John McLaughlin via Matrix

The Birth of the Matrix →

No princípio...

Imagine uma rede em que, por alguma mágica fantástica, todos dentro tenderiam a poucos passos detectáveis de todos os outros... na rede e no planeta...

Imagine uma rede que seria mais sobre pessoas que você não conhece do que sobre pessoas que você conhece. E ainda mais importante: sobre pessoas que não o conhecem, mas cujas vidas seriam enriquecidas se o conhecessem...

Imagine uma rede que incluiria todos na economia criativa global da humanidade...

Você está imaginando O Matrix (Rede Online)!

Esse Matrix baiano foi fundado (com afeto!) numa questão fundamental: Como é possível fazer com que os músicos mais importantes historicamente do Brasil sejam descobertos por pessoas que vivem em qualquer lugar da Terra?

A resposta foi incluí-los num matrix no sentido original da palavra: “fonte”, de “mater”, latim para “mãe”...

...um matrix que também incluiria membros da economia criativa de todo o mundo: escritores e jornalistas, pintores, cineastas, coreógrafos, programadores de computador, designers de som e cenografia, designers de moda, matemáticos…

Por este meio, podemos pessoalmente alcançar profundamente a realidade da economia criativa global que está realmente lá fora: Roberto Mendes de Santo Amaro pode recomendar João do Boi de São Braz. Munir Hossn de Salvador, mas agora morando em Paris, pode recomendar Roberto Mendes. Alfredo Rodriguez de Havana, mas agora morando em Nova York, pode recomendar Munir Hossn. E Quincy Jones de Los Angeles pode recomendar Alfredo Rodriguez. Quem conhece Quincy Jones agora pode descobrir João do Boi (entre os músicos absolutamente mais fundamentais do Brasil) em apenas quatro passos.

Este não é um exemplo isolado. Caminhos curtos de apenas alguns passos entre pessoas criativas amplamente díspares são universais em todo o Matrix. Tal é o fantástico poder matemático do fenômeno do pequeno mundo, o fenômeno responsável pelos "seis graus de separação", unindo a maioria dos seres humanos à maioria dos outros em cerca de seis passos. Essa é a superpotência do Matrix baiano.

O Matrix baiano está aberta a todos da economia criativa global. Foi construído numa loja de discos no Centro Histórico de Salvador por um americano que trabalhou anteriormente em Nova York recuperando royalties não pagos para artistas como Aretha Franklin, Barbra Streisand, Led Zeppelin, Cat Stevens (Yusef Islam), Astrud Gilberto, Airto Moreira, Mongo Santamaria, Ray Barretto, o primeiro produtor de Bob Marley, Clement Dodd, o mestre de jazz Jim Hall e outros.

Agora o projeto é mostrar ao mundo o que é que a Bahia tem. Ao permitir que todos na economia criativa global também podem estender a mão ao redor do mundo e mostram ao mundo o que é que eles têm.

O Matrix é capaz de atingir profundamente... esta é a vila de São Braz, no Recôncavo baiano, criada por escravizados que escaparam para uma liberdade marginal...

In the beginning...

Imagine a network wherein by some fantastic magic everybody within would tend to within scant, discoverable steps of everybody else... in the network, and across the planet...

Imagine a network that would be more about people you don't know than people you do know. And even more importantly: about people who don't know you but whose lives would be enriched if they did...

Imagine a network which would include all in humanity's global creative economy...

You are imagining The Matrix (Online Network)!

This Bahian Matrix was founded (with love!) on a fundamental question: How is it possible to make Brazil’s most historically important musicians discoverable by people living anywhere around the Earth?

The answer was to include them in a matrix in the original sense of the word: “source”, from “mater”, Latin for “mother”...

...a matrix which would also include members of the creative economy from everywhere else: writers and journalists, painters, filmmakers, choreographers, computer programmers, sound and set designers, fashion designers, mathematicians…

By this means we can personally reach deeply into the reality of the global creative economy that is really out there: Roberto Mendes of Santo Amaro can recommend João do Boi of São Braz. Munir Hossn of Salvador but now living in Paris can recommend Roberto Mendes. Alfredo Rodriguez of Havana but now living in New York City can recommend Munir Hossn. And Quincy Jones of Los Angeles can recommend Alfredo Rodriguez. Anybody who knows Quincy Jones can now discover João do Boi (top photo; "John of the Ox" in English, the vastly important Son House of Brazil) in just four steps.

This is not an isolated example. Short pathways of just a few steps between widely disparate creative people are universal throughout the Matrix. Such is the fantastic mathematical power of the small world phenomenon, the phenomenon responsible for “six degrees of separation”, joining most human beings to most others within some six or so steps. This is the Bahian Matrix’s superpower.

The Bahian Matrix is open to all in the global creative economy. It was built in a record shop in Salvador’s Centro Histórico by an American who formerly worked in New York city retrieving unpaid royalties for artists including Aretha Franklin, Barbra Streisand, Led Zeppelin, Cat Stevens (Yusef Islam), Astrud Gilberto, Airto Moreira, Mongo Santamaria, Ray Barretto, Bob Marley’s first producer Clement Dodd, jazz great Jim Hall and others.

Now the project is to show the world o que é que a Bahia tem (what it is that Bahia has). By letting everybody in the global creative economy likewise reach out across the planet to connect as they wish and show the world what it is that they have too.

The Matrix is capable of reaching deeply...this is João's village of São Braz, in the Bahian Recôncavo, created by enslaved who'd escaped to a marginal freedom...

ALL IS CLOSER THAN WE IMAGINE
(Imagine John McLaughlin) I RECOMMEND
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CURATION

from this node by: Matrix+

This is the Universe of

Name: John McLaughlin
City/Place: Monte Carlo
Country: Monaco
Hometown: Doncaster, England

Life & Work

Bio: After a jam with drummer Jack DeJohnette and bassist Dave Holland in Ronnie Scott’s club in London, Jack plays a recording of it to Tony Williams and he gets me the gig with Tony and Lifetime. Rounding off the trio is Khaled Yaseen (Larry Young) on Hammond Organ. This is a real thrill for me. I’ve been listening to Tony with Miles since 1964 and he’s the greatest. He and Elvin Jones were the two most revolutionary drummers of the 20th century. By this time I’ve had the experience of having my own band, but I’ve been mainly a sideman with a number of fine musicians in the UK, but living from playing in R ‘n B and funk bands such as Georgie Fame, Graham Bond, Jack Bruce and Ginger Baker. Even though I was under the musical and spiritual influence of Miles Davis and John Coltrane, I was happy to be playing R ‘n B. by this time (mid to late 1960’s) most musicians were being influenced by the Beatles, the Motown group of musicians and Jimi Hendrix, especially guitar players.

By the time I arrive in New York, I’d just passed my 27th birthday, and playing with Tony and Khalid was one of the greatest experiences of my life. The times were pretty wild at the end of the 1960’s and the music followed the times. My good luck didn’t end there as I found myself in the studio with Miles a day after my arrival in New York for the recording of ‘In a Silent Way’. Miles’ influence on me went into hyperdrive from that point, and I had the best of all possible musical worlds: playing and recording with Tony and Lifetime, and Miles Davis.

I was already under the influence of Indian music and thought, which one can see reflected in the LP ‘My Goal’s Beyond’. It’s also a reflection of my affection for the acoustic guitar.

After a club date in Boston in 1970 with Miles, he tells me it’s time to form my own band.

By this time Miles’ recordings are definitely jazz fusion or jazz rock. His recording ‘Bitches Brew’ confirmed this in no uncertain terms. My work and writing with Tony was more and more rock, r ‘n b and funk influenced. Also I was increasingly influenced by the philosophical and musical ideas coming out of India at that time. These influences can be seen in that another name ‘Mahavishnu’ was given to me by my guru Sri Chinmoy, and the sophisticated rhythmical concepts integrated in Indian classical music, both north and south which directly influenced the compositions i was writing for The Mahavishnu Orchestra. The M.O. became really popular over a short period of time, maybe too successful since by 1973 the atmosphere in the band had become untenable for me and we ended it at the end of the year.

The 2nd Mahavishnu was quite different but a wonderful band all the same, with drummer Michael Narada Walden, Jean-Luc Ponty and Ralphe Armstrong, that band was kicking!

We had a great experience recording with the London Symphony under Michael Tilson Thomas, and the entire production under the great George Martin. At the same time Indian influence was having its effect and by 1973-4 Shakti was a kind of underground band that played small concerts in churches and schools, while I continued with Mahavishnu. By the end of 1975, Shakti had become increasingly important to me, and by the end of the year, it became my only band.

By this time is was clear to me that India and its culture, musical and philosophical, had become a part of my life, and it remains so to this day. In 1972 and primarily under the influence of the great South Indian vina player Balachander, I was studying vina under master Ramanathan at Wesleyan College Connecticut. Tabla maestro Zakir Hussain and I had become friends already in 1969, and having met violinist L. Shankar who was teaching also at Wesleyan, by 1973-4 Shakti was born. By the end of 1975 mridangam player Ramnad Raghavan had been replaced by T.H. Vikku Vinayakram whose speciality was Ghatam, but not before CBS had recorded a live concert we played at NYU in Southampton Long Island. This was the first Shakti recording. From 1976 until the end of 1978 Shakti toured the world. One of my fondest memories is the time Shakti spent playing concerts opposite Weather Report. This was a hot combination at this time. By 1978 Vikku had to return to Madras to take over the school for percussion his father had founded some years before.

My shortest lived band was the One Truth Band. It was formed in ’79 and while it was a great band which included L. Shankar, I was gravitating more and more towards the acoustic guitar. I hope that the Montreux Festival in Switzerland will release a DVD of a concert this band played there because it’s a real document. There is a Cd ‘Electric Dreams’, a recording that featured a different rhythm section, drummer Tony Smith and assist Fernando Saunders. The original was drummer Sonship, and bassist T.M. Stevens. Now while these two rhythm sections are radically different, they are both outstanding and well worth a listen.

My leaning towards the acoustic guitar coincided with my hearing guitarist Paco de Lucia on French radio one day. I managed to find his number and called him to propose playing/working together. He was up for it so I called an old friend and great guitar player Larry Coryell, and the guitar trio was born. From the first it was an amazing success. However, by the end of 1980, Larry had left and Al di Meola came in and replaced him. The guitar trio went from success to success. Of course, this was a time when there was no Internet and no pirating, and record sales were great. Over the years we’ve recorded another album and toured the world. This is a fine recording, and satisfying musically.

During this period I move towards another kind of jazz fusion with another quite short lived group known loosely as the Translators. We recorded two albums for Warner Bros: ‘Belo Horizonte’ and ‘Music spoken Here’. I was going though a musically transitional period, and the music on these recordings reflect this movement. That said, I’m still today very happy with these two recordings.

After playing some duo concerts with bassist Jonas Hellborg, I invite percussionist Trilok Gurtu to join us to form a trio, but by the time the trio is formed Jonas has been replaced by bassist Jeff Berlin. Oddly, Jeff stays with the trio for only 6 months and he in turn is replaced by bassist Kai Eckhardt. This is the trio that is featured on the live recording ‘Live at the Royal Festival Hall’. The brazilian and hispanic influences that were so prominent with the guitar trio and The Translators, are still here, but they are now fused with the masterly percussion of Trilok who brings in once again, the lovely Indian influence that has been so much part of my life. By this time technology has given me a guitar synth that works with the acoustic guitar, and this is a great combination. Kind of ‘antique and modern’. You can hear this on the two recordings we made ‘Royal Festival Hall’ live, and a studio recording with bassist Dominique di Piazza called ‘Que Alegria’.

By this time Trilok is moving more away from the trio, and it’s basically impossible to replace him, so by 1993-94 the trio ends. Personally, I am also moving towards the electric guitar again and with drummer Dennis Chambers and Hammond Organist Joey DeFrancesco, I form the trio ‘The Free Spirits’. This is one great band and two beautiful human beings. We tour the world once again, and during a stint at the Blue Note Tokyo, we record a live album. Around this time I’d been thinking of asking Elvin Jones to record with me and Joey DeFrancesco, which is the After the Rain recording. We also played some concerts in Europe together, but unfortunately never in the US.

The Promise’ is yet another multi-artist recording with once again many dear friends and musicians. I finally get to record with one of the all-time greatest players, Michael Brecker on tenor. There are many more great players on this album, the guitar trio with Paco and Al, to mention another, Dave Sanborn, Zakir, Trilok , this list is long and beautiful.

Even though I just toured and recorded with Paco and Al, I’m very quickly back into electric mode and form another band. ‘The Heart of Things’. Dennis Chambers is back with me with tenor man Gary Thomas, Matt Garrison on bass, Jim Beard and Otmaro Ruiz, (two different recordings). One is a studio album recorded in Milan, and the second is live in Paris released in 2000. What a band!

In 1997 I was invited by Zakir Hussain to help him reform the original Shakti group, but we were unable to pull it off. What we did do was get percussionist T.H. Vinayakram and flautist Hari Prasad Chaurasia together and we toured the UK recording a live concert during the tour.

By the time the tour was over Zakir and I really wanted to continue and develop Shakti music where we left off in 1978, 20 years previously! Once again we were not able to reform the original, so we decided to invite ‘Mandolin’ Shrinivas, and Vikku’s son Selvaganesh to make it a quartet again. It’s such a great band. However, in 1999 I start looking for a vocalist to join us and find singer Shankar Mahadevan. He joins Zakir and me in a festival we played in Bombay in 2000, and he’s been in the band ever since. This is some band and what a history!

In 2003 I began re-writing a piece for guitar and chamber orchestra that began life under the name ‘Europa’. I gave it this name primarily because the principal influences behind this piece are European in nature. However, by the third movement, the piece has crossed the Atlantic ocean and comes under the influence of the great music of the 20th century, jazz. I wanted to re-orchestrate for a full symphony, and in addition add 4 more soloists.

Fortunately I had the expertise of one of my oldest students, Yan Maresz, who is now one of the leading composers in the world of contemporary music, and while I wrote the music, the orchestrations are his. The soloists are all outstanding musicians: Violinist Viktoria Mullova, clarinetist Paul Meyer, cellist Matt Heimovitz and guitarist Philippe Loli. The piece was renamed ‘Thieves & Poets’ and finally came out under that name with a great Italian orchestra, Pomeriggi Musicali di Milano under the direction of Renato Rivolta.

However, the piece with the original orchestration by Yan, continues to be performed by other guitarists and orchestras.

In 2004 we began work on what ended up as a major project. It came out 18 months later as an educational DVD box set called ‘This is the way I do it’. It is the most comprehensive work I’ve ever done as far as integrating into a coherent system, everything I’ve learned that has shed light upon the way music can be taught in general, and improvisation in particular.

In 2004 I had received an invitation from a French cultural association to play a couple of concerts in La Reunion, a tropical island off the coast of Africa near Madagascar. I’d been having thoughts about a quartet prior to this invitation, and since they gave me carte blanche, I decided to form a quartet with Gary Husband, drummer Mark Mondesir and his brother Michael on bass. The experience was exhilarating, and I knew I had to find a way to keep working in this direction. However, I had begun writing new music that was subsequently released on the album ‘Industrial Zen’ which was a multi-artist recording. Gary Husband and Mark Mondesir appeared on several pieces. It was after the release of this Cd that the group ‘The 4th Dimension’ emerged as a ‘real’ band, and started touring. Since then, we recorded ‘to the One’ and released a live DVD from a concert in Belgrade.

In the autumn of 2011, we toured Europe with drummer Ranjit Barot who had replaced Mark Mondesir, and in December of 2011, the band went into the studio to record ‘Now Here This’. Ranjit is an outstanding drummer who accompanied me on the recording ‘Floating Point’ which was recorded in 2007. This was the year I spent 6 months in Chennai, India and it was a very creative time. We not only recorded Floating Point, but also filmed the entire process of making the recording. It was released later under the title, ‘Meeting of the Minds’. In addition, an educational DVD was made with percussionist and Shakti member, Selvaganesh Vinayakram. The DVD was subsequently released under the title ‘The Gateway to Rhythm’. It shows the way to mastering rhythm through the Indian system called Konokol. Now while this system was created in India, the ramifications are universal and can be applied in any form of rhythmic music.

This year’s events began with my 70th birthday which was produced and directed by one of my oldest and dearest friends, Zakir Hussain. It was held in Mumbai India on January 4th and I’ll never forget it. He put on a show to end all shows with dancers, singers, a Qawwali group that was just outstanding, and most important of all, surrounded by my family and friends from all over the world. A month later, I came back to make a tour of India by the group Shakti. Every couple of years or so, Shakti tours India and it’s always a thrill. On St. Valentine’s day February 14th we played a charity concert in Ramallah for Al-Mada who are doing music therapy with traumatized children.

In June the 4th Dimension flew to Ukraine to headline a great Festival held in Lviv.

A month later Shakti got back together for a short tour of Russia. We appeared in different festivals in Krasnoyarsk, one of the largest cities in Siberia, in Perm which is in the Urals, and Moscow. It was very interesting to be able to visit these places that years ago were hidden behind the ‘iron curtain’. The people of Russia are so friendly.

The 4th Dimension will return to Russia this fall during its European tour which begins in France late October and finishes at the end of November. This is just in time for tabla maestro Zakir Hussain to join me for a charity performance in Prague on November 28th.

The new recording by the 4th Dimension, is being released as I write, and I am very happy with this recording. The group has never sounded better.

It was just before the beginning of the final Shakti tour which began in October-November 2013.

Much has happened since that time, and not all of it pleasant. I’d spoken to Paco de Lucia in late January of 2014 about a recording we were planning, just a few days before he left for Latin America, and we lost him forever February 25th…

Shortly after this I began a project with singer Shankar Mahadevan which we will eventually release as a CD. I am personally thrilled about this project which is a completely different « fusion » for want of a better word, of the magic of Shankar’s voice with orchestra and guitar.

The 4th Dimension (4D) toured the East coast of the U.S. in June 2014 during which we recorded at the Berklee Performance center in Boston, and came out with « The Boston Record » a few months later.

Shortly after this I had an opportunity to record with one of my most favorite musicians, Gonzalo Rubalcaba. Gonzalo has been making marvelous music for many, many years, and is a great source of inspiration.

On September 19th we lost another brother musician in U. Mandolin Shrinivas, and Shakti took a terrible blow with the loss which we have still not recovered from.

The 4th Dimension toured Europe in the fall of 2014, it was a marvelous experience. I had already began writing music for the album « Black Light » which is being prepared for release just now.

In the meantime I was invited to record a track with drummer Cindy Blackman and my old comrade, bassist Matt Garrison. I’ve known Cindy for years, and we’ve jammed together a couple of times, but this was the first time we got to record, she’s amazing, and those two together are dynamite!

4D will begin a tour of Australia and Asia starting in October this year, so I’m busy preparing programs that include new pieces from Black Light, and I can’t wait to start playing with the gentlemen!

No Recordings were made in 2016, but we had a marvelous tour of Australasia which included the major cities in Australia, the island of Bali, Bangkok , Japan, South Corea and finally India. I also had the great pleasure to perform at the White House for the International Jazz Day on 30th of April.

2017 began with a Spring tour of Northern Europe which included Paris, Budapest, Prague, Berlin where we were part of the performances celebrating the opening of the Akademia which is directed by one of my true inspirations in music and life, Daniel Barenboim. We eventually ended the tour in London at one of the world’s greatest clubs, Ronnie Scott’s. I’d asked my agent to book us specifically in Ronnie’s, since Ronnie himself was instrumental in my obtaining a visa to come to the US in January 1969, and it was a kind of homage/thank you to his memory. During the two nights we played there we recorded the performances which were released on the last CD of the 4D, “Live at Ronnie Scott’s” which came out earlier this year.

In June, to my great surprise, the Berklee College awarded me with an Honorary Doctorate in music. I went to Valencia to receive the award, and had the great pleasure of performing with some of the students at the Berklee College Europe. The level of playing was astonishing, and to my even greater surprise, I found students from all over the world including musicians from India.

This musical year ended in a marvelous tour of the US with the 4D band and the band of Jimmy Herring known as the Invisible Whip. It was my personal farewell tour of the US, and to bring everything full circle, there was a third set every night during which Jimmy and his band and the 4D brought to life a program from the music of The Mahavishnu Orchestras 1 and 2.

It was a thrill for me to have the musicians from both bands on stage playing this music. And as important, there was a presence of the spirit on stage which gave the music a passion and depth so necessary to bring this music to life.

Contact Information

Management/Booking: AGENT FOR EUROPE
ENGELHARDT PROMOTIONS GmbH
Motzstr.6
34117 Kassel
(49) 0561 710166
[email protected]
www.engelhardt-promotions.de

AGENT FOR US & ASIA
Souvik Dutta
Abstract Logix Agency
103 Sarabande Drive
Cary, NC 27513
USA
[email protected]
www.abstractlogix.com

Media | Markets

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▶ Spotify 2: http://open.spotify.com/album/3S83H2RAz4qYHibsrEKfm7
▶ Spotify 3: http://open.spotify.com/album/0Z6j1FSc3BEyS55TcPms4g
▶ Spotify 4: http://open.spotify.com/album/7EyCwHZotmHlLK9IvKswJ4
▶ Spotify 5: http://open.spotify.com/album/2C9aQdElIWVbexVbXTdy2S
▶ Spotify 6: http://open.spotify.com/album/7rp0ZZsII59m44yGM8X4YK

Clips (more may be added)

0:10:57
Is that So: John McLaughlin/Shankar Mahadevan/Zakir Hussain: Sakhi
By John McLaughlin

201 views
0:06:36
John McLaughlin and The 4th Dimension: Lockdown Blues (Abstract Logix, June 10, 2020)
By John McLaughlin

160 views
0:20:31
John McLaughlin - Stella by Starlight & My Favorite Things - Live at Berklee Valencia Campus
By John McLaughlin

189 views
1:24:04
Carlos Santana with John McLaughlin - Live in Switzerland 2016 [HD, Full Concert]
By John McLaughlin

270 views

Do you recommend John McLaughlin?

Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach anybody in the global creative economy in just a few steps. It doesn't mean that everybody will be reached by everybody. It does mean that everybody can be reached by everybody.