otmaro.  But all in all, I am quite pleased
with this performance.

Related story:  The first time I saw HOT...for much of the concert John
stood off to the side and was leaning up against the wall.  Slowly he would
walk to the center of the stage for his solos and then slowly walk back to
the wall when he was done.  I noticed it because it was a little different
although I didn't notice any drop-off in his playing.  Months later I was
reading an interview and he talked about feeling so sick for the Boston show
that he thought he was going to die.

Regards,

Walter



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From strumdabiz@yahoo.ca Wed Jun  9 11:35:32 2004
Date: Fri, 7 May 2004 11:23:14 -0400 (EDT)
From: Sandy Freeze 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] MBMP #7 - Da Heart of Things


He\_\_OW, OWl Roderick. Not having the Montreux box set my OWN self,
it is my memory of the HOT band from a CBC radio recording , dans le
grande ville de Montreal, Quebec, Cananda, that echoes your 
disappointment of McLaughlin's overall presence during this period. He 
might have been trying to emulate Miles Davis' appproach of adding the 
salt and pepper to the pot that the band cooked up, at critical points.

Quoting 'Trane's PURSUANCE ain't always a creative pursuit, if you'll
pardon the pun. All I could think , after prolonged ensemble choruses
without an insinuative guitar part, was, "Where's Johnny?" !
 Wasn't it another saxophonist OWner, William Jefferson Clinton, who 
said , "I feel yOWr pain." ?
           Tilde~n, Sandy Freeze

NP: "Just In Time", from ~Stormy Weather~  Lena Horne
"I was resting comfortably, face dOWn in the gutter"
(Comden, Green, Styne)

 --- Rod Sibley  wrote: > 
> 
> Sorry again for my mistake and any confusion caused by it - RS
> 
> 
> 
>    Between the tepid performance and lame production of the studio
> recording; a decent live recording; JMcL not crankin' his amp, not
> bending
> strings, and his guitar tone (or lack there-of); Beard vs. Ruiz on
> keys;
> etc, I think the Heart Of Things era inspires the most comments and
> opinions with very little middle ground. One man's Heineken is
> another
> man's watered-down Coors Lite ...and never the two shall meet.
> 
>    The box set CD features HoT with Jim Beard, and it's a bit
> disappointing. The concert should have been called "The Dennis
> Chambers
> Band wsg JMcL". JMcL lays out so often, you feel like he's sitting in
> with
> the band. It's like someone had to go get him: "Wake up John, time
> for your
> solo. Lemme take your shawl, pipe, and slippers". 
> 
>    Some OWer's have said that JMcL was being more of a
> "bandleader/composer" with *this* band, and that you can't expect him
> to
> play like he did in the MO [at his age]. To which I say: that's a
> bunch o'
> BS. JMcL was bandleader/composer in the majority of his groups. When
> JMcL
> doesn't play, it's because he doesn't have anything to say: not
> because he
> can't. I don't think he was pushed and/or inspired enough when
> playing with
> HoT. He's certainly capable of whipping out the can of whomp-ass
> whenever
> Zakir is drumming and U. Srinivas is up his nose in Remember
> Shakti...a
> line-up which came *after* HoT.
> 
>    For the sake of comparison, I played the three tracks that overlap
> "LiP"
> and the Montreux CD back-to-back. IMO, the performances on "LiP" were
> the
> better version. Despite Chambers (who is *always* "on"), the
> performances
> on the Montreux CD are competent, but not exciting. The band doesn't
> generate any real heat on the Montreux CD. 'Social Climate' has some
> nice
> playing on it. But the only time my ears really perked up was during
> John's
> solo on 'Acid Jazz': at 10:01, when he tosses in a quote of
> Coltrane's sax
> from 'Pursuance' (from "ALS"). His solo during 'Jazz Jungle' is good;
> but
> the tune gets cut short just when the band is starting to work up a
> sweat.
> 
>    There may be some bootlegs of this band kickin' ass. But as far as
> commercial releases go, the HoT CD in the Montreux box set just
> doesn't do
> it for me.
> 
> atb,
> 
> r
> 
> 
> 
> -------------------------------------------------------------
> To unsubscribe, send "unsubscribe one-word" to majordomo@cs.cf.ac.uk
> For other info send word "help" to majordomo@cs.cf.ac.uk 

=====
http://ca.geocities.com/strumdabiz/index.html
E|----------r0++----------r0++|E
B|------a3++++++------a3++++++|B
G|--m5++++++++++--m5++++++++++|G
D|K5++k5++K5++k5K4++k4++K4++k4|D
A|----Tab by Sandy Freeze-----|A
E|,1--,2--,3--,4--,5--,6--,7--|E



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From m.chiste@tin.it Wed Jun  9 11:35:32 2004
Date: Fri, 7 May 2004 23:27:44 +0200
From: Claudio Zanvettor 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] MBMP # 7 - The Heart of Things

Hey WO's,
 
  I don't know I find this disc 15 very good actually: Jim Beard is
excellent on piano. The band is one of the most inspired and John is very
active in a set so dense for contributions: he has to let the others play
but he is still very gripping. That music is one of the densest I have
ever appreciated and enjoyed. So I don't care what anybody thinks. I am
hesitant to affirm if Heart of Things Live in Paris was any better.
Listen how good Jim Beard's contribution is on the piano he's
simply majestic, and certainly you can't find John here really taking the
lead in such a dense outpouring of the music played by the group from
every single instrument and player... generous layers of enthousiastic
and energetic sound. That's "Seven Sisters". John is so much there,
but also so much him together with the others as a pal: it's a
real polyharmonic merging of musical expressions.
  "Social Climate" with again Jim Beard introducing  cleverly on
keys Gary Thomas stating this very good - almost dolphian maybe - melodic
line.
  I never had the chance to see this group, but I remember that I bought
Live in paris at the Virgin Megastore in Paris in early April of the
yerar it was released. It was on the novelties counter: I was with a
class of students, and had wanted to get them to visit the Virgin store,
and a little becasuse I had almost like a sixth sense that I might find a
new John McLaughlin' release, and there it was, really. :-) !!! (no
kidding, sometimes I feel that he must have something out, and there it
is in the shop).
  And Mr DC: I wonder how some people are incapacitated in appreciating
the wonderful work that had been achieved by this cream of the
crop of jazz-fusion formations, for what it actually is really: an
entousiastic merging of  energies from excellent musicians trying and
succeeding in that to accomplish some great music with stimulating
musical rythms! I don't think Otmaro Ruiz is a better player than Jim
Beard: he's different that's all. Listen to what Jim does on the piano in
this tune, it makes you also think of some Chick Corea's influence...
  "Tony" and the bravoure of Dennis Chambers-Smith. That was a great
piece on "Live in Paris", and you immerge in the soft atmosphere of the
melody mainly sustained by Jim Beard and Gary Thomas. 
  "Acid Jazz": you can't imagine how much I have admired and enjoyed this
piece, with that great introduction on the piano by Jim Beard, and then
that dynamic   entrance in crescendo of the others, John's signing the
theme and arpeggioing and all getting into the number with a  crecsendo
feel, and Gary Thomas exquisitely fantasysing on his sax, while all comp
him with a very swinging chasing rythm. Excellent play, and music, in
what can possibly expect: imaginative moods in music, the comping,
the  phrases and the rythm.
  For now "Jazz Jungle" is beginning to grow on me, so I have to stop my
impressions on the Montreux Concert of the Heart of Things, and have to
listen: but I can hear they are all playing so well from the soul.
 
  PS: I have bought the "Then!" new release of Allan Holdsworth: it is a
very good concert made by the A.Holdsworth Group in 1990: very
recommendable, if you love Holdsworth's music, it is beautifully played
and the sound quality is very good.
 
  Claudio



From walterkolosky@comcast.net Wed Jun  9 11:35:32 2004
Date: Thu, 13 May 2004 07:45:29 -0400
From: Walter Kolosky 
Reply-To: one-word@cs.cardiff.ac.uk
To: One-Word 
Subject: [OW] MBMP#8 -  Remember Shakti


Sorry for the delay.  Disc # 15- Remember Shakti is now under review.

Regards,

Walter


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Exclusive Distributor of the patented Smart ID product identification and
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http://www.smartidonline.com
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From mbuchanscot@yahoo.com Wed Jun  9 11:35:32 2004
Date: Wed, 19 May 2004 13:15:19 -0500 (CDT)
From: Fernando Fernández 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] MBMP # 16 Remember Shakti

Greetings from Spain!
 
5 pieces for a good CD recorded in 1999:
 
1- 5 in the morning, 6 in the afternoon
2- Ma No Pa
3- Anna
4- Finding the way
5- La danse du bonheur
 
 "The Believer" (recorded in 1999 and released in 2001) was composed by 6
pieces and 4 are present here. The other 1 is the great known "La danse
du bonheur", released for the first time in "A Handful of Beauty"
(recorded 1976, released 1977) and which was present in the box set´s
 disc 5 (recorded 1977) in a longer version than the present one. 
 
(1) is a very well arranged version with really excellent moments of
John.

(2) is quite good too and has overall dominion of John among the
instrumentists.

(3) is in my opinion the weakest interpretation of the disc.

(4) is full of the incredible percussion of Remember Shakti.

(5) is played in exactly the same timing than in the original record back
in 1976.

In composition, JM is ahead with "3,5 pieces", then Zakir with 1 and
finally... Shankar with "0,5"!!!

One disturbing fact is the back noise present along the entire recording.
It seems to me that it was produced by John´s machine because attimes,
when an "ambient sound" is done, it can result mixed with it.

In comparison with the Remember Shakti that I saw last November in
Edinburgh (more than 4 years later), I´d say that  John was in Montreux
assuming the lidership with all its consequences and wanted to run apart
from the 1st Remember Shakti (with Hariprasad Chaurasia and Uma Metha),
which had produced a too much calmed and relaxed show. I´d say that John
in Montreux was doing a fresh sound but perhaps with few interventions by
the other members of the group (especially in the case of Shrinivas) and
was trying to find another way of doing Indian music, way which would
discover one year later in Bombay with  excellent musicians. From 2000
(released 2001) on we don´t have official record of Remember Shakti and I
think this isn ´t  merely  chance but the fact that Remember Shakti had
been profoundly explored and there were no new material to offer to the
public. These four years have been productive in shows but not very much
"inventive" with respect to RS! .

Anyway, I´m looking forward to hearing John next July in Spain!!! My
commentaries may sound not very optimistic but take into account we are
dealing with a top group, so I´m trying to improve what in itself is
fantasy.

Bye,

Fernando.

P.D.:  I feel very sorry with respect to Elvin´s death.



From walterkolosky@comcast.net Wed Jun  9 11:35:32 2004
Date: Wed, 26 May 2004 14:10:42 -0400
From: Walter Kolosky 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] Final MBMP - Bonus Disk


Ending with a whimper rather than a bang, the MBMP is coming to an end.  The
last disc we will discuss is the bonus disk.



I will feel, going to my grave, that the MBMP should have alloted one week
for each disc rather than the 2 that I decided upon.  You can't afford to
lose momentum in a project like this.  At any rate,  I hope some of you
found the exercise helpful and you can always go back and look at the fine
archives Julian has set up.

In the meantime, it is not too late to comment on the final bonus disc!

Regards,

Walter









****************************************************************************
****************************
Walter Kolosky- President of Special Market Services
Exclusive Distributor of the patented Smart ID product identification and
recovery system.
http://www.smartidonline.com
****************************************************************************
****************************



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From mbuchanscot@yahoo.com Wed Jun  9 11:35:32 2004
Date: Fri, 4 Jun 2004 10:20:19 -0500 (CDT)
From: Fernando Fernández 
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] Final MBMP - Bonus Disk  

Greetings from Spain!
 
Some 17 extra minutes to close the Montreux CD box. Brazilian rumours all
along... "Canto de Xango"... "Frevo"...
 
In "Canto de Xango" (1993) JM joins Carlos Santana and, except for some
characteristic "sounds", JM enters effortless in Carlos´ routine and
completes a correct interpretation. The sound of the guitar of Carlos
predates in some years a certain pattern which will be present in
"Supernatural".
 
"Frevo" (1996) is great and I have no words to describe it (not even in
Spanish!!!). What a wonderful ensemble!!!

Paco and JM are present here without Al in the same year of the release
of "The Guitar Trio". These two guys are monsters!!!

Waiting for some more material from Montreux itself or from some other
place in the world of jazz containing perfomances of John.

Bye,

Fernando.

 


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