Finally – after a failed attempt to stream the gig and crashing iPhone apps (re: Audioboo!! You listenin’??), 2 days later I finally got one song up on Youtube. There will be more; I have 90 minutes of footage and will need to go through it all, but as soon as possible I will post more trax.
All in all, it was a tremendous experience – dare I say the musical “thrill of a lifetime”. I hope we get to do it again.
My best –
So – I did say I was going to write a post about playing the music of John McLaughlin, and all that that entails.
Well…..this isn’t it.
However, I wanted to – for the sake of those who are fans and cannot attend (or can and want to know what to expect) – post the complete list of material we will be performing over the next 2 nights. Once again the venue is:
Shows 1 & 2 are tuesday night (tonight!) and show 3 is wednesday night.
So, without further ado, here are the set lists for this year’s VISHNUFEST.
Show 1: The John McLaughlin Songbook – Before & After Mahavishnu.
New York on my Mind
Do you hear the voices?
Special: SUITE FOR CHOIR:
I Am My Beloved’s
Law Is Not Love
God Then, God Now
Name of Truth
Show 2: BEST OF MAHAVISHNU
Birds Of Fire
Celestial Terrestrial Commuters
You Know You Know
Dance of Maya
Meeting of the Spirits
Show 3: RETURN TO THE EMERALD BEYOND
(-includes String Quartet, Premik Russel Tubbs on sax/flute and Melissa Stylianou, voice)
Can’t Stand Your Funk
If I Could See
On The Way Home To Earth
And there you have it! Hope those of you in the area who like this music can make it – you won’t be disappointed. 🙂
“A long, long tine ago…I can still remember how that music used to make me smile….”
It’s been a long way around. But if, as the physicists say, the Universe is curved, then it figures you’d end up back where you started. So why am I still somewhat surprised? If you’d told me someday people would want to hear this music again I might have laughed, and given a sad little smile…
First, a little background: I first got the “Birds Of Fire” disc back when I was 12 (13?) years old. At the time I was deep into ELP – particularly “Trilogy”, and was just discovering bands like “Yes” & “King Crimson”. (Alternately, another friend I used to hang with would play me Charlie Parker records ALL DAY.)
Anyway, when I tried to listen to “Birds”, I really just didn’t get it. I could tell it was something special, interesting, but…. just “out of reach” of my developing ears..
As time was passing, I was being introduced to more and more great music: the Classic Genesis Lineup; “Tales From Topographic Oceans” and “Relayer”; Patrick Moraz “Story Of i”; also “Bill Evans at the Village Vangaurd”, Herbie Hancock “Headhunters” (and way too many more to mention). It was an exciting time. I was also playing with my High School Big Band, and was writing and arranging for them. I was in it up to my ears, and…loving it.
But I noticed a disparity (at least in my mind) between the Rock & the Jazz worlds.They kind of didn’t “talk” to each other. (What a shame, I thought….)
There were many “moments” – you know what I mean, those points where you experience music in a new way, or hear something startling that changes you’re whole perception..
One of those moments that sticks out in my mind as being relevant is when I went to see “Lasarium” at the Hayden Planetarium in NYC (now the Rose Center). Amongst the Pink Floyd and other prog and experimental tracks was a weird little piece that featured, without a doubt, the coolest synth solo I’d ever heard. The track was called “I Remember Me”, and the synthesizer was played by non other than Jan Hammer. Here. have a listen: I Remember Me
I don’t remember exactly when, but at some point I pulled out “Birds of Fire” and listened, with new ears, to the most astonishing music I had discovered yet. Around the same time I became aware of their other records – “Inner Mounting Flame”, “Between Nothingness and Eternity”, “Visions Of The Emerald Beyond”. Then I got my hands on the Mclaughlin Book, which has the first 4 CD’s in score form – every part written out! My musician friends and I dug into this stuff will military-like discipline. We each learned all the parts – not just our parts, but all the parts. We would mix & match. Play them slow, fast, in different registers, etc. We “workshopped” this stuff to death! I made it my personal mission to get inside this music and be able to play it well – not just to be comfortable with the odd time signatures, but to “feel” them, to internalize them. I learned and memorized 90% of the material. In addition, the music had very strong spiritual connotations, and I was very drawn to it on a lot of levels. I began to see the odd time signatures as “mantras”….
Over the next few years the house of cards slowly came down, and the heyday of Jazz Fusion and Prog Rock came to an end. To quote George Duke from the Billy Cobham/George Duke Live record, “Disco’s taking over the universe”. Disco and Punk Rock. (The latter I learned to appreciate, thanks to my beautiful wife.)
I continued to play this music, mostly with my group “A. Animal”, but interest was waning. We played a lot of original stuff too, mostly in the progressive vein. It became apparent that people were “just not that into it”. (I’ve only recently realized a satisfactory blend of prog rock and jazz elements with NAIL, but that’s another story).
In 2000, I finally gave up the ghost, and looked towards playing new music – moving forward into uncharted territories. One of the first folks I met along the way was drummer Dean Sharp. We began to work together, producing the CD “Galvanized” along the way.
Around the same time, drummer Gregg Bendian was forming “The Mahavishnu Project“. At the time I was full time in “The Machine”, and trying to reinvent NAIL to include ALL of my influences (from Eno to McLaughlin to Metheny to King Crimson to Bill Evans). But they certainly caught my attention, and I began to court the band as something I was interested in. It just so happened that I knew all the music…!
I finally secured an audition with Gregg in early 2008, and did my first gig with the MP in May of that year. It was a little rough getting “back on the horse”, but much to my delight, like riding a bike, it all came back.
And now we come to something I thought I would never see, not to mention get a chance to play: a live rendering of “Visions Of The Emerald Beyond” – complete with string quartet, winds, and vocals. And at a killing NYC venue besides!
Well, I’ve gone on too long already. I’ll stop here, and present to you:
THE 4TH ANNUAL VISHNUFEST
REDISCOVERING & EXPLORING THE CUTTING EDGE JAZZ-ROCK OF JOHN McLAUGHLIN & THE MAHAVISHNU ORCHESTRA.
3 Shows in 2 Days. Info: Mahavishnu Project
JULY 7th & 8th, 2009
It’s All Happening At: Le Poisson Rouge
158 Bleeker St. New York, NY
Tickets are $23 at the door / $18 in advance
ADVANCE TICKETS STRONGLY SUGGESTED. THREE SHOW DISCOUNT PASS AVAILABLE.
THE MAHAVISHNU PROJECT (Vishnufest 2009 band)
Gregg Bendian, drums
Chad McLoughlin, guitar
Neil Alexander, keyboards
Zach Brock, violin
Jim Cammack, bass
Melissa Stylianou, voice
Premik Russell Tubbs, reeds
Esther Noh, violin
Matt Szemela, violin
Jon Weber, viola
Leigh Stuart, cello
Randy Taber, live sound
And introducing The VishnuVoices Choir with Melissa Stylianou, Abigayl Ventner, Missy Castleberry, Martha Cluver, Avery Griffin, Roosevelt Credit, John Young and Matt Hensrud.
Back in 1971, the future of music was a hybrid of Rock, Jazz and Classical. Alot of groups were doing various combinations of things; prog rock combined classical and rock, for example. But for my money, the forefront of this movement was a band called the Mahavishnu Orchestra. The music was called “Fusion”.
Run by guitarist John McLaughlin, the M.O. pushed the limits of what was possible for a live band to do. The writing, performing and recordings were second to none. If you’ve never heard of them, you owe it to yourself to check them out. They helped define the music of a generation – my generation. Learn HERE.
Right around 11th grade in High School, we got the “book”. This was the McLaughlin Book – containing, in score form, the first four albums of the Mahavishnu Orchestra. My musician friends and I in high school spent many, many – I mean many – hours, working through every inch of that book. Trying every tune; re-arranging things, re-orchestrating, and just having an incredible time of it all. I learned a lot from that experience. I continued to play this music with whoever I could find for the next 18 years, often playing to empty room after empty room and getting turned down for gigs left and right. Seemed like no one wanted to hear this music. “Fusion” had become a “dirty” word. Too bad.
I finally walked away from that sound & style in 1997, concentrating on finding my voice in a new world. This finally happened in 2005, when I had a Eureka moment, and I realized how I could combine all my diverse influences into one thriving, growing musical unit – NAIL.
But – life isn’t finished throwing those wonderful curves yet. Through a convoluted series of events which included 10 years on the road with “the Machine” (those who know me know about that), I find myself receiving a phone call from Gregg Bendian, drummer and bandleader of a group called – and here’s where it gets interesting – the “Mahavishnu Project“. Well, having practically lived and breathed this music for so many years, I jumped at the chance. We’ve played 2 shows so far; I can only describe the experience as surreal. Going back and playing this stuff – it fells like I’m falling backwards through time. But the audience is there – now more then ever, perhaps, as new generations discover this (what I always thought of as amazing) music.
Anyway, enough rambling for now – I will keep you all posted.
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