Search - John McLaughlin :: Thieves & Poets

Stella!!! (Brando rips off his Tshirt) Stella!!!

C. CRADDOCK | Bakersfield | 05/22/2007

(5 out of 5 stars)

"Thieves & Poets, a 2003 release from Guitarist John McLaughlin, is another in a long series of revelations from the maestro. It begins with a three part suite, composed by McLaughlin, with orchestra, and himself and others as `soloists.' The quote marks around `soloists' are the musician's own from his liner notes. I suppose he means them ironically, because the solos are all integrated into the ensemble sound. Thieves & Poets, parts I, II, & III are meant to be the story of McLaughlin's life. The first part reflects the Old World, the second, The New, and the third is a fusion of Old & New Worlds, if I can use the word fusion in its original sense, before it became tainted by its association with a musical genre that seemed progressive, but turned out to be more of a cul de sac.



If I may be so bold as to offer my interpretation of the title, Thieves & Poets, and its relation to McLaughlin's life, it must be that he sees himself as a thief, stealing licks and phrases from other musicians who came before, but transforming them into an expression of his self, through the magic of his poetry. The first suite begins with a Spanish tinge, reminiscent of Gil Evans/Miles Davis' Sketches of Spain. And the third suite ends with an orchestral tympani flourish, like something to bring down the curtain on an opera by Verdi.



After the three part suite McLaughlin plays small group arrangements of 4 songs by other writers: Three Jazz standards and one not so familiar called The Dolphin, by someone known as Luiz Eca. The Jazz standards he chooses are Stella by Starlight and My Foolish Heart, both by Ned Washington and Victor Young, and My Romance by Richard Rodgers, with lyrics by Lorenz Hart. The last 4 songs sound like mostly just guitars and bass, a very light and breezy, but exquisitely lovely, texture: chamber music for the new millennium. Like angels plucking harps in heaven, ensconced on clouds, drinking ice tea, it sounds.



He does Stella in Bb, which is the standard key for that standard, though I personally like it in G also. But John does it in Bb, with a standard head chorus where he plays the melody, albeit, with his signature flurries and swirls of notes filling in, accompanied by another guitarist, or himself double tracking, perhaps. Stella is one of the all time best Jazz standards ever written, with a melody with very few accidentals, sounding deceptively simple, yet harmonized with devilish intricacy. Four eight bar phrases, each phrase different, yet all flowing together in balanced asymmetry. It is a marvel, and to the list of magnificent versions of Stella must be added the illustrious name of John McLaughlin.



Also lovely is the Rodgers and Hart tune: My Romance. A beautiful ballad, I am reminded of a version of it sung by Carly Simon on a television commercial, whose beauty shone through, undiminished by its thrall to commerce. McLaughlin's version is even more transcendent.



McLaughlin mostly plays acoustic guitar throughout--and nylon stringed at that. The orchestra and other instruments (besides his own guitar, there is another guitarist, a clarinet, a cello, and a tympani, among others) are all played impeccably and recorded superbly. The musician acknowledges the effort of the sound engineer, referring to it as `sound design.'



The booklet included with the CD not only have excellent liner notes, but also photos of John at home, in his music studio, packed with equipment, yet everything placed just so, and there is even a picture of his dog, no doubt his fiercest critic, yet his biggest fan. Seeing him in his native environment, John is obviously a very spiritual person, with an interest in Eastern religions, as well as Eastern music. He combines elements of Indian music, rhythms, ragas, and sitar-like bends and drones, with Jazz, and Western classical music. I think this was the real direction pointed to by another musician on a similar musical and spiritual quest: John Coltrane.



For me hearing this CD, all the pieces fell into place, and I really `got' what he has done here. I could tell he was on a different path since I heard the title of one of his earlier albums: My Goal is Beyond. The work started there continues with this latest release. Too often musicians get caught up in their egos, especially during the turbulent times of the 60's when rock musicians were looked upon as demigods. McLaughlin lived through those times, but he kept his feet on the ground, because, his Goal Was Beyond. He is a humble guy, and there is even an air of Stan Laurel about his whimsical smile in one picture of him playing his guitar.



There is clarity of purpose in everything the man does. You hear it in his playing, but also check out his website: www.johnmclaughlin.com



I saw John McLaughlin perform two times, and while they were both revelations, when he played electric guitar with the Mahavishnu Orchestra in San Francisco, and a full electric band, it was great, but too loud. Everyone had their amps turned up to 11. Much better to see him in a small club called The Bodega in the sleepy suburb of Campbell, California, where he played with a small acoustic group of Indian musicians, playing violin, tabla, and so forth. Or better yet, hear him playing this stuff: Thieves & Poets.

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