THE INNER MOUNTING FLAME

Having done musical apprenticeships with the likes of Miles Davis and Tony Williams John McLaughlin had also played with rock musicians Eric Clapton, Jack Bruce and others in the London music scene during the 1960's. He also had a series of solo albums performed with a variety of session musicians including the magnificient jazz masterwork Extrapolation in 1969. By 1970 Mclaughlin was indulging in the sensibilities of East Indian culture and spirituality which had led him to his guru and mentor Sri Chinmoy who christened him Mahavishnu meaning " Divine compassion, power and justice." Upon Chinmoys insistence Mclaughlin formulated a musical concept for his own group and set out to recruit musicians stateside. On drums he had the Panamanian-born Billy Cobham whom he had previously worked with on a solo project, czek-born keyboardist Jan Hammer ( later known for his Miami Vice television work), Irish bass player Rick Liard who had previously played with the likes of Buddy Rich and ex-progressive rock band The Flock violinist Jerry Goodman who added a Folky edge to the line-up. As you might expect the resulting music is almost beyond rationalization whose most obvious element was McLaughlin's distorted, phase-shifted, escape velocity guitar riffing which was cmplemented by Cobham's forceful drum accents and sympathetic responsiveness. The Inner Mounting Flame features musical elements which range from East Indian ragas, rock rythms, Robert Johnson blues, improvisational jazz techniques, European classical music as well as John Coltrane modal stylings played at intensely high volume and speed. Do not expect this gem to be a go nuts John album as was the case with Jimi Hendrix whose influences also show up in McLaughlin's playing. As the title suggests it is the orchestral concept which really makes this album sizzle and everyone gets to demonstrate their individual virtuosity and the harmonies and melodies found on this album are simply mind-blowing. Listen to tracks like Meetings Of The Spirits, Awakening and The Noonward Race to see for yourself. There are breaks in the unrelenting maniacal 17/8, 9/8, 20/4 time signatured and exotically minor keyed tracks in the form of the pastoral Lotus On Irish Streams and You Know, You Know. The only caution this reviewer has for the new listener is that he/she must bear in mind that it was recorded in 1971 and still sounds rather raw even on the re-mastered CD which is the recommended purchase. This album is the template for what was to come in the 1970's as far as Fusion-Jazz was concerned. Essential and definitive.