John McLaughlin Trio - "Mother Tongues" (Live at the Royal Festival) 1989
ฝัง
- เผยแพร่เมื่อ 5 ต.ค. 2024
- Jazz Rock/Fusion - www.progarchives.com
What the fuck? Ok we have a lot of nice live versions of the JMcL Trio, but we neeeeed the the live ones from the absolutely f***** great release "Live At The Royal Fetsival Hall". Fellas, enjoy this - this is the definition of music.... go out and buy this record to enjoy this audiophile music experience.
John McLaughlin: acoustic guitar; Photon guitar synthesizer
Kai Eckhardt: electric bass
Trilok Gurtu: percussion
Digitally recored at the Royal Festival Hall, London
November 27, 1989
With John McLaughlin's Live At the Royal Festival Hall live grand album, a small token of an extensive tour he did in 1989/1990 with the JMTrio (including in a Zagreb days or weeks ahead of war), every listener gets something special prepared for him. This is actually one of my childhood jazz albums, but until recently I was way close-minded and jazz-offed as to observe how, though in a conservatory artistic way, this is a phenomenon. Maybe one only thanks to music, compared other equally flourish lives held by McLaughlin, nevertheless one definite. Searching an expression isn't exactly the big mood, since things are influenced by nothing but the masterful talent and inspiration of the artists, in front of a unpanicked experience. The last solid albums are far to remember, whether the questionable polish of a fusion bang (such as that of Music Spoken Here) or of the bits of pieces collectible, still, from the Mahavishnu straight essence; yet that counts in such a little manner. The time of this concert is fresh, it's "now" and it's for ever. The feeling, at least, is a bit more endless than the word itself is imagined.
John McLaughlin Trio featured on this tour the incredible Trilok Gurtu, par an impressionist in his percussion par an artist beyond his craft and dazzle, and Kai Eckhardt-Karpeh, a gifted soul. The trio continued music after this year, most profoundly coming the charming and aromatic release Que Alegria, a work, itself, good to light the fire and keep the jazz at a quality both traditional and spice-modern. Also playing in the album will be Dominique Di Piazza, who eventually will replace Eckhardt-Karpeh. The reason for a trio feeling, in Royal Festival Hall, is pretty much the basis for which the concert is highly successful and excellently drawn. Mirth craft by both an individual possessive interpretation and a long-forgotten strange accent, in order for the trio sound to be mystifying. In a credentialed way, Eckhardt-Karpeh doesn't have the shine of McLaughlin and Gurtu, but that doesn't change the music dramatically. The solos are, themselves, in a state of individual art and measured performance, since the detail is to captivate, barely to collapse. The trio definitely had good moments of music and jazz. But right in Royal Festival Hall, such words are pretty much simple nuances ; the records spins frantically the high impact, instead.
Interesting to note is the music's entire character, ultimate and indescribable, over a bit less granting idea that the concert is in a blissful context, or that the trio steams towards a perfect grace (in fact, the essence of the jazz art is what makes me believe so much that, except the San Francisco monument concert of McLaughlin, Di Meola and Lucia, I haven't heard a better live album with McLaughlin). Great moments acoustically happen with McLaughlin's Photon guitar, a craft hidden, of course, beneath the waves and the groove.
The vibes and emotions pick up from where the music is peaceful played or "sharpshooting" sojourned. Blue In Green, after M. Davis, is piquant, but syrupy artistic, serving a lounge music for a beginning treat. So are the next two pieces, worked after an essence by Forman, the shorter medley giving grace and power, while the other one is the example of stable art, in more or less subtle moves. Florianapolis is of a sought-after discrete grand play than of a purely exciting jazz arrangement. Mother Tongue is the grand piece of the evening, based on a language of jazz and form already acquainted, but much surrounded by special signs and, midst an improvisation of sound and shapes, having an incendiary solo by Gurtu. Blues For L.W. (easter-egg: Blues for Lech Walesa) is the ending gem, at first with sorrow guitars and lines of noteworthy slowness, finishing with an ecstatic original voice improvisation. Just like the crowd erupts and the refinement melts your jazz senses all the way, the whole album ends up being regarded as amazing and special.
Highly acclaimed without a sketch of a new impression (or with a sign that it loses down the old-churned pleasant admiration), the Royal Festival Hall John McLaughlin Trio concert holds more special its value, its jazz gift and, lastly to resound, its humble respect for music. The rest is between magic and a splashing grand memorable performance. Greatly recommended.
Review by "Ricochet" with 5 points of 5 possible points from www.progarchives.com
This is my favorite McLaughlin album of all time and this is my favorite piece. I can't get enough of it. John, Kai, and Trilok are simply brilliant throughout.
It kills me that I can't get this on Spotify. The injustice :-)
Kai Eckhardt catapulted himself into the ranks of elite bass guitarists with his fantastic playing on this album. Whether it's his warm fretless or his thumb work Kai is the real deal.
Well very said. Until then I had never heard of him. His approach is both highly technical at the same time being warm and very welcoming.
What's he up to these days?
Later it was Dominique di Piazza who is also excellent but certainly not better.
Spot on assessment!
Best percussion solo ever starting at 7:00. Trilok Gurtu is the man.
This is one of the finest drum solos of trilok gurtu, just creation of amazing and creative rythms without the need of fancy rolls like Weckl or Chambers. And John with the guitar setting the mood. Brilliant!
Saw them twice on this tour, once with Kai and once with Jonas. I had the extremely good fortune to meet the band backstage both times they played Ft Worth during this tour. Fascinating guy, that Trilok Gurtu. He may actually be crazy. He’s the finest drummer I’ve ever seen. No bass drum, fucking with the 1 and moving it ALL over the place, not afraid to use rubber squeaky toys and buckets of water during his solo. I told him I thought he was 50 years in the future, that everyone would play like him in 50 years. He said, “No, they won’t.” Turns out he was right, so far. We still have 20 more years to find out.
As good as music ever gets! PERIOD!
Was driving on hwy 120 towards Yosemite listening to this CD. It was at night with very very dense fog. This track helped me drive through it. I saw this band open at the Greek Theatre in Berkeley on the bill with Miles Davis and Milton Nascimento. Carlos Santana was sitting just a few seats over. What a magical night.
+Matt Gray When this came out, I used to joke that playing it could make women fall in love with you, and listening to it could make you want to burn your instrument. 27 years later, I feel pretty spot on about that notion.
Ha! You lucky dog!
The synergy of these three on this recording is awesome. As was noted, this is probably one of McLaughlin's finest live recordings in his illustrious career. Truly invokes peace and understanding with the cosmos.
Wow fusion of jazz and salsa, rock new age journey into inner space.
Live masterpiece
one of my very fav albums !
I had this on cassette; it never made the transition to CD. As a drummer, I'd forgotten how many licks I stole from Trilok Gurtu from this album. What an astounding player he is.
Saw them play this in Adelaide in 1988, front row seat , Trilok's solo was just brilliant, unfortunately had no deck at that time, but there was a great FM broadcast of the Brisbane concert from that tour that is worth looking out for.
Thanks for posting, I loaned out my copy ten yrs ago AND YOU KNOW THE REST
2 BARS OF 5/4 AND ALL KIND OF SUBDIVISIONS ON THE SPACE RHYTHM.
I saw this tour in San Francisco. McLaughlin, Eckhardt, and Gurtu fucking blew me away. Steve Morse was great opening, but John is something else at 10 feet away. To all of you asking time signatures, a lot of John's stuff is free. There is always a signature head with all the solos and bridges. Improvisation is the nature of jazz.
From my best album ever !!
AMAZING album, thanks for posting. I loaned out my copy ten yrs ago AND YOU KNOW THE REST
Musicalmente el trío de Mclaughlin rompe esquemas de principio a fin un disco en vivo rozando la perfección una joya en la historia
when the tabla came in with that amazing bass line... that's that shit i do like
I forgot what I stole too! I listened to this track a lot. Truly one of the greats.
brilliant and intimate, love the panning on the percussion, priviledged to have seen this tour state side. have the recording on cd thx
In the most positive sense of that word (sick) ...
Trilok is so damn sick! Those tempo shiftings around the meter, and 'comming back' to hit the 1 of that (half-time counted) 10/4 beat ... sick!
Saw this live in ATL. Amazing
Sheer Briiliance!
3x genius@work!
DRUMS!!!!!!!!!! 💯
Très bon groupe
They don’t make em like this anymore, incredible stuff, why isn’t it on Spotify
10/8
"In a credentialed way, Eckhardt-Karpeh doesn't have the shine of McLaughlin and Gurtu". I have to say, yes, "in a credential way", because, imo, Eckhardt was the best bassist in this trio. In1988, Jeff Berlin & Jonas Helborg did a few gigs, when JM found Eckhardt. I have videos/audios with Jeff, Jonas, and Dominique Di Piazza, all of them great musicians, of course, but Kai brought a special "thing" to the trio. Fantastic combination. Unfortunately, for personal reasons he had to leave in 1990.
Hey man, do upload those videos if you get time. Thanks
nah man, Dominique Di Piazza was phenomenal with that Trio, remember first time I saw him play with them, the televised Guitar Legends event Seville Expo 92 - on here somewhere - that solo he takes, jaw droppingly awesome... and after the trio he quit music and went to monastery for almost a decade, or so legend has it... manged to see them live once, magic, he was the perfect player for that group, different level of intimacy compared to the Eckhardt period.
avant de dormir ! trop bon
7:00 is where it gets surreal.
+PropTheGanda Nice call dude. This is arguably one of the greatest 19:25 of music ever recorded. Keep in mind that it is live. If you can find video, watch it. The shit he does with the cymbals in the water is astonishing.
Deine dorfdienlichen Beschreibungen sind sehr schön
Just throwing this out there in case someone knows. Is there any video footage of this specific performance of this song?
as soon as i dig out my vinyl copy ; computer off
@Benfreidkin22: I would say that this is free with no time signature. They are improvising this I think...
Lazy Guitar players always say Hendrix was the best guitarist of the
era cause anything other then a 1 4 5 and a minor pentatonic was too
frightening !! McLughln's genius is down right scary enough to make any
guitarist shit his pants !!!! no pun intended but McLaughlin is Miles
Beyond !!!!
Alain Nau " Royal "
Whats the time signature at minute 8:00 ?
@seb84mewstrucci : naaa im sure they know exactly when to play this
La Peste Total
in 12:10 ------------> konnakkol!!!!!
5/4 or 10/8 Ben
Or 2 bars of 5/4 in triple meter.
don't share it if you're sensitive.
I think I can count the percussion/harmonics break at like 9:4 time...ridiculous.
Patrick Bates it is in 10/4 ;)
Jimqcdrum
I think it fluctuates during the drum solo. As a drummer, I am counting the harmonics of the guitars. 10:4 would be 5:2. I have always only been able to calculate 7:4 or 9:4. Whatever it is, it is amazing and beautiful.
@@patrickbates3228 I think I agree. The first part, where Maestro Gurtu is playing fee time, the guitar sounds like 6/2 (listen to the timekeeping taps on the belly of the guitar) but when Maestro Gurtu comes in with time in the middle, it's definitely 5/2... But I'm just a piano player, so I really can't say :)
Can you please delete your cursing so we can share this? I
Lazy Guitar players always say Hendrix was the best guitarist of the
era cause anything other then a 1 4 5 and a minor pentatonic was too
frightening !! McLughln's genius is down right scary enough to make any
guitarist shit his pants !!!! no pun intended but McLaughlin is Miles
Beyond !!!!
Lazy Guitar players always say Hendrix was the best guitarist of the
era cause anything other then a 1 4 5 and a minor pentatonic was too
frightening !! McLughln's genius is down right scary enough to make any
guitarist shit his pants !!!! no pun intended but McLaughlin is Miles
Beyond !!!!