THE TONY WILLIAMS LIFETIME - EGO (1971-1999) FLAC (tracks+.cue), lossless

Easily the weirdest record the Tony Williams Lifetime ever released, 1971's Ego is an experimental blend of post-hard bop jazz and the spacier end of psychedelic rock. Larry Young's wafting organ parts and Ted Dunbar's rockist guitar (as opposed to the more traditional jazz bent of the guy he replaced, John McLaughin) combine to make parts of the album sound like Atom Heart Mother-era Pink Floyd, particularly on "There Comes a Time" and "Lonesome Wells (Gwendy Trio)." Unfortunately, both of those tracks are bogged down by Williams' own earnest and not terribly inspired verses. The best tracks are those that dispense with the lyrical claptrap -- the liner notes are also a terribly dated hoot -- and get down to the creation of some roiling atmospheres and powerful group improvisation. In that regard, things really pick up at the end, with the ghostly "Mom and Dad" and the cacophonous closer "Urchins of Shermese," on which Williams splits the narcoleptic mood of the introduction with some of his most fractured and arrhythmic fills ever, while simultaneously maintaining a groove that's typically snaky and propulsive. Drum geeks will particularly adore the two brief solo pieces, "Clap City" and "Some Hip Drum Shit," which are both technically impressive and short enough not to get dull. Solid jazz-rock, from the days before fusion got painfully dull. by Stewart Mason  
Tracklist :
1    Clap City    0:54
Tony Williams
2    There Comes A Time    5:58
Tony Williams
3    Piskow's Filigree    3:52
Tony Williams
4    Circa    6:28
Tony Williams
5    Two Worlds 4:40
Tony Williams
Vocals – Jack Bruce
6    Some Hip Drum Shit 1:31
Composed By – Don Alias, Warren I. Smith
7    Lonesome Wells (Gwendy Trio)    7:27
Tony Williams
8    Mom And Dad    5:22
Tony Williams
9    The Urchins Of Shermêse    6:16
Tony Williams
Credits :
Bass, Cello – Ron Carter (pistas: 2 to 5, 7 to 9)
Drums, Percussion – Don Alias, Warren Smith
Drums, Vocals, Composed By, Producer – Tony Williams
Guitar – Ted Dunbar (pistas: 2 to 5, 7 to 9)
Organ – Larry Young (pistas: 2 to 5, 7 to 9)
Painting [Cover] – Michael Gross

MILES DAVIS - Bitches Brew (1970-2013) RM / 2xCD / FLAC (tracks+.cue), lossless

 

Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, and Lenny White among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section. "Pharaoh's Dance" opens the set with its slippery trumpet lines, McLaughlin's snaky guitar figures skirting the edge of the rhythm section and Don Alias' conga slipping through the middle. Corea and Zawinul's keyboards create a haunted, riffing modal groove, echoed and accented by the basses of Harvey Brooks and Holland. The title cut was originally composed as a five-part suite, though only three were used. Here the keyboards punch through the mix and big chords ring up distorted harmonics for Davis to solo rhythmically over, outside the mode. McLaughlin's comping creates a vamp, and the bass and drums carry the rest. It's a small taste of the deep voodoo funk to appear on Davis' later records. Side three opens with McLaughlin and Davis trading fours and eights over a lockstep hypnotic vamp on "Spanish Key." Zawinul's lyric sensibility provides a near chorus for Corea to flit around in; the congas and drummers juxtapose themselves against the basslines. It nearly segues into the brief "John McLaughlin," featuring an organ playing modes below arpeggiated blues guitar runs. The end of Bitches Brew, signified by the stellar "Miles Runs the Voodoo Down," reflects the influence of Jimi Hendrix with its chunky, slipped chords and Davis playing a ghostly melody through the funkiness of the rhythm section. It seemingly dances, becoming increasingly more chaotic until it nearly disintegrates before shimmering into a loose foggy nadir. The disc closes with "Sanctuary," completely redone here as a moody electric ballad that was reworked for this band while keeping enough of its integrity to be recognizable. Bitches Brew is so forward-thinking that it retains its freshness and mystery in the 21st century. by Thom Jurek  

Tracklist 1:

1. Pharoah's Dance (Zawinul) 20:07

2. Bitches Brew (Davis) 27:00.

Tracklist 2:

1. Spanish Key (Davis) 17:30

2. John McLaughlin (Davis) 4:23

3. Miles runs the voodoo down (Davis) 14:03

4. Sanctuary (Shorter) 10:54

Credits:

Bass – Dave Holland

Bass Clarinet – Bennie Maupin

Design [Cover] – John Berg

Drums – Charles Alias, Jack DeJohnette, Lenny White

Electric Bass [Fender] – Harvey Brooks

Electric Guitar – John McLaughlin

Electric Piano – Chick Corea,

Joe Zawinul (tracks: 1-1 to 2-1, 2-4),

Larry Young (tracks: 1-1, 2-1 to 2-3)

Percussion – Jim Riley

Soprano Saxophone – Wayne Shorter

Trumpet – Miles Davis

Artwork [Cover Art] – Mati Klarwein

 

LARRY YOUNG - Lawrence of Newark (1973-2002) RM / FLAC (tracks+.cue), lossless

The late Larry Young was an organist whose fairly brief career had lots of highs and very few middles or lows. Take this session from 1973 -- his first non-Blue Note date as a leader and post-Lifetime -- as a for instance. It is startling for its fresh look at how the organ is used in jazz and in improvisation, period. On Lawrence of Newark, Young enlisted a host of younger New York session cats who were hanging around the fringes of the funk and avant-garde scenes -- James Blood Ulmer, trumpeter Charles MacGee, Cedric Lawson, and about a dozen others all jumped into Young's dark and freaky musical stew. Made up of only five tracks, rhythm is the hallmark of the date as evidenced by the conga and contrabass intro to "Sunshine Fly Away." Deirdre Johnson's cello opens up a droning modal line for Young to slide his organ over in what passes for a melody but is more of an idea for a theme and a trio of variations. Armen Halburian's congas echo the accents at the end of the drum kit and Young's own tapering pronouncements moving back and forth between two and four chords with a host of improvisers inducing a transcendent harmonic hypnosis. The centerpiece of the album is "Khalid of Space Pt. 2: Welcome." Sun Ra's edict about all of his musicians being percussionists holds almost literally true in Young's case. The soprano saxophonist sounds as if it could be Sonny Fortune (billed as "mystery guest"), but he's way out on an Eastern modal limb. Young's right hand is punching home the counterpoint rhythm as Abdul Shadi runs all over his kit. Blood Ulmer is accenting the end of each line with overdriven power chords, and various bells, drums, congas, and djembes enter and depart the mix mysteriously. Young is digging deep into the minor and open drone chords, signaling -- à la Miles -- changes in intonation, tempo, and frequency of rhythmic attack. And the cut never loses its pocket funk for all that improvisation. It's steamy, dark, brooding, and saturated with groove. The CD reissue has fine sound and sells for a budget price; it should not be overlooked. The DJs just haven't discovered this one yet. Awesome. by Thom Jurek 
Tracklist
1 Sunshine Fly Away 08:38
Larry Young
2 Khalid of Space, Pt. 2 Welcome 12:29
Larry Young
3 Saudia 04:30
Larry Young
4 Alive 01:54
Larry Young
5 Hello Your Quietness (Islands) 10:05
Larry Young
Credits
Bass – Don Pate, Juni Booth
Bongos – Abdul Hakim
Cello – Diedre Johnson
Congas – Stacey Edwards, Umar Abdul Muizz
Congas, Bells, Percussion – Armen Halburian
Drums – Abdul Shahid, Howard T. King, James Flores
Drums, Electric Piano – Art Gore
Electric Piano – Cedric Lawson
Guitar – James Ulmer (Blood)
Organ, Bongos, Vocals – Larry Young
Percussion – Poppy La Boy
Saxophone, Saxophone [Electric] – Dennis Mourouse
Saxophone, Vocals – Mystery Guest
Tom Tom, Cowbell, Congas, Whistle, Tambourine, Hihat – Jumma Santos
Trumpet [Electric] – Charles Magee

JOHN MCLAUGHLIN - Devotion (1970-2000) FLAC (image+.cue), lossless

This album is from a pivotal moment in McLaughlin's history. This was just after he left Miles' group, but before Mahavishnu Orchestra started, and the music captures this moment perfectly. McLaughlin's technique had not progressed to "Mahavishnu" perfection yet, but the music has the in-your-face rock drive of the Mahavishnu Orchestra. This recording date grew out of sessions Alan Douglas put together, featuring McLaughlin and Larry Young jamming with Jimi Hendrix and Buddy Miles (Billy Rich was the bass player). McLaughlin sounded timid next to Hendrix (none of the material with Hendrix has been officially released), but really comes to life on Devotion. This is arguably one of the finest acid rock albums of all time. McLaughlin is on fire, using fuzzboxes and phasers, over Larry Young's swirling Hammond B-3, with Billy Rich and Buddy Miles as the rock-solid rhythm section. If you think that McLaughlin's solo at the end of "Right Off" (from A Tribute to Jack Johnson) is one of the high points of his career, then this is the album for you. Soon after this album was recorded, McLaughlin holed up, practiced like crazy, and re-emerged as "Mahavishnu" John McLaughlin, with both a new sound and a new band. Documenting the period just before that transition, Devotion is a complete anomaly in his catalog, as well as one of his finest achievements. by Sean Westergaard  
Tracklist:
1 Marbles 4:11
2 Siren 5:40
3 Don't Let The Dragon Eat Your Mother 5:14
4 Purpose Of When 4:41
5 Dragon Song 4:11
6 Devotion 11:23
Credits:
Bass – Billy Rich
Composed By – John McLaughlin
Drums – Buddy Miles
Electric Piano – Larry Young
Guitar – John McLaughlin
Organ – Larry Young
Percussion – Buddy Miles
Written-By – John McLaughlin

CARLOS SANTANA / MAHAVISHNU JOHN MCLAUGHLIN - Love Devotion Surrender (1973) FLAC (image+.cue), lossless

Love Devotion Surrender is an album released in 1973 by guitarists Carlos Santana and John McLaughlin, with the backing of their respective bands, Santana and The Mahavishnu Orchestra. The album was inspired by the teachings of Sri Chinmoy and intended as a tribute to John Coltrane. It contains two Coltrane compositions, two McLaughlin songs, and a traditional gospel song arranged by Santana and McLaughlin. It was certified Gold in 1973. In 2003, Love Devotion Surrender was released on CD with alternative versions as bonus tracks.

Both men were recent disciples of the guru Sri Chinmoy, and the title of the album echoes basic concepts of Chinmoy's philosophy, which focused on "love, devotion and surrender." Sri Chinmoy spoke about the album and the concept of surrender:

 Unfortunately, in the West surrender is misunderstood. We feel that if we surrender to someone, he will then lord it over us....But from the spiritual point of view...when the finite enters in the Infinite, it becomes the Infinite all at once. When a tiny drop enters into the ocean, we cannot trace the drop. It becomes the mighty ocean.

For both men the album came at a transitional moment spiritually and musically: Love Devotion Surrender was a "very public pursuit of their spiritual selves." Carlos Santana was moving from rock toward jazz and fusion, experiencing a "spiritual awakening," while McLaughlin was about to experience the break-up of the Mahavishnu Orchestra after being criticized by other band members. Santana had been a fan of McLaughlin, and McLaughlin had introduced Santana to Sri Chinmoy in 1971, at which time the guru bestowed the name "Devadip" on him, and the two had started playing and recording together in 1972. According to his biographer Marc Shapiro, Santana had much to learn from McLaughlin: "He would sit for hours, enthralled at the new ways to play that McLaughlin was teaching him," and his new spirituality had its effect on the music: "the feeling was that Carlos's newfound faith was present in every groove.

A hopelessly misunderstood record in its time by Santana fans -- they were still reeling from the radical direction shift toward jazz on Caravanserai and praying it was an aberration -- it was greeted by Santana devotees with hostility, contrasted with kindness from major-league critics like Robert Palmer. To hear this recording in the context of not only Carlos Santana's development as a guitarist, but as the logical extension of the music of John Coltrane and Miles Davis influencing rock musicians -- McLaughlin, of course, was a former Davis sideman -- this extension makes perfect sense in the post-Sonic Youth, post-rock era. With the exception of Coltrane's "Naima" and McLaughlin's "Meditation," this album consists of merely three extended guitar jams played on the spiritual ecstasy tip -- both men were devotees of guru Shri Chinmoy at the time. The assembled band included members of Santana's band and the Mahavishnu Orchestra in Michael Shrieve, Billy Cobham, Doug Rauch, Armando Peraza, Jan Hammer (playing drums!), and Don Alias. But it is the presence of the revolutionary jazz organist Larry Young -- a colleague of McLaughlin's in Tony Williams' Lifetime band -- that makes the entire project gel. He stands as the great communicator harmonically between the two very different guitarists whose ideas contrasted enough to complement one another in the context of Young's aggressive approach to keep the entire proceeding in the air. In the acknowledgement section of Coltrane's "A Love Supreme," which opens the album, Young creates a channel between Santana's riotous, transcendent, melodic runs and McLaughlin's rapid-fire machine-gun riffing. Young' double-handed striated chord voicings offered enough for both men to chew on, leaving free-ranging territory for percussive effects to drive the tracks from underneath. Check "Let Us Go Into the House of the Lord," which was musically inspired by Bobby Womack's "Breezing" and dynamically foreshadowed by Pharoah Sanders' read of it, or the insanely knotty yet intervallically transcendent "The Life Divine," for the manner in which Young's organ actually speaks both languages simultaneously. Young is the person who makes the room for the deep spirituality inherent in these sessions to be grasped for what it is: the interplay of two men who were not merely paying tribute to Coltrane, but trying to take his ideas about going beyond the realm of Western music to communicate with the language of the heart as it united with the cosmos. After three decades, Love Devotion Surrender still sounds completely radical and stunningly, movingly beautiful.

Quick! Name an album on which John McLaughlin plays piano and Jan Hammer plays drums. Give up? The answer: the much loved but often maligned 1973 collaboration between Carlos Santana and John McLaughlin, Love, Devotion and Surrender. (At this time John was still MAHAVISHNU and Carlos was not quite yet DEVADIP.) Now if anyone out there in musicland can determine on which cuts John McLaughlin played the piano and Hammer played the drums - you win a prize! 

In 1973, Carlos Santana had become mesmerized by the music of the Mahavishnu Orchestra. His interest became so strong that he literally followed the band on tour across America. He and McLaughlin became friendly. One night John McLaughlin had a dream that the two should record an album together. He took that dream to Clive Davis, the head of Columbia Records, and Love, Devotion and Surrender was born.

LDS delivers some of the hottest playing you are ever going to hear. John McLaughlin and Carlos Santana play their respective butts off, especially on the inspirational "Let Us Go Into The House Of The Lord". The rapid-fire machine gun bursts and call and responses make for an electric guitar Nirvana. Other musicians assembled for the recording included Santana compatriots Armando Peraza, Don Alias, Doug Rauch and Mike Shrieve. John McLaughlin brought along Jan Hammer, Billy Cobham and the legendary organist Larry Young. Imagine a Latin Mahavishnu Orchestra! 

At the time of this recording’s release, the patience and reverence afforded gurus was waning. This could help explain the relatively poor sales of Love, Devotion and Surrender relative to expectations. After all a smiling Sri Chinmoy, in all of his splendid grandeur, was pictured on the album cover. It may also help explain the many negative reviews. In hindsight, you will probably find that most of these reviews came from Santana fans that just couldn’t figure out what was going on with their hero. 

Despite all outward appearances, the fact of the matter was that this album pointed much more in the direction of John Coltrane than it did any guru or religious movement. Santana is, like McLaughlin, a devoted Coltrane admirer. McLaughlin and Santana even make the effort of trying to pull off “A Love Supreme,” and it works very well. (Even the vocals are effective). An acoustic treatment of “Naima” does the master proud, too. The other players are strong on all tunes. Cobham, in particular, is a powerhouse. 

In recent years, Love, Devotion and Surrender has begun receiving the praise it so richly deserves. (Bill Laswell has even released a well-received remix.) LDS remains a milestone in the history of fusion music. We can only hope that McLaughlin and Santana will find an opportunity to record together again soon, something both men have hinted at.

Tracklist:

1. A Love Supreme (7:48)

2. Naima (3:09)

3. The Life Devine (9:30)

4. Let's Go Into The House of the Lord (15:45)

5. Meditation (2:45)

Total time - 38:57

Line-up / Musicians

- Carlos Santana / guitars, vocals

- John McLaughlin / Guitar, piano

- Larry Young / organ

- Doug Rauch / bass

- Billy Cobham / drums

- Don Alias / drums

- Jan Hammer / drums

- Mike Shrieve / drums

- Armando Peraza / Congas, Bongos