John Mclaughlin Thieves And Poets Rar
Thieves and Poets is the latest offering from guitarist John McLaughlin. Similar in concept to two of his previous albums, The Mediterranean Concerto and Time Remembered, but different in execution, Thieves and Poets is well worth the ten year wait McLaughlin fans have endured to hear the piece recorded. In one form or another, McLaughlin's three-part acoustic guitar and symphony suite has been in existence since the early nineties. Originally known as Europa, it has received some rewriting over the years and in particular was updated to cater to the skills of some of McLaughlin's highly touted guest soloists. McLaughlin's liner notes talk of the Old World, the New World and the unification of these worlds as the thematic motifs of each part of the suite. Clearly, he borrows ideas from his own creations such as Shakti, his first concerto and tunes such as his standby 'Blues for L.W.'
Thieves And Poets John McLaughlin. Thieves and Poets finds McLaughlin joining forces with two of Europe's classical outfits: the Deutsche Kammerphilharmonie. Thieves And Poets John McLaughlin to stream in hi-fi, or to download in True CD Quality on Qobuz.com.
John McLaughlin
To paint a wonderfully textured canvas. In addition to self-quoting, McLaughlin manages to find some room for Charles Mingus and allows the influence of others to cast some shadows as well. Part 3 has a very distinct Bernstein feel that McLaughlin acknowledges but says was not done on purpose. It would make an impressive movie score. Also appearing on the album are four jazz standards dedicated to pianists Herbie Hancock, Chick Corea, Bill Evans and Gonzalo Rubalcaba.
McLaughlin recorded these tunes with the same acoustic guitar Aighetta Quartet he used on the Bill Evans tribute album. This time around the tunes are less dense and recorded with much lower reverb levels. These changes are very welcome as each tune is provocative without sounding cavernous.
McLaughlin's acoustic guitar is much higher in the mix than on the Mediterranean Concerto. As much as I liked the Concerto, sometimes you could not hear the guitar because of the overwhelming presence of the orchestra. The symphony orchestra I Pommeriggi Musicali di Milano performed this suite and attained the natural sounds that McLaughlin's Belo Horizonte band had formed with electronics. The guest soloists play with energy and purpose. Thieves and Poets is a very pleasing outing on several fronts. The melodies linger, McLaughlin and his fellow musicians play beautifully and the presence of a sympathetic symphony orchestra will have you hoping for more.
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Since the late '60s, John McLaughlin's name has been synonymous with electric fusion guitar. But McLaughlin is equally accomplished on the acoustic guitar; he has a long history of excelling on that instrument, which he plays exclusively on Thieves and Poets. This 2003 release, in fact, isn't fusion in the amplified jazz-rock sense but rather acoustic-oriented post-bop with Euro-classical leanings.
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Thieves and Poets finds McLaughlin joining forces with two of Europe's classical outfits: the Deutsche Kammerphilharmonie (with Renato Rivolta serving as conductor) and the much smaller, guitar-oriented Aighetta Quartet. The former appears on the title track, a lavish, three-movement, 26-minute orchestral work that has hints of Spanish flamenco at times. Meanwhile, Aighetta joins McLaughlin on four standards, all of which are dedicated to pianists he admires; the British guitarist acknowledges Bill Evans on 'My Romance,' Herbie Hancock on 'Stella by Starlight,' Chick Corea on 'My Foolish Heart,' and Gonzalo Rubalcaba on Luiz Eca's 'The Dolphin.'
But he certainly does so in a personal, introspective way. Yes, 'My Romance,' 'Stella by Starlight,' and 'My Foolish Heart' are warhorses that have been beaten to death over the years - great songs that have been recorded so many times that some jazz enthusiasts feel there should be a moratorium on them in the 21st century. But McLaughlin is such an accomplished, distinctive musician that he's allowed a warhorse or two (or three). Besides, he plays beautifully on these standards, and his lyricism is extremely individualistic.
John Mclaughlin-thieves And Poets 2003 Verve
Hearing McLaughlin (who turned 60 in 2002) embracing Tin Pan Alley songs with a classical guitar group is hardly the same as hearing some 19-year-old, knee-jerk Sarah Vaughan wannabe attempting to squeeze the last drops out of blood from them. It's the difference between mindlessly going through the motions and saying something personal - and on this memorable CD, McLaughlin's playing is undeniably personal. Alex Henderson.