Live Review: John McLaughlin and the 4th Dimension at UCLA

John McLaughlin is an interesting figure. On one hand a self professed Jazz snob who's life was forever altered by Coltrane's 'A Love Supreme' in 1965 and a favorite of the aging Fillmore/Woodstock/paisley set, McLaughlin's technically impeccable and flashy guitar playing made him a household name in the fusion world with the Mahavishnu Orchestra, the closest Jazz ever got to metal, and Shakti, the closest Jazz ever got to Raga. On Wednesday night, McLaughlin and his band were in fine form for a 2 hour extravaganza of chops, chops and more chops at UCLA. Flanked by Etienne M'bappe on bass, Mark Mondesir on drums, and Gary Husband on keyboards and drums, this well oiled fusion machine was loud and fast, yet firmly based their improvisations in the modal tradition of Coltrane and Miles (McLaughlin made his name on Miles Davis' groundbreaking 'In a Silent Way' and 'Bitches Brew' releases). McLaughlin's simple setup (one guitar and petal board, no amp- just PA) allowed for a great opportunity to see, in its purest form, the legendary finger work that made him a master in the first place. However, the lack of an amp also gave his guitar a slightly cold, digital and processed tone that left one wishing for the return of the warm amp driven distorted tone of old. This is not to say he wasn't loud and distorted though; some of the old-gaurd season ticket holders in the front rows seemed appropriately offended, and exited before the encore.
 McLaughlin played fast, of course, but with sensitivity, confidence, and a whammy bar, which added a Jeff Beck like touch to his playing. The odd time signatures seemed natural to the band, who can play 11/8 with just as much ease as 4/4. M'Bappe was featured on 'Recovery', which displayed him to be one of the best and more versatile bassists working today. Husband, whose keyboard washes and synth lines were prominent throughout the night, doubled on drums and engaged, during 'Mother Tongues', in by far the best drum battle I have ever heard, live or on record. Mondesir's and Husband's differing approaches to the instrument contrasted nicely, and both played highly musically and inventively throughout, with fills ranging from bossa nova to all out chaos.
The night of incredibly intense music ended with a peaceful and zen encore, 'Light at the End of the World', befitting McLaughlin's spiritual worldview.
Overall, an amazing night of loud, complex, spiritual and inspired music.

Setlist:
1. Raju
2. Dissident
3. Recovery
4. Fine Lines
5. New Blues
6. Senor
7. Sully
8. Hijacked
9. To The One
10. Mother Tongues

Encore:
11. Light at the End of the World


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