Product Details
ASIN : B000009RC2
Track Listings for
Disc-1
1. Meeting of the Spirits
2. Dawn
3. Noonward Race
4. Lotus on Irish Streams
5. Vital Transformation
6. Dance of Maya
7. You Know You Know
8. Awakening
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Editorial Reviews
From Amazon.com
Reissued with sparkling audio and exclusive photographs, this first, 1971, Mahavishnu album certainly vies for the title of the greatest of all jazz-rock recordings. Through spiritually questing flights of intense fury and exquisite quiet, it never loses its sense of inexorable force. Jan Hammer (keyboards), Jerry Goodman (violin), and bassist Rick Laird are completely sympathetic with guitarist John McLaughlin's vision as the music abandons the standard jazz format of successive solos in favor of rapid, heightening, braided, interactive contributions--a structure much drawn from Indian classical music. Astoundingly, the music retains discipline. For that, thank Billy Cobham: Through all the expressive, irregular meters, he remains a steady, resolved engine of percussion, vastly resourceful but ultimately reserved. McLaughlin's alchemy distills many worlds of music-the jazz-guitar masters, flamenco, blues, Indian forms, and his experience in the innovations of the seminal jazz-rock outfits of Miles Davis and Tony Williams. Of course, distortion, feedback, and arena-rock amplification were crucial, as was the influence of Sri Chinmoy, McLaughlin's spiritual guide. "The Noonward Race," "Vital Transformation," and "The Dance of Maya" are music for the ages. -- Peter Monaghan
Customer Reviews
Jazz at insane volumes (2004-06-08)  This is the Mahavishnu Orchestra's first album. There was no better way to enter the scene than this. No one had ever played jazz at this loud of a volume before. Meeting of the Spirits, while one of there simplest songs, has to be one of the greatest songs ever. John McLauglin arpegiated chords and blistering guitar solos are enough to show that he is probably the best guitarist ever. Billy Cobham is certainly one of the best fusion drummers ever. All of these songs are brilliant. Whether it be the erie blues of the Dance of the Maya, the soft acoustic sounds of Lotus on Irish Streams, or the slower more mellow song You Know, You Know, its all here. This is certainly one of the most interesting bands ever. the last song even changes keys according to what astronomical sign each one of the band members was born under.
the beginning and end of fusion (2004-03-27) There may have been de facto fusion before this, but the common use of the term came into play to describe this record. Unfortunately for the genre, IMF came fully-realized, out of the box, and was never equaled, by anyone. Cobham is challenged like never before or since, and all parties involved play with an exhilaration that sounds to me like the insight into how earthshaking this music will be.
Excellent and Impeccable Musicianship (4.5 Stars) (2004-03-06)  At the dawn of the '70s, there was a new musical revolution brewing. As it turned out, many talented musicians in the jazz world were combining the complexity of their music with the power of hard rock. Miles Davis was the first to do this on his groundbreaking late '60s albums, but the first full-time band to bring jazz-rock to the masses was the Mahavishnu Orchestra. Formed by John McLaughlin in 1970, Mahavishnu Orchestra (named this because that was the nickname McLaughlin's spiritual guide gave to him) assembled a talented group of musicians to take what Miles Davis had started and blow it up tenfold. The original classic line up of Mahavishnu was as follows: keyboardist Jan Hammer (who would gain fame in the '80s for composing the "Miami Vice Theme"), bassist Rick Laird, violinist Jerry Goodman, master drummer Billy Cobham, and of course McLaughlin on guitar. Together, their 1971 debut THE INNER MOUNTING FLAME shook everybody to their foundations. It was the first real jazz/hard rock album and has influenced pratically every musician to this day. It was a surprising commercial success, and led the rock fans to see what jazz was about and jazz purists to see what rock was about. It all came from this album. And the music still holds up more than 30 years later. The record kicks off with "Meeting of the Spirits," which begins with some ominous keyboards juxtaposed by Cobham's explosive polyrhythmic assualt. It then slow things down a bit, only to rise to tension-building heights thanks to tasteful rhythmic support from Laird and Goodman, and allowing McLaughlin to solo like a madman. An excellent opener. "Dawn" starts off lightly as well and features some more soulful guitar solos from McLaughlin and a tight groove from Cobham, but it then segues into one of the most unexpected time changes I've ever heard. It will really catch you off guard, and I don't want to spoil it for any new listeners. "Noonward Race" is a fast-paced rocker and probably the most straightforward, but the speedy guitars, drums, and keys really make this song rock out. "Vital Transformation" is similar in style to "Meeting of the Spirits," but it quickly comes into its own, thanks to some nifty time changes and arrangements. The 7-minute piece "The Dance of Maya" is my personal favorite on here. It's the most versatile song on the record, combining distorted guitars, funky grooves, blues themes, and shifting changes to really create a stellar atmosphere. "You Know, You Know" is a nice mellow song with McLaughlin once again taking center stage. Pretty much, THE INNER MOUNTING FLAME has everything, however there are some flaws that can't go unnoticed, and are the main reasons why I cannot give it the full 5 stars. For one thing, "Awakening" is an absolutely weak finale. It's too short and seems very rushed and anti-climactic, despite featuring an awesome drum solo from Billy. I think "The Dance of Maya" should've been the closing song. Also, the ballad "A Lotus on Irish Streams" is a very dull song. It lacks structure and the song just plods around aimlessly for 5 minutes with no goal whatsoever. Personally, they should've fixed it up a bit. Despite those two weak songs, THE INNER MOUNTING FLAME is a groundbreaking and very creative effort from a highly skilled ensemble. I can't wait to hear some of their other material.
As Bart simpson would say, "AYE CARAMBA!!!" (2004-02-06) I wasn't even born during the Mahavishnu phenomenom that began in 1971, but I sure feel envious toward those that were around then. Those lucky souls were able to bear witness to the beginning of the jazz fusion movement. Nowadays, "fusion" is associated with overflamboyant musicianship and soulless, unemotional arrangements. Now the Mahavishnu Orchestra may have been flamboyant, but they were not without soul or emotion. You see, in order to play with the gut-wrenching intensity of the Mahavishnu Orchestra, energy is needed. And energy is derived from feeling. So that puts that argument to rest. Their first album The Inner Mounting Flame is a perfect example of five virtuoso musicians throwing themselves with reckless abandon into their music. Guitarist and bandleader John Mclauglin's fretwork continues to sound jawdropping more than thirty years later. His wild and uninhibited playing contrasted vividly with his clean cut appearance. Keyboardist Jan Hammer and violinist Jerry Goodman provided a classy ambiance to bassist Rich Laird's and drummer Billy Cobham's funky and complex rhythms. Also noteworthy is the band's cultural diversity: Mclaughlin is an Englishman with a love for Eastern philosophy and religion, Goodman is an American trained in European classical music, Hammer is Czech, Laird is Irish, and Cobham was born in Panama but became a U.S. citizen via the U.S. Army. How many albums have came out before or since with Indian, Celtic, jazz, classical, blues, rock, and country influences all wrapped together in one neat package? As for the songs, you are better off hearing them than reading my musically illiterate descriptions. The opener "Meeting of the Spirits" is beautiful, and majestic and infectious. "Dawn" starts out slow and tranquil enough, but boy does it ever pick up. There's the warp speed insanity of "Awakening" and "The Noonward Race". "The Dance of Maya" has a ominous psychedelic beginning until a blues breakdown erupts 2 and 1/2 minutes into the song. "You Know You Know" is a ballad that at times threatens to explode into pandemonium. How many ballads do you know of that have their own stinkin' drum solo? The Celtic hued "A Lotus on Irish Streams" displays some subdued, but still very fine playing. The Inner Mounting Flame shows what popular music was once capable of, and can be capable of again. But sadly, popular music is overran with glory hogs who feel they have compensate for their lack of talent and justifiably declining sales by humiliating themselves with ludicrous publicity stunts (i.e. 5 day marriages, stripping at the Super Bowl). So I say to you fellow music lover or to anyone reading this review, disconnect yourself from the talentless cavalcade of EmpTyV excrement and give real music a chance.
Highly Enjoyable Fusion (2004-01-01) The Mahavishnu Orchestra's 1971 debut album _The Inner Mounting Flame_ is a treasure in the world of fusion. It's rhythmically complex and involved, but dynamic and fiery. Jazz-inflected rock made accessible to nearly anyone who appreciates rock with sophistication. But, sophisticated doesn't necessarily mean feeble, as this music is bursting with energy and intensity. Guitarist John McLaughlin (who had worked with Miles Davis not too long before this album and band came together) composed all of these tracks, which are spirituality-oriented - as evidenced by some of the song titles. These spiritual leanings can be latched onto, or they can simply be ignored - intentionally or inadvertently, either way, the music is powerful enough to outweigh any cogitation on the underlying motives of the music. It more than likely will grab hold of you in the biggest way possible, regardless of your disposition towards spirituality. While virtuosic musicianship is abound, you'd be challenged to call this nothing more than a tasteless exhibition of technical prowess. There's plenty of meat with flavor in this smorgasbord. "Meeting of the Spirits" opens up with a suspended musical atmosphere, full of ominous tension, and fairly explosive drum pyrotechnics from Billy Cobham. What follows is a slightly angular, yet tasty rhythmic combo comprised of passionate guitar soloing from McLaughlin, tasteful, complementary violin work, thumping basslines, and flavor-filled snare hits from Cobham. Of course, his snare drumming is not the only thing impressive here, and on the album in general. An excellent opener. "Dawn" is an extremely beautiful ballad-like number with a 7/4-ish rhythm, and exhibits subtle touches of R&B, jazz and modern classical. McLaughlin finds time amidst this beauty to inject the atmosphere with some passionate soloing. Later, in the second half of the track, things speed up, and we are treated to a genuinely moving melody embedded in the up-tempo jam exhibiting a mix of rock, R&B and gospel. Could easily see this played in church. Extremely moving, and gets loads of repeat time in my stereo. "Noonward Race" is fast-paced like it's title would possibly suggest. Highly energetic playing from Cobham, fast soloing from McLaughlin, as well as the swapping of instrumental lines between each member of the band. Jerry Goodman gives us charged violin lines, Jan Hammer gives us fast, but tasteful and interesting keyboard lines, and Rick Laird, while mostly playing a supporting role here, does no more than he needs to. "A Lotus On Irish Streams" gives us a break from the fast-paced energy preceeding this, with it's gently serenading, ethereal and elegant atmosphere. While on the gentle side, McLaughlin finds time to display a lightning-fast solo here and there. Lush, willowy keyboard textures from Jan Hammer dominate this track, but the contributions from violinist Jerry Goodman add extra relevance to the flavor and overall atmosphere of the track. "Vital Transformation" features what is probably the hottest, funkiest, tastiest, most groove-oriented 9/8 meter to be experienced: almost guaranteed to get that old rump of yours shaking, ditto with the rest of your body, as well as your soul. This track is jam-packed with energy and charisma: powerful, charismatic drumming, tasty guitar & violin dueling, excellent basswork -- an absolute knockout. A mix of mutated country, R&B, funk and rock: progressive in all the right ways. Virtuosism combined with taste is at a maximum here. "The Dance of Maya" displays snaky, mind-teasing rhythmic patterns, as parallel with the melodic lines. Cobham plays a bluesy drum pattern in 10/8, which continues through the remainder of the track. Later, this blues-romp kicks in, and Billy, once again, plays the blues-derived 10/8 meter, while this time, the instrumental motif shifts to fully parallel that of Billy's blues-romp rhythm. The sudden switch of instrumental motifs (excepting Billy's drum rhythm) may lead many to believe that the meter, and Billy's drum pattern have changed, when they more than possibly have not. The whole track, I believe is in 10, yet there are so many subtle tricks going on rhythmically, I fear embarrassment if I attempt to articulate them all. Excellent track here. "You Know, You Know" is an odd-metered slow jam. Another one of those tracks to let you gain a breather from the high-energy musings of past. Fluid, tasteful R&B-infused arpeggios and basslines dominate this track. Billy Cobham takes on more of a subtle, but equally effective role here, which in the least, showcases his versatility on his instrument. "Awakening" sees the boys saving the wildest for last. This is the most energetic, fast-paced, virtuosic track on the album. Machine-gun drumming, lightning-fast passages from guitar, bass, violin and keyboards: all in unison, and at other times, separately. Strangely, this is the shortest track on the album, though with all of the hyperactivity crammed here, one gets the sense that it need not be any longer. Excellent musicianship all-around. High-quality musicianship and taste to match. Fans of high-energy, virtuosic rock should soak this up. If you're into Jimi Hendrix, Frank Zappa, King Crimson or the like, you shouldn't pass this up. Rumor has it that the Mahavishnu Orchestra had an influence on the 1973-1974-era King Crimson. If there's any truth to that, I wouldn't be surprised. This outfit were highly influential on many musicians, especially of the virtuosic category. Pick this up, and see what all the fuss is about.
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