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Playlist of John McLaughlin Trio

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  • John McLaughlin feat Trilok Gurtu & Kai Eckhardt - Theaterhaus Stuttgart 1989

    1:6:28

  • x
  • John Mclaughlin, Kai Eckhardt, Trilok Gurtu - Live at Royal Festival Hall

    27:22

    Four long years had passed since McLaughlin's last record when JMT released Live at the Royal Festival Hall in 1990. The brilliant percussionist Trilok Gurtu, of Oregon fame, joined him—along with superb bassist Kai Eckhardt—to form an exciting band which was to exist in one form or another (with revolving bassists) for five more years. The mostly acoustic music which fills this album, augmented by electric bass and John's guitar synthesizer, is a mix of standard jazz, fusion and Indian-influenced rhythms and melody lines.

    Personnel:
    John McLaughlin - Guitar
    Trilok Gurtu - Percussion
    Kai Eckhardt - Fretless Bass

  • x
  • John Mc Laughlin Trio 3. - The Wall Will Fall

    10:43

    John Mc Laughlin Trio (feat Trilok Gurtu) 3. Blues Theme
    1989 Germany, Stuttgart
    John McLaughlin: acoustic guitar
    Kai Eckhardt: electric bass
    Trilok Gurtu: percussion

  • John McLaughlin Trio / Jazz À Juan - Antibes 1990

    53:20

    John McLaughlin : Guitars
    Kai Eckhardt : electric acoustic double bass, vocal
    Trilok Gurtu, drums, percussion, vocal.

  • x
  • John Mclaughlin Trio - Que Alegria Expo 92

    10:01

    John Mclaughlin, Dominic DiPiazza and Trilok Gurtu play 'Que Alegria' in Spain in 1992. Had to miss end of slightly to squeeze to 10 mins. This video rocks and for me John was on fire at this time, the other two are amazing too. I saw them with Kai Eckhardt on bass and before that Jeff Berlin, before Dominique DiPiazza.

  • John McLaughlin Trio - Theaterhaus Stuttgart 1989 HD

    1:6:30

    John McLaughlin -
    Kai Eckhardt -
    Trilok Gurtu -

    00:00:00 - TV intro
    00:00:34 - Florianapolis
    00:15:23 - Are You The One? Are You The One?
    00:25:15 - Mother Tongues
    00:42:42 - The Wall Will Fall
    00:53:19 - interview with John McLaughlin
    00:58:55 - Zakir
    01:05:45 - end credits

    John McLaughlin - acoustic guitar
    Kai Eckhardt-Karpeh - bass guitar
    Trilok Gurtu - percussion

    ! ! ! please pay attention ! ! !
    I Do Not Own The Rights To The Music.
    All Rights Belong To Their Respectful Owners.
    If you think it is violates your copyright and you wish the video to be removed immediately, please report...

    #JohnMcLaughlin
    #JazzFusion
    #AcousticGuitar

  • x
  • John McLaughlin Trio - Mother Tongues 1989

    19:26

    Jazz Rock/Fusion -
    What the fuck? Ok we have a lot of nice live versions of the JMcL Trio, but we neeeeed the the live ones from the absolutely f***** great release Live At The Royal Fetsival Hall. Fellas, enjoy this - this is the definition of music.... go out and buy this record to enjoy this audiophile music experience.

    John McLaughlin: acoustic guitar; Photon guitar synthesizer
    Kai Eckhardt: electric bass
    Trilok Gurtu: percussion

    Digitally recored at the Royal Festival Hall, London
    November 27, 1989


    With John McLaughlin's Live At the Royal Festival Hall live grand album, a small token of an extensive tour he did in 1989/1990 with the JMTrio (including in a Zagreb days or weeks ahead of war), every listener gets something special prepared for him. This is actually one of my childhood jazz albums, but until recently I was way close-minded and jazz-offed as to observe how, though in a conservatory artistic way, this is a phenomenon. Maybe one only thanks to music, compared other equally flourish lives held by McLaughlin, nevertheless one definite. Searching an expression isn't exactly the big mood, since things are influenced by nothing but the masterful talent and inspiration of the artists, in front of a unpanicked experience. The last solid albums are far to remember, whether the questionable polish of a fusion bang (such as that of Music Spoken Here) or of the bits of pieces collectible, still, from the Mahavishnu straight essence; yet that counts in such a little manner. The time of this concert is fresh, it's now and it's for ever. The feeling, at least, is a bit more endless than the word itself is imagined.
    John McLaughlin Trio featured on this tour the incredible Trilok Gurtu, par an impressionist in his percussion par an artist beyond his craft and dazzle, and Kai Eckhardt-Karpeh, a gifted soul. The trio continued music after this year, most profoundly coming the charming and aromatic release Que Alegria, a work, itself, good to light the fire and keep the jazz at a quality both traditional and spice-modern. Also playing in the album will be Dominique Di Piazza, who eventually will replace Eckhardt-Karpeh. The reason for a trio feeling, in Royal Festival Hall, is pretty much the basis for which the concert is highly successful and excellently drawn. Mirth craft by both an individual possessive interpretation and a long-forgotten strange accent, in order for the trio sound to be mystifying. In a credentialed way, Eckhardt-Karpeh doesn't have the shine of McLaughlin and Gurtu, but that doesn't change the music dramatically. The solos are, themselves, in a state of individual art and measured performance, since the detail is to captivate, barely to collapse. The trio definitely had good moments of music and jazz. But right in Royal Festival Hall, such words are pretty much simple nuances ; the records spins frantically the high impact, instead.

    Interesting to note is the music's entire character, ultimate and indescribable, over a bit less granting idea that the concert is in a blissful context, or that the trio steams towards a perfect grace (in fact, the essence of the jazz art is what makes me believe so much that, except the San Francisco monument concert of McLaughlin, Di Meola and Lucia, I haven't heard a better live album with McLaughlin). Great moments acoustically happen with McLaughlin's Photon guitar, a craft hidden, of course, beneath the waves and the groove.

    The vibes and emotions pick up from where the music is peaceful played or sharpshooting sojourned. Blue In Green, after M. Davis, is piquant, but syrupy artistic, serving a lounge music for a beginning treat. So are the next two pieces, worked after an essence by Forman, the shorter medley giving grace and power, while the other one is the example of stable art, in more or less subtle moves. Florianapolis is of a sought-after discrete grand play than of a purely exciting jazz arrangement. Mother Tongue is the grand piece of the evening, based on a language of jazz and form already acquainted, but much surrounded by special signs and, midst an improvisation of sound and shapes, having an incendiary solo by Gurtu. Blues For L.W. (easter-egg: Blues for Lech Walesa) is the ending gem, at first with sorrow guitars and lines of noteworthy slowness, finishing with an ecstatic original voice improvisation. Just like the crowd erupts and the refinement melts your jazz senses all the way, the whole album ends up being regarded as amazing and special.

    Highly acclaimed without a sketch of a new impression (or with a sign that it loses down the old-churned pleasant admiration), the Royal Festival Hall John McLaughlin Trio concert holds more special its value, its jazz gift and, lastly to resound, its humble respect for music. The rest is between magic and a splashing grand memorable performance. Greatly recommended.

    Review by Ricochet with 5 points of 5 possible points from

  • John McLaughlin Trio - Florianapolis 1989

    15:12

    Jazz Rock/Fusion -
    What the fuck? Ok we have a lot of nice live versions of the JMcL Trio, but we neeeeed the the live ones from the absolutely f***** great release Live At The Royal Fetsival Hall. Fellas, enjoy this - this is the definition of music.... go out and buy this record to enjoy this audiophile music experience.

    John McLaughlin: acoustic guitar; Photon guitar synthesizer
    Kai Eckhardt: electric bass
    Trilok Gurtu: percussion

    Digitally recored at the Royal Festival Hall, London
    November 27, 1989


    With John McLaughlin's Live At the Royal Festival Hall live grand album, a small token of an extensive tour he did in 1989/1990 with the JMTrio (including in a Zagreb days or weeks ahead of war), every listener gets something special prepared for him. This is actually one of my childhood jazz albums, but until recently I was way close-minded and jazz-offed as to observe how, though in a conservatory artistic way, this is a phenomenon. Maybe one only thanks to music, compared other equally flourish lives held by McLaughlin, nevertheless one definite. Searching an expression isn't exactly the big mood, since things are influenced by nothing but the masterful talent and inspiration of the artists, in front of a unpanicked experience. The last solid albums are far to remember, whether the questionable polish of a fusion bang (such as that of Music Spoken Here) or of the bits of pieces collectible, still, from the Mahavishnu straight essence; yet that counts in such a little manner. The time of this concert is fresh, it's now and it's for ever. The feeling, at least, is a bit more endless than the word itself is imagined.
    John McLaughlin Trio featured on this tour the incredible Trilok Gurtu, par an impressionist in his percussion par an artist beyond his craft and dazzle, and Kai Eckhardt-Karpeh, a gifted soul. The trio continued music after this year, most profoundly coming the charming and aromatic release Que Alegria, a work, itself, good to light the fire and keep the jazz at a quality both traditional and spice-modern. Also playing in the album will be Dominique Di Piazza, who eventually will replace Eckhardt-Karpeh. The reason for a trio feeling, in Royal Festival Hall, is pretty much the basis for which the concert is highly successful and excellently drawn. Mirth craft by both an individual possessive interpretation and a long-forgotten strange accent, in order for the trio sound to be mystifying. In a credentialed way, Eckhardt-Karpeh doesn't have the shine of McLaughlin and Gurtu, but that doesn't change the music dramatically. The solos are, themselves, in a state of individual art and measured performance, since the detail is to captivate, barely to collapse. The trio definitely had good moments of music and jazz. But right in Royal Festival Hall, such words are pretty much simple nuances ; the records spins frantically the high impact, instead.

    Interesting to note is the music's entire character, ultimate and indescribable, over a bit less granting idea that the concert is in a blissful context, or that the trio steams towards a perfect grace (in fact, the essence of the jazz art is what makes me believe so much that, except the San Francisco monument concert of McLaughlin, Di Meola and Lucia, I haven't heard a better live album with McLaughlin). Great moments acoustically happen with McLaughlin's Photon guitar, a craft hidden, of course, beneath the waves and the groove.

    The vibes and emotions pick up from where the music is peaceful played or sharpshooting sojourned. Blue In Green, after M. Davis, is piquant, but syrupy artistic, serving a lounge music for a beginning treat. So are the next two pieces, worked after an essence by Forman, the shorter medley giving grace and power, while the other one is the example of stable art, in more or less subtle moves. Florianapolis is of a sought-after discrete grand play than of a purely exciting jazz arrangement. Mother Tongue is the grand piece of the evening, based on a language of jazz and form already acquainted, but much surrounded by special signs and, midst an improvisation of sound and shapes, having an incendiary solo by Gurtu. Blues For L.W. (easter-egg: Blues for Lech Walesa) is the ending gem, at first with sorrow guitars and lines of noteworthy slowness, finishing with an ecstatic original voice improvisation. Just like the crowd erupts and the refinement melts your jazz senses all the way, the whole album ends up being regarded as amazing and special.

    Highly acclaimed without a sketch of a new impression (or with a sign that it loses down the old-churned pleasant admiration), the Royal Festival Hall John McLaughlin Trio concert holds more special its value, its jazz gift and, lastly to resound, its humble respect for music. The rest is between magic and a splashing grand memorable performance. Greatly recommended.

    Review by Ricochet with 5 points of 5 possible points from

  • Al Di Meola, John McLaughlin & Paco de Lucía - The Guitar Trio - full album

    53:08

    00:00 la estiba
    05:50 beyond the miracle
    12:00 midsummer night
    16:37 manhã de carnaval
    22:52 letter from india
    26:47 espiritu
    32:17 le monastere dans le montagne
    38:32 azzura
    46:30 cardeosa

    R.I.P Paco de Lucía.

  • x
  • 1990 - John McLaughlin Trio - Cannes p.1

    6:54

    John McLaughlin
    Trilok Gurtu
    Dominique Di PIazza

  • John McLaughlin Trio Berlin Jazz Festival Nov 2, 1991

    1:56:24

    John McLaughlin Trio Berlin Jazz Festival Nov 2, 1991

  • JOHN McLAUGHLIN TRIO 1989

    17:41

    John Mclaughlin - guitar
    Trilok Gurtu - percussion
    Kai Eckardt-Karpeh -bass

  • John McLaughlin Trio - Pashas Love 1989

    8:07

    Jazz Rock/Fusion -
    What the fuck? Ok we have a lot of nice live versions of the JMcL Trio, but we neeeeed the the live ones from the absolutely f***** great release Live At The Royal Fetsival Hall. Fellas, enjoy this - this is the definition of music.... go out and buy this record to enjoy this audiophile music experience.

    John McLaughlin: acoustic guitar; Photon guitar synthesizer
    Kai Eckhardt: electric bass
    Trilok Gurtu: percussion

    Digitally recored at the Royal Festival Hall, London
    November 27, 1989


    With John McLaughlin's Live At the Royal Festival Hall live grand album, a small token of an extensive tour he did in 1989/1990 with the JMTrio (including in a Zagreb days or weeks ahead of war), every listener gets something special prepared for him. This is actually one of my childhood jazz albums, but until recently I was way close-minded and jazz-offed as to observe how, though in a conservatory artistic way, this is a phenomenon. Maybe one only thanks to music, compared other equally flourish lives held by McLaughlin, nevertheless one definite. Searching an expression isn't exactly the big mood, since things are influenced by nothing but the masterful talent and inspiration of the artists, in front of a unpanicked experience. The last solid albums are far to remember, whether the questionable polish of a fusion bang (such as that of Music Spoken Here) or of the bits of pieces collectible, still, from the Mahavishnu straight essence; yet that counts in such a little manner. The time of this concert is fresh, it's now and it's for ever. The feeling, at least, is a bit more endless than the word itself is imagined.
    John McLaughlin Trio featured on this tour the incredible Trilok Gurtu, par an impressionist in his percussion par an artist beyond his craft and dazzle, and Kai Eckhardt-Karpeh, a gifted soul. The trio continued music after this year, most profoundly coming the charming and aromatic release Que Alegria, a work, itself, good to light the fire and keep the jazz at a quality both traditional and spice-modern. Also playing in the album will be Dominique Di Piazza, who eventually will replace Eckhardt-Karpeh. The reason for a trio feeling, in Royal Festival Hall, is pretty much the basis for which the concert is highly successful and excellently drawn. Mirth craft by both an individual possessive interpretation and a long-forgotten strange accent, in order for the trio sound to be mystifying. In a credentialed way, Eckhardt-Karpeh doesn't have the shine of McLaughlin and Gurtu, but that doesn't change the music dramatically. The solos are, themselves, in a state of individual art and measured performance, since the detail is to captivate, barely to collapse. The trio definitely had good moments of music and jazz. But right in Royal Festival Hall, such words are pretty much simple nuances ; the records spins frantically the high impact, instead.

    Interesting to note is the music's entire character, ultimate and indescribable, over a bit less granting idea that the concert is in a blissful context, or that the trio steams towards a perfect grace (in fact, the essence of the jazz art is what makes me believe so much that, except the San Francisco monument concert of McLaughlin, Di Meola and Lucia, I haven't heard a better live album with McLaughlin). Great moments acoustically happen with McLaughlin's Photon guitar, a craft hidden, of course, beneath the waves and the groove.

    The vibes and emotions pick up from where the music is peaceful played or sharpshooting sojourned. Blue In Green, after M. Davis, is piquant, but syrupy artistic, serving a lounge music for a beginning treat. So are the next two pieces, worked after an essence by Forman, the shorter medley giving grace and power, while the other one is the example of stable art, in more or less subtle moves. Florianapolis is of a sought-after discrete grand play than of a purely exciting jazz arrangement. Mother Tongue is the grand piece of the evening, based on a language of jazz and form already acquainted, but much surrounded by special signs and, midst an improvisation of sound and shapes, having an incendiary solo by Gurtu. Blues For L.W. (easter-egg: Blues for Lech Walesa) is the ending gem, at first with sorrow guitars and lines of noteworthy slowness, finishing with an ecstatic original voice improvisation. Just like the crowd erupts and the refinement melts your jazz senses all the way, the whole album ends up being regarded as amazing and special.

    Highly acclaimed without a sketch of a new impression (or with a sign that it loses down the old-churned pleasant admiration), the Royal Festival Hall John McLaughlin Trio concert holds more special its value, its jazz gift and, lastly to resound, its humble respect for music. The rest is between magic and a splashing grand memorable performance. Greatly recommended.

    Review by Ricochet with 5 points of 5 possible points from

  • John Mclaughlin Trio - Are you the one?

    13:22

    John Mclaughlin Trio 1990

    Best take!!

  • John McLaughlin Trio - Blue In Green 1989

    6:38

    Jazz Rock/Fusion -
    What the fuck? Ok we have a lot of nice live versions of the JMcL Trio, but we neeeeed the the live ones from the absolutely f***** great release Live At The Royal Fetsival Hall. Fellas, enjoy this - this is the definition of music.... go out and buy this record to enjoy this audiophile music experience.

    John McLaughlin: acoustic guitar; Photon guitar synthesizer
    Kai Eckhardt: electric bass
    Trilok Gurtu: percussion

    Digitally recored at the Royal Festival Hall, London
    November 27, 1989


    With John McLaughlin's Live At the Royal Festival Hall live grand album, a small token of an extensive tour he did in 1989/1990 with the JMTrio (including in a Zagreb days or weeks ahead of war), every listener gets something special prepared for him. This is actually one of my childhood jazz albums, but until recently I was way close-minded and jazz-offed as to observe how, though in a conservatory artistic way, this is a phenomenon. Maybe one only thanks to music, compared other equally flourish lives held by McLaughlin, nevertheless one definite. Searching an expression isn't exactly the big mood, since things are influenced by nothing but the masterful talent and inspiration of the artists, in front of a unpanicked experience. The last solid albums are far to remember, whether the questionable polish of a fusion bang (such as that of Music Spoken Here) or of the bits of pieces collectible, still, from the Mahavishnu straight essence; yet that counts in such a little manner. The time of this concert is fresh, it's now and it's for ever. The feeling, at least, is a bit more endless than the word itself is imagined.
    John McLaughlin Trio featured on this tour the incredible Trilok Gurtu, par an impressionist in his percussion par an artist beyond his craft and dazzle, and Kai Eckhardt-Karpeh, a gifted soul. The trio continued music after this year, most profoundly coming the charming and aromatic release Que Alegria, a work, itself, good to light the fire and keep the jazz at a quality both traditional and spice-modern. Also playing in the album will be Dominique Di Piazza, who eventually will replace Eckhardt-Karpeh. The reason for a trio feeling, in Royal Festival Hall, is pretty much the basis for which the concert is highly successful and excellently drawn. Mirth craft by both an individual possessive interpretation and a long-forgotten strange accent, in order for the trio sound to be mystifying. In a credentialed way, Eckhardt-Karpeh doesn't have the shine of McLaughlin and Gurtu, but that doesn't change the music dramatically. The solos are, themselves, in a state of individual art and measured performance, since the detail is to captivate, barely to collapse. The trio definitely had good moments of music and jazz. But right in Royal Festival Hall, such words are pretty much simple nuances ; the records spins frantically the high impact, instead.

    Interesting to note is the music's entire character, ultimate and indescribable, over a bit less granting idea that the concert is in a blissful context, or that the trio steams towards a perfect grace (in fact, the essence of the jazz art is what makes me believe so much that, except the San Francisco monument concert of McLaughlin, Di Meola and Lucia, I haven't heard a better live album with McLaughlin). Great moments acoustically happen with McLaughlin's Photon guitar, a craft hidden, of course, beneath the waves and the groove.

    The vibes and emotions pick up from where the music is peaceful played or sharpshooting sojourned. Blue In Green, after M. Davis, is piquant, but syrupy artistic, serving a lounge music for a beginning treat. So are the next two pieces, worked after an essence by Forman, the shorter medley giving grace and power, while the other one is the example of stable art, in more or less subtle moves. Florianapolis is of a sought-after discrete grand play than of a purely exciting jazz arrangement. Mother Tongue is the grand piece of the evening, based on a language of jazz and form already acquainted, but much surrounded by special signs and, midst an improvisation of sound and shapes, having an incendiary solo by Gurtu. Blues For L.W. (easter-egg: Blues for Lech Walesa) is the ending gem, at first with sorrow guitars and lines of noteworthy slowness, finishing with an ecstatic original voice improvisation. Just like the crowd erupts and the refinement melts your jazz senses all the way, the whole album ends up being regarded as amazing and special.

    Highly acclaimed without a sketch of a new impression (or with a sign that it loses down the old-churned pleasant admiration), the Royal Festival Hall John McLaughlin Trio concert holds more special its value, its jazz gift and, lastly to resound, its humble respect for music. The rest is between magic and a splashing grand memorable performance. Greatly recommended.

    Review by Ricochet with 5 points of 5 possible points from

  • 1994 - John McLaughlin, Joey DeFrancesco, Dennis Chambers

    51:56

  • JOHN MCLAUGHLIN GUITAR TRIO 1979 good bye pork pie hat

    7:26

    I think this vid is historic! Madrid 1979 Guitar Trio with Corryel

  • TRIO OF DOOM :John McLaughlin, Jaco Pastorius, Tony Williams.

    13:11

    LIVE IN HAVANA 1979

  • MOTHER TONGUES JOHN MCLAUGHLIN TRIO

    10:49

    playing blues in 5/4.

  • John Mclaughlin Trio.Florianapolis part 1

    6:01

  • x
  • John McLaughlin, Paco DeLucia, Al DiMeola - Friday Night in San Francisco 1981

    41:52

    Friday Night in San Francisco (1981)

    1 -Mediterranean Sundance/Rio Ancho
    2- Short Tales Of the Black Forest 11:47
    3- Frevo Rasgado 20:32
    5- Fantasia Suite 28:44
    6- Guardian Angel 37:37

  • John McLaughlin Trio - Just Ideas / Jozy 1989

    5:33

    Jazz Rock/Fusion -
    What the fuck? Ok we have a lot of nice live versions of the JMcL Trio, but we neeeeed the the live ones from the absolutely f***** great release Live At The Royal Fetsival Hall. Fellas, enjoy this - this is the definition of music.... go out and buy this record to enjoy this audiophile music experience.

    John McLaughlin: acoustic guitar; Photon guitar synthesizer
    Kai Eckhardt: electric bass
    Trilok Gurtu: percussion

    Digitally recored at the Royal Festival Hall, London
    November 27, 1989


    With John McLaughlin's Live At the Royal Festival Hall live grand album, a small token of an extensive tour he did in 1989/1990 with the JMTrio (including in a Zagreb days or weeks ahead of war), every listener gets something special prepared for him. This is actually one of my childhood jazz albums, but until recently I was way close-minded and jazz-offed as to observe how, though in a conservatory artistic way, this is a phenomenon. Maybe one only thanks to music, compared other equally flourish lives held by McLaughlin, nevertheless one definite. Searching an expression isn't exactly the big mood, since things are influenced by nothing but the masterful talent and inspiration of the artists, in front of a unpanicked experience. The last solid albums are far to remember, whether the questionable polish of a fusion bang (such as that of Music Spoken Here) or of the bits of pieces collectible, still, from the Mahavishnu straight essence; yet that counts in such a little manner. The time of this concert is fresh, it's now and it's for ever. The feeling, at least, is a bit more endless than the word itself is imagined.
    John McLaughlin Trio featured on this tour the incredible Trilok Gurtu, par an impressionist in his percussion par an artist beyond his craft and dazzle, and Kai Eckhardt-Karpeh, a gifted soul. The trio continued music after this year, most profoundly coming the charming and aromatic release Que Alegria, a work, itself, good to light the fire and keep the jazz at a quality both traditional and spice-modern. Also playing in the album will be Dominique Di Piazza, who eventually will replace Eckhardt-Karpeh. The reason for a trio feeling, in Royal Festival Hall, is pretty much the basis for which the concert is highly successful and excellently drawn. Mirth craft by both an individual possessive interpretation and a long-forgotten strange accent, in order for the trio sound to be mystifying. In a credentialed way, Eckhardt-Karpeh doesn't have the shine of McLaughlin and Gurtu, but that doesn't change the music dramatically. The solos are, themselves, in a state of individual art and measured performance, since the detail is to captivate, barely to collapse. The trio definitely had good moments of music and jazz. But right in Royal Festival Hall, such words are pretty much simple nuances ; the records spins frantically the high impact, instead.

    Interesting to note is the music's entire character, ultimate and indescribable, over a bit less granting idea that the concert is in a blissful context, or that the trio steams towards a perfect grace (in fact, the essence of the jazz art is what makes me believe so much that, except the San Francisco monument concert of McLaughlin, Di Meola and Lucia, I haven't heard a better live album with McLaughlin). Great moments acoustically happen with McLaughlin's Photon guitar, a craft hidden, of course, beneath the waves and the groove.

    The vibes and emotions pick up from where the music is peaceful played or sharpshooting sojourned. Blue In Green, after M. Davis, is piquant, but syrupy artistic, serving a lounge music for a beginning treat. So are the next two pieces, worked after an essence by Forman, the shorter medley giving grace and power, while the other one is the example of stable art, in more or less subtle moves. Florianapolis is of a sought-after discrete grand play than of a purely exciting jazz arrangement. Mother Tongue is the grand piece of the evening, based on a language of jazz and form already acquainted, but much surrounded by special signs and, midst an improvisation of sound and shapes, having an incendiary solo by Gurtu. Blues For L.W. (easter-egg: Blues for Lech Walesa) is the ending gem, at first with sorrow guitars and lines of noteworthy slowness, finishing with an ecstatic original voice improvisation. Just like the crowd erupts and the refinement melts your jazz senses all the way, the whole album ends up being regarded as amazing and special.

    Highly acclaimed without a sketch of a new impression (or with a sign that it loses down the old-churned pleasant admiration), the Royal Festival Hall John McLaughlin Trio concert holds more special its value, its jazz gift and, lastly to resound, its humble respect for music. The rest is between magic and a splashing grand memorable performance. Greatly recommended.

    Review by Ricochet with 5 points of 5 possible points from

  • John Mclaughlin Trio Florianapolis

    14:38

    the TRIO playing this beautiful piece

  • John Mc Laughlin Trio 2.

    10:14

    John Mc Laughlin Trio (feat Trilok Gurtu) 2. India Theme
    1989 Germany, Stuttgart
    John McLaughlin: acoustic guitar
    Kai Eckhardt: electric bass
    Trilok Gurtu: percussion

  • 1991 - John McLaughlin Trio - Australian TV p.1

    4:39

    Australian TV May-91
    John McLaughlin
    Trilok Gurtu
    Dominique Di PIazza

  • 1991 - John McLaughlin Trio - Australian TV p.2

    6:05

    Australian TV May-91
    John McLaughlin
    Trilok Gurtu
    Dominique Di PIazza

  • JOHN MCLAUGHLIN TRIO belo horizonte 2

    10:49

    another version of the historic piece

  • Paco De Lucia, Al Di Meola and John McLaughlin - Mediterranian Sun Dance Live

    6:39

    Paco De Lucia, Al Di Meola and John McLaughlin - Mediterranian Sun Dance Performed Live

    Subscribe for more music!

  • John Mclaughlin Trio BLUES FOR L W

    9:39

    blues with konokol

  • JOHN MCLAUGHLIN TRIO ZAKIR

    2:43

    John playing his piece for Z. Hussain

  • Trilok Gurtu - John McLaughlin - Kai Eckhardt-Karpeh - 1989

    39:12

    Trilok Gurtu - John McLaughlin - Kai Eckhardt-Karpeh - Theaterhaus Stuttgart - 1989
    More Videos here at DRUMMERWORLD:

  • John Mclaughlin Trio BLUE IN GREEN

    4:27

    another great version of Miles piece

  • John Mclaughlin Trio. Que Alegria

    9:59

  • JOHN MCLAUGHLIN TRIO QUE ALEGRIA

    10:29

    MAGNIFIC VERSION OF QUE ALEGRIA

  • John Mclaughlin Trio Reincarnation

    8:35

    mindful piece of the trio.

  • John Mclaughlin Trio Jozy

    9:45

    wonderful trio playing acoustic version of Jozy 1991

  • John Mc Laughlin Trio 1.

    14:42

    John Mc Laughlin Trio (feat Trilok Gurtu) 1. Jazz Theme
    1989 Germany, Stuttgart
    John McLaughlin: acoustic guitar
    Kai Eckhardt: electric bass
    Trilok Gurtu: percussion

  • 1991 - John McLaughlin Trio - Australian TV p.3

    3:30

    Australian TV May-91
    John McLaughlin
    Trilok Gurtu
    Dominique Di PIazza

  • John Mclaughlin Trio BELO HORIZONTE

    8:10

    enhoy it!

  • John Mclaughlin Trio.1 night stand

    5:29

    good version of this piece. Great solo of John.

  • John Mclaughlin Trio, REINCARNATION 2

    10:20

    another piece of this great show in Vitoria.

  • John McLaughlin - Electric Guitarist - Full ALbum

    38:57

    Tracklist:

    01 New York on My Mind 00:00
    02 Friendship 05:46
    03 Every Tear from Every Eye 12:49
    04 Do You Hear the Voices That You Left Behind? 19:41
    05 Are You the One? Are You the One? 27:23
    06 Phenomenon: Compulsion 32:07
    07 My Foolish Heart 35:30

  • John McLaughlin Trio in Stuttgart, 1992

    14:37

  • John McLaughlin Trio

    7:56

    There is no much documentation out there regarding this period. In 1988 John McLaughlin, Jeff Berlin and Trilok Gurtu Tour around Europe and Israel. This is a video for all the fans made by Vicky Fulop.

  • John Mclaughlin Trio - Royal Festival Hall - London 13 Nov 1991

    1:32:06

    1991 11 13 Royal Festival Hall - London

    1. Bello Horizonte 00:00
    2. Just Ideas/Jozy 13:07
    3. Mila Repa 27:16
    4. Mila Repa(cont.) 34:42
    5. Pasha's Love 42:27
    6. One Night Stand 52:47
    7. Qué Alegría 1:03:31
    8. Qué Alegría(cont.) 1:14:23
    9. Three Willows 1:20:09
    10 Hijacked 1:27:47


    John Mclaughlin - guitar
    Dominique Di Piazza - Bass
    Trilok Gurtu - Percussion

    Been sitting on this recording for near on 25 years. This concert takes place two years after the Live At The Royal Festival Hall album recording.

    DAT audience recording by my pal, the mercurial Ricky Brown! Enjoy.. It's in 256kb Mp3 but It's the best I can do for the moment. Seminal recording.

    The original DAT tape was stolen, and probably destroyed, along with a collection of fusion bootlegs from around this time. Some copies I made on cassette in 1994 are all that remain. Eternal thanks to Ricky, the original taper, this one goes out for him wherever he might be.

  • John Mclaughlin Trio. Mother Tongues

    7:14

    good piece and blues solo

  • John Mclaughlin Trio. Florianapolis part 2

    7:41

  • JOHN MCLAUGHLIN trio ARE YOU THE ONE

    9:30

    another version of ARE YOU THE ONE

  • John Mclaughlin Trio. Pasha´s Love

    8:37

  • JOHN MCLAUGHLIN TRIO 1 night stand

    4:25

    1 night stand. try to play it!

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