JAZZ REVIEW
Sound Belies Size of McLaughlin Trio
By BILL KOHLHAASE

Los Angeles Times   Tuesday February 13, 1996
Home Edition
Calendar, Page 9
Type of Material: Concert Review


Numbers of jazz guitarists, including John Scofield and John
Abercrombie, have turned in recent years to the organ trio format to
frame their sound. But few make as much of that framing as John
McLaughlin.

   Part of that success comes from experience. McLaughlin, organist Joey
DeFrancesco and drummer Dennis Chambers have been a solid working unit
since recording the live album "The Free Spirits" at Tokyo's Blue Note
club in 1993.

   While the trio's appearance Sunday at the House of Blues mirrored the
substance of that recording and its follow-up disc (the Coltrane tribute
"After the Rain" with Elvin Jones on drums), it also showed continuing
refinement in interplay and improvisational freedom as the three men made
a tight mesh of their disparate sounds.

   McLaughlin's clean, precisely cut play made for sharp contrast with
the electronic whine and grind of DeFrancesco's organ. As the guitarist
soloed in his familiar, accelerating style, DeFrancesco provided
sizzling, sometimes ragged accompaniment. When the organist soloed with
down-and-dirty Hammond chords and squealing runs, McLaughlin accompanied
with crisp melodious tones.

   Add the muscle and inventive drive of drummer Chambers, and you have a
sound that seems larger than something generated by three men. During the
infrequent times when McLaughlin varied his sound with fuzz tones and
other synthesized embellishments, the results were nearly orchestral.

   Though the emphasis was squarely on high-energy numbers, McLaughlin
and company varied rhythmic formats with such Latin-flavored pieces as
his own "Encuentros," which carried a certain acoustic feel despite the
electric guitar, and the suspended flow of Coltrane's warm ballad
"Naima."

   McLaughlin's swirling guitar lines were finely crafted and seemingly
designed to flow one to the other. But they often existed outside of any
larger context, coming without a sense of wholeness or continuing
development.

   But that seemed immaterial to the packed house of cross-generational
jazz fans and speed-guitar aficionados who cheered his every blistering
run.



Copyright, The Times Mirror Company; Los Angeles Times, 1996.

KOHLHAASE, BILL, JAZZ REVIEW; Sound Belies Size of McLaughlin Trio; Home Edition., Los Angeles Times, 02-13-1996, pp F-9.