"From their Mahavishnu/Devadip days, this recording features Larry Young on organ, Doug Rouch on bass, Armando Pereza on percussion and Billy Cobham on drums. There's some blazing guitar work, but the CD sounds like it was taped on a cassette deck from FM using automatic level control. There's little deep bass or high end above 5KHz or so and you can hear compression kick in all the time. If you can hear past that (and some flutter and phasiness and level irregularities) this is a valuable musical document of some powerful spiritually-driven music from two of the masters of electric guitar (and devotees of Sri Chinmoy, a creative spiritual "guru" who generated seemingly endless streams of poetry, art and music every day) during a period when both were "clean and sober" and channeling their music from a very Coltrane-like consciousness, exemplified by "A Love Supreme" and "Naima." The fact that it's a 1993 (non-Columbia) German release from a 1974 performance may explain some of this." (bron: Amazon)
"This album is from a pivotal moment in McLaughlin's history. This was just after he left Miles Davis' group, but before Mahavishnu Orchestra started, and the music captures this perfectly. McLaughlin's technique had not progressed to "Mahavishnu" perfection yet, but the music has that rock drive. It all grew out of sessions featuring McLaughlin and Larry Young jamming with Jimi Hendrix and Buddy Miles (and Billy Rich on bass). None of that material with Hendrix is officially released, but "Devotion" is arguably one of the finest acid rock albums ever. McLaughlin is on fire, using fuzzboxes and phasers, over Larry Young's swirling Hammond B-3, with Billy Rich and Buddy Miles as the rock-solid rhythm section. If you dig McLaughlin's solo at the end of "Right Off" (from "A Tribute to Jack Johnson"), then this is the album for you. Documenting the period just before the transition to Mahavishnu, "Devotion" is an anomaly in his catalog, as well as one of his finest achievements." (Sean Westergaard, Allmusic)
"Easily the weirdest record the Tony Williams Lifetime ever released, this is an experimental blend of post-hard bop jazz and spacy psychedelica. Larry Young's wafting organ parts and Ted Dunbar's rockist guitar (as opposed to the more traditional jazz bent of John McLaughin) combine to make parts of the album sound like 1970 Pink Floyd, particularly on "There Comes a Time" and "Lonesome Wells (Gwendy Trio)." The best tracks are those that get down to the creation of some roiling atmospheres and powerful group improvisation. In that regard, things really pick up at the end, with the ghostly "Mom and Dad" and the cacophonous closer "Urchins of Shermese," on which Williams splits the narcoleptic mood of the introduction with some of his most fractured and arrhythmic fills ever, while simultaneously maintaining a groove that's typically snaky and propulsive. Drum geeks will adore the two brief solo pieces, "Clap City" and "Some Hip Drum Shit," which are both technically impressive." (Stewart Mason, Allmusic)
Uit 1970, met Mclaughlin (g) en Young (org). Gedreven, zeer intense jazzrock, alsof men, al circelend door de drukke polyritmische drumfiguren, op zoek is naar Het Hogere. Jack Bruce knapt daarbij bijna uit elkaar (hij zingt 'One Word').
Derde album van de voormalige drummer van Miles Davis' sixtieskwintet, uit 1969, in triovorm met John McLaughlin (g) en Larry Young (orgel). Invloedrijke plaat in de de ontwikkeling van jazzrock. Tony's drukke polyrithmiek geeft John en Larry een enorme boost tot wilde, begeesterde exploraties.
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