BELO HORIZONTE

A very eclectic yet surprisingly lush and atmospheric contribution to the jazz lexicon from this ephemeral yet often-fiery musician, the fact that it comes during his courtship (and collaboration) with soon-to-be wife, Katia Labèque as well as to the beginning of his now life-long commitment to living life in Monaco is tinted slightly by the very recent death of jazz icon and one of John's heroes, jazz pianist Bill Evans (to which he dedicates a brief rendition of an Evans tune, "Very Early"--and to which he will dedicate an entire album of solo acoustic guitar covers of Evans tunes on 1993's Time Remembered). Other than outstanding drummer Tommy Campbell and one song duet with Paco de Lucia, the cast of collaborating musicians is entirely French. One of the things that sucked me into this album from the start is John's commitment to acoustic guitar playing (I've always loved his acoustic guitar playing more than his electric). The 70s/80s jazz synthesizer keyboard support I also find tasteful and not overdone. It's an album of beautiful melodies, beautifully supportive chords and harmonics, to some very peaceful, meditative music--smooth jazz despite the virtuosity on the guitar. While all of the songs flow very pleasantly from start to finish, with a variety of rhythms and structures--like samba, waltz, and swing!, from Flamenco to sophisticated Weather Report jazz, the high point for me is the incredible SHAKTI-like "Zamfir"--which is, I'm guessing, a tribute to the great (and much maligned) Romanian pan flute player. The gorgeous textures created by Katia and François Couturier's keys along with Tommy's brilliant cymbal play and restrained drumming allow bassist Jean-Paul Celea and John's delicate guitar play to shine out front, despite their laid back volumes. "One Melody" is another high point for its constantly shifting textures and soloists--and its astounding drumming. "Stardust on Your Sleeve" also carries a very Zawinal/Weather Report feel to it: so smooth and downright "cool"! For years I though of this as a "jazz lite" album because of its sleepy pastiche, but now, years later, I see--and appreciate--the stupendous performers who were collaborating with John here--the artists who gave these soundscapes such smooth perfection. This has always been, and remains to this day, one of my favorite albums that John McLaughlin--a real guitar hero of mine--ever contributed to much less composed and led. Definitely a five star masterpiece of jazz-rock fusion.