Mahavishnu Orchestra

Mahavishnu Orchestra
Left to right: Jerry Goodman, Jan Hammer, John McLaughlin, Billy Cobham, Rick Laird
Background information
Origin	New York, New York, United States
Genres	Jazz fusion
Years active	1971–1976, 1984–1987
Labels	Columbia
Associated acts	Shakti The One Truth Band The Translators The John McLaughlin Guitar Trio
Past members
John McLaughlin Danny Gottlieb Jim Beard Jonas Hellborg Bill Evans Billy Cobham Jan Hammer Jerry Goodman Rick Laird Jean-Luc Ponty Ralphe Armstrong Gayle Moran Narada Michael Walden Stu Goldberg Mitchel Forman

The Mahavishnu Orchestra was a jazz fusion group, led by John McLaughlin, that debuted in 1971, dissolved in 1976 and reunited from 1984 to 1987.

First Mahavishnu Orchestra

The band's original lineup featured "Mahavishnu" John McLaughlin on acoustic and electric guitars, with members Billy Cobham on drums, Rick Laird on bass guitar, Jan Hammer on electric and acoustic piano and synthesizer, and Jerry Goodman on violin. This first incarnation of the ensemble was a multinational group: McLaughlin is from Yorkshire, England; Cobham from Panama; Hammer from Prague, Czechoslovakia; Goodman from Chicago, Illinois; and Laird from Dublin, Ireland. The group is best known for their albums The Inner Mounting Flame (1971) and Birds of Fire (1973).

This group was considered an important pioneer in the jazz fusion movement. McLaughlin and Cobham met while performing and recording with Miles Davis during the Bitches Brew sessions. McLaughlin was also influenced in his conception of the band by his studies with Indian guru Sri Chinmoy, who encouraged him to take the name "Mahavishnu" which means "Divine compassion, power and justice." or simply "Great Vishnu", an aspect of Vishnu.

McLaughlin had particular ideas for the instrumentation of the group, in keeping with his highly original concept of genre-blending in composition. He particularly wanted a violinist as an integral contributor to its overall sound. As the group evolved, McLaughlin adopted what became his trademark: a double neck guitar (six-string and twelve-string) which allowed for a great degree of diversity in musical textures, and Hammer became one of the first to play a Mini Moog synthesizer in an ensemble, which enabled him to add more sounds and solo more freely, on the guitar and the violin.

Their musical style was an unprecedented blending of genres: they combined the high-volume electrified rock sound that had been pioneered by Cream, The Who and later by Jimi Hendrix (whom McLaughlin had jammed with on his initial arrival in New York as part of the Tony Williams Lifetime), complex rhythms in unusual time signatures that reflected McLaughlin's interest in Indian classical music as well as funk, and harmonic influence from European classical music. The group's early music was entirely instrumental; their later albums had songs which sometimes featured R&B or even gospel/hymn-styled vocals. In the aforementioned two albums, though, the group goes from an intense fusion of upbeat genres (a representative example of which is the song "Vital Transformation") to very serene, chamber music-like tunes, such as "A Lotus On Irish Streams," a composition for acoustic guitar, piano and violin, and "Thousand Island Park," which drops the violin and incorporates double bass; or from low-key to extremely busy in a single piece, such as "Open Country Joy."

The split of the original line-up

Band Members

(1971–1973)	John McLaughlin - guitar Jan Hammer - keyboards Jerry Goodman - violin Rick Laird - bass guitar Billy Cobham - drums
(1974–1975)	John McLaughlin - guitar Gayle Moran - keyboards, vocals Jean-Luc Ponty - violin Ralphe Armstrong - bass guitar Narada Michael Walden - drums
(1976)	John McLaughlin - guitar Stu Goldberg - keyboards Ralphe Armstrong - bass guitar Narada Michael Walden - drums
(1976–1983)	BAND SPLIT
(1984)	John McLaughlin - guitar Mitchel Forman - keyboards Bill Evans - saxophone Jonas Hellborg - bass guitar Billy Cobham - drums
(1985–1986)	John McLaughlin - guitar Mitchel Forman - keyboards Bill Evans - saxophone Jonas Hellborg - bass guitar Danny Gottlieb - drums
(1987)	John McLaughlin - guitar Jim Beard - keyboards Bill Evans - saxophone Jonas Hellborg - bass guitar Danny Gottlieb - drums

Due to the pressures of sudden fame, exhaustion and a lack of communication, the original band began to fray at the edges as 1973 rolled on. The stress was further exacerbated by a disastrous recording session at London's Trident Studios that found some of the players not speaking to others. The project was never fully completed. The last straw came as John McLaughlin read an interview in Crawdaddy! magazine in which Jan Hammer and Jerry Goodman expressed their frustrations with John's leadership style. An effort to fix things back in New York fell short. Almost 30 years later, during the beginning of a renaissance of Mahavishnu's music, the incomplete album from the failed London recording was released as The Lost Trident Sessions.

Second Mahavishnu Orchestra

After the original group dissolved, it reformed in 1974 with a new cast of musicians behind McLaughlin: Jean-Luc Ponty (who had performed with Frank Zappa and the Mothers) on violin, Gayle Moran on keyboards, Ralphe Armstrong on bass, and Narada Michael Walden on percussion, Steven Kindler and Carol Shive on violin, Marcia Westbrook on viola, Phil Hirschi on cello, Steve Frankevich and Bob Knapp on brass. This "new" Mahavishnu Orchestra (which McLaughlin has reportedly called the "real" Mahavishnu Orchestra) changed personnel slightly between 1974's Apocalypse and Visions of the Emerald Beyond in 1975. Apocalypse was recorded in London with the London Symphony Orchestra under the direction of Michael Tilson Thomas, with George Martin producing and Geoff Emerick engineering the sessions. The band was then reduced to a four-piece for 1976's Inner Worlds, with Jean Luc-Ponty leaving and Gayle Moran being replaced with Stu Goldberg.

Later developments

After the dissolution of this version of the Orchestra, McLaughlin formed another group called Shakti to explore his interest in Indian music; following that, he went on to form other bands including the One Truth Band and the Translators, and a guitar trio with Al Di Meola and flamenco guitarist Paco de Lucia.

In 1984, McLaughlin reformed the Mahavishnu Orchestra with Bill Evans on saxophones, Jonas Hellborg on bass, Mitchel Forman on keyboards, and original member Billy Cobham on drums. Cobham participated in the sessions for their self-titled 1984 album, but was replaced by Danny Gottlieb for live work, and Jim Beard replaced Mitchel Forman for the latter period of this band's life. This band's overall sound was radically different from the original Mahavishnu Orchestra, in particular because of McLaughlin's extensive use of the Synclavier synthesiser system.

McLaughlin then worked with a number of incarnations of the John McLaughlin Guitar Trio, all of which featured Trilok Gurtu on percussion, and, at various times, Jeff Berlin, Kai Eckhardt, and Dominique di Piazza on bass. He then formed the Free Spirits, a guitar, organ and drums trio, with Joey DeFrancesco on Hammond organ and trumpet, and Dennis Chambers on drums, as well as touring and recording again with Al Di Meola and Paco de Lucía.

Billy Cobham went on to perform as a solo artist, recording many albums including Total Eclipse, Crosswinds and Spectrum, and toured with the "Billy Cobham & George Duke Band" for many years.

Jan Hammer went on to collaborate with Jeff Beck (together with Narada Michael Walden) in Beck's acclaimed album Wired; and also recorded a live album with the latter. He released several solo albums and composed the theme and incidental music for the hit 1980s TV show, Miami Vice.

Jerry Goodman recorded the album Like Children with Mahavishnu keyboard alumnus Jan Hammer. Starting in 1985 he recorded three solo albums for Private Music and went on tour with his own band, as well as with Shadowfax and the Dixie Dregs.

Rick Laird played with Stan Getz and Chick Corea as well as releasing one solo LP, Soft Focus, but retired from the music business in 1982. He has worked both as a bass teacher and photographer since then.

There has been a significant resurgence of interest in the Mahavishnu Orchestra in recent years, with bands like The Mars Volta and Cynic naming them as an influence. There have been no less than five major tribute recordings released. In addition, a very comprehensive and critically acclaimed book Power, Passion and Beauty: The Story of the Legendary Mahavishnu Orchestra by Walter Kolosky (AbstractLogix Books) has been published. It contains interviews with all of the band’s members and quotes obtained specifically for the book from many famous admirers such as Jeff Beck, Pat Metheny, the artist Peter Max, Bill Bruford and many more. The Mahavishnu Orchestra have also been sampled in contemporary music, most notably by Massive Attack on their track "Unfinished Sympathy", which sampled "Planetary Citizen".^{[citation needed]} "You Know, You Know" was sampled in Massive Attack's "One Love", Mos Def's "Kalifornia."

Discography

1971	The Inner Mounting Flame	Full-Length
1973	Birds of Fire	Full-Length
1973	The Lost Trident Sessions	Released in 1999
1973	Between Nothingness and Eternity	Live Album
1974	Apocalypse	Full-Length
1975	Visions of the Emerald Beyond	Full-Length
1976	Inner Worlds	Full-Length
1980	The Best of Mahavishnu Orchestra	Full-Length (compilation)
1984	Mahavishnu	Full-Length
1986	Adventures in Radioland	Full-Length
1994	The Collection	Full-Length (compilation)

Sources

• Kolosky, Walter (2006). Power, Passion and Beauty: The Story of the Legendary Mahavishnu Orchestra

External links

• Power, Passion and Beauty, The Story Of The Legendary Mahavishnu-Orchestra
• Official Jan Hammer website
• Mahavishnu Orchestra, Miami Vice and More - Jan Hammer interview
• "Acceptable [sic] Fusion: the Mahavishnu Orchestra, 1973", by Dinky Dawson, Crawdaddy!, September 19, 2007.
• "Two Sides to Every Satori", a John McLaughlin interview, Crawdaddy!, November 1973.
• John McLaughlin video interview at allaboutjazz.com
• Jean-Luc Ponty interview at Allaboutjazz.com