[1] Power of Love (McLaughlin) - 4:13
[2] Vision Is a Naked Sword (McLaughlin) - 14:18
[3] Smile of the Beyond (Mahalakshmi) - 8:00
[4] Wings of Karma (McLaughlin) - 6:06
[5] Hymn to Him (McLaughlin) - 19:19
The Mahavishnu Orchestra:
John McLaughlin - Guitar, Composer
Jean-Luc Ponty - Vocals, Electric Violin, Baritone Violin
Ralph Armstrong - Bass, Vocals
Narada Michael Walden - Percussion, Drums, Vocals
Gayle Moran - Keyboards, Vocals
The London Symphony Orchestra
Mike Gibbs - Orchestration
Phillip Hirschi - Cello, Vocals
Carol Shire - Vocals
Carol Shive - Violin, Vocals
Michael Tilson Thomas - Piano, Conductor
Mike Berniker - Digital Producer
Geoff Emerick - Engineer
Tim Geelan - Remastering
Larry Keyes - Remastering
Tony Russell - Photography
Gene Santoro - Liner Notes
Tony Tiller - Package Coordinator
Ashok Chris Poisson - Artwork, Design
The first recording of the second Mahavishnu Orchestra was a real
stretch for John McLaughlin, an encounter with Michael Tilson Thomas
and the London Symphony Orchestra. The union wasn't taken seriously at
the time, and it ended up harming the reputation of Thomas -- a
remarkably adventurous young conductor who defied the stuffy classical
powers-that-be and thus probably delayed his eventual rise to the top
-- more than McLaughlin. But those with ears, then and now, beheld a
remarkable series of pieces that neatly juxtapose and occasionally
combine the combustion of McLaughlin's group with rich, tasteful
symphonic statements orchestrated for McLaughlin by Michael Gibbs. The
new Mahavishnu-ites, electric violinist Jeac-Luc Ponty and
keyboardist/vocalist Gayle Moran, have their moments, but the real
focus of this disc is the quality of the symphonic conceptions and how
well McLaughlin blends his lyrical and fiery guitar into the mixture.
The best stretch is the breathtakingly ethereal opening of "Hymn to
Him"; the promise of fusing rock, jazz and classical elements had never
been executed so alluringly before -- and wouldn't you know, an old
experienced hand at introducing classical textures into rock, the
Beatles' George Martin, is the producer. Don't let old, outworn
preconceptions on either side of the fence prevent you from checking
out this beautiful record.
Richard S. Ginell, All-Music Guide
This is the third incarnation of John McLaughlin's electric orchestra.
The first was a small recording group heard on the Douglas label, My
Goal's Beyond. The phenomenally successful second M.O. introduced Billy
Cobham and Jan Hammer to large audiences and established McLaughlin as
the premier heavy axe on the jazz/rock continuum. With the new M.O.
John essays to bring his music to Symphony Hall, orchestrating his
group with the London Symphony Orchestra. The resultant album is a
plausible concept but lacks depth and dynamics. The new band measures
up to the old in basic sound and technique. Violinist Jean-Luc Ponty
plays with a softer, more European sound than did Jerry Goodman.
Michael Waldon is a good drummer who has captured the essentials of
Billy Cobham's style without quite the latter's flawless attack. Gayle
Moran on piano, bassist Ralphe Armstrong and three string players
competently fill out the sound. To guide the fusion of his little
orchestra with the London Symphony, McLaughlin chose the former enfant
terrible of the Boston Symphony, Michael Tilson Thomas, a conductor
whose specialty is coaxing exotic tones and rhythms from philharmonic
orchestras (check his brilliant recordings of Ives's "Three Places in
New England" and Charles Ruggles's "Sun Treader"). Apocalypse continues
the M.O. celebration of the spiritual life with such titles as "Vision
Is a Naked Sword" and "Wings Of Karma." "Power Of Love" is a meditation
for acoustic guitar and symphony orchestra that gets the highest marks
for McLaughlin's simple virtuosity. But the big orchestra is often
misused and ill-placed. Thomas builds a sound on huge, sweeping vamps
(which formerly were played by McLaughlin alone in his small groups)
that are somewhat pompous in this context. And on "Smile of the Beyond"
we are given a vocal and orchestral arrangement reminiscent of Gabriel
Faure's Requiem mass. This romantic soup sounds totally incongruous
with the addition of a hard rock band and then a Moody Blues chorale.
In addition to Faure, McLaughlin seems to draw his symphonic influence
from Brahms, Mahler, Satie. Throughout the album these modes interweave
with his usual energized riffing guitar work. In this heady clime,
violinist Ponty occasionally sounds like he's been hanging around
gypsies too long and the other players simply get lost. The conductor
contributes a nice piano part here and there. The major effect is that
of goulash. The album is mixed so that the listener isn't able to hear
the synthesis of the big band with the little. The two entities usually
play separately and the fusion isn't consummated.