Richard Quentin Laird (5 February 1941 – 4 July 2021)

Richard Quentin Laird

(5 February 1941 – 4 July 2021)

Rick Laird, best known as a founding member of the jazz fusion band Mahavishnu Orchestra, has reportedly passed away at the age of 80.

News of the bassist’s death has been confirmed by multiple former bandmates, including Mahavishu Orchestra guitarist John McLaughlin and drummer Billy Cobham, who eulogised Laird in a post on his Facebook page yesterday (July 5).

“To all who were close to the M.O. you knew that the most dependable person in that band was the bass player. He played what was necessary to keep the rest of us from going off our musical rails. He was my rock and allowed me to play and explore musical regions that I would not have been able to navigate without him having my back,” Cobham wrote.

“Rick Laird bid this world good bye at sun up this morning. Already I miss his likeness and voice that was featured in the powerful quietness and authority he projected on and off stage. The body is going but the persona will remain as an influence on whatever I play for the rest of my days. I miss him already.”

Laird was born born in Dublin, Ireland in 1941. He moved to New Zealand at the age of 16, where he began seriously pursuing music. He quit his day job to become a professional bassist two years later, touring the country extensively before moving to Sydney, Australia at the age of 19 seeking a more active jazz scene.

In 1962, Laird relocated to England, where he became the house bass player at Soho’s Ronnie Scott’s Jazz Club, performed with Brian Auger and toured extensively before moving to the United States to attend Berklee College of Music in 1966.

Laird was one of the founding members of Mahavishnu Orchestra in 1971, alongside McLaughlin, Cobham, keyboardist Jan Hammer and violinist Jerry Goodman. He performed on the band’s 1971 debut album ‘The Inner Mounting Flame’ along with its 1973 follow-up, ‘Birds of Fire’.

Laird also appears on the band’s 1973 live album ‘Between Nothingness & Eternity’. The original lineup played their final gig in December of 1973, and Laird never returned to the group.

After leaving Mahavishnu Orchestra, Laird released one album as a bandleader, 1979’s ‘Soft Focus’. He also performed with the likes of Stan Getz, Buddy Rich, Sonny Rollins, Benny Golson and Chick Corea. Laird retired from performing music in 1982, going on to become a photographer and bass guitar instructor.

Mahavishnu Orchestra
November 9, 1972
Berkeley Community Theatre
Berkeley, CA

01. Birds Of Fire
02. Miles Beyond
03. You Know, You Know
04. Dream
05. One Word
06. The Dance Of Maya
07. Sanctuary
08. A Lotus On Irish Streams
09. Vital Transformation

John McLaughlin - guitar
Jerry Goodman - violin
Richard Laird - bass
Jan Hammer - keyboards
Billy Cobham - drums

Most of the musicians that recorded and performed with Miles Davis during his early explorations into electric instrumentation went on to form bands of their own. Of these groups intent on further exploring the new ground that Miles was forging into, few were as adept or as influential as the Mahavishnu Orchestra, a globally diverse group formed by legendary English guitarist John McLaughlin. Combining the improvisational elements of jazz with the volume and energy of rock music, the group - who also brought elements of Far Eastern music, R&B, Classical and occasionally even Country to the table - created music that was often intricate and complex, performed by musicians who's virtuosity thrilled audiences and critics alike. The group had a firm grip on dynamics and were equally adept at dense, aggressive flights of musical intensity as they were at creating moments of impassioned, spiritual contemplation.

This performance, significantly captured between their groundbreaking first and second album releases, finds the group at the peak of creativity and power. Recorded at the intimate Berkeley Community Theater, this concert is not only a stellar example of the band's high energy and fluid virtuosity, but is one of the longest and most intense performances to ever be captured on tape.

The first half hour features highly expanded versions of the yet to be recorded opening tracks of the group's second album. Opening with the title track "Birds Of Fire," followed by McLaughlin's tribute to the master himself, "Miles Beyond," the group displays their breathtaking improvisational abilities, expanding both pieces to almost three times the length of their studio counterparts

Following this segment of initial intensity, the group settles into a more relaxed groove with a track from their debut album, "You Know, You Know." A much slower piece, the song's dominated by an R&B influenced bassline and contains tasteful arpeggios and unusual accent placements. The rhythm section of Laird and Cobham is showcased here, and is shown to be just as adept creating subtlety as intensity. One of the band's most popular first album tracks, "The Dance Of Maya," is featured, and likewise gets a highly expanded treatment. Many subtle changes occur during its extended explorations, and the track is certainly one of the most intriguing and accessible pieces for newcomers to the band

After all the fury that occurred during the last hour of the show, the comparatively tranquill "Sanctuary" provides a wonderful contrast in mood. Jan Hammer's introspective synthesizer solo weeps while Goodman's wailing violin compliments McLaughlin's guitar. The "A Lotus On Irish Streams" continues in a contemplative mode with a gentle, serenading atmosphere. Hammer's keyboards propel the track, but it's the occasional speed soloing from McLaughlin, and especially the poignant violin contributions of Jerry Goodman, that provide the flavor and spiritual atmosphere of this track.

Many consider the Mahavishnu Orchestra to be the most influential of all the jazz-rock fusion groups to follow in the wake of Miles Davis' groundbreaking Bitches Brew sessions. While the genre would continue to grow and diversify in the years to come, few groups would approach the originality or musicianship that the Mahavishnu Orchestra displayed.

Mahavishnu Orchestra

January 19, 1973

Woolsey Hall

New Haven, CT

01. Birds Of Fire (12:33)

02. Open Country Joy (9:34) 

03. The Dance Of Maya (19:37) 

04. Sanctuary (7:10) 

05. One Word (19:03) 

06. Resolution (3:24) 

07. Hope (1:46) 

08. Awakening (13:23)

Billy Cobham - drums

Jerry Goodman - violin

Jan Hammer - keyboards

Rick Laird - bass

John McLaughlin - guitar

Many of the musicians orbiting Miles Davis during his early explorations into electric instrumentation inevitably were inspired to form bands of their own. Few were as adept or influential as the Mahavishnu Orchestra, a globally diverse group that included guitarist John McLaughlin and drummer Billy Cobham, both alumni of Miles Davis sessions. Combining the improvisational elements of jazz with the volume and energy of rock music, the group also brought elements of Far Eastern, R&B, blues, and classical music to the table. The music they created was often intricate and complex, performed by musicians whose virtuosity thrilled audiences, musicians and critics alike. They were equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation. This diversity and technical ability dazzled audiences the world over and helped to expose jazz and world music to a younger audience. The initial "classic" lineup of the group only lasted a little over two years and released just two albums and one live recording during this era, but these recordings had a profound effect, virtually defining the jazz/rock fusion movement.

In January of 1973, the Mahavishnu Orchestra released their second album, Birds of Fire. Like the group's debut album, all the tracks were John McLaughlin compositions. The album retained the blistering intensity of its predecessor, but also expanded the musical palette of the group, exploring a wider range of textures and dynamics. The North American tour that directly followed this release arguably contained the original MO lineup's greatest moments onstage, when the group's musical focus and cohesiveness was reaching its peak and the competitive nature of these musicians hadn't yet created personal rifts within the group.

Another key factor in the success of this tour was the band employing Dawson Sound; a then fledgling company launched by veteran soundman Stuart "Dinky" Dawson that had begun pioneering new live sound reinforcement possibilities the previous year. The group first encountered Dawson the previous summer, when he provided sound and technical support for a gig at Lenox Massachusetts's Music Inn. One of the most enjoyable performing experiences the band had ever encountered, in terms of the both clarity of the PA system and the onstage monitoring system (which provided the musicians the ability to hear each other clearly on stage), the group vowed to work with Dawson again, and this working relationship began in earnest on January 19, 1973, when the Birds Of Fire tour officially launched at Yale University's Woolsey Hall in New Haven, CT. With the exception of a few seconds of "Sanctuary" that went uncaptured during a tape stock change, here, for the first time ever, is that night's performance in its entirety.

As the recording begins, Mclaughlin is heard thanking the audience followed by Billy Cobham's gong signaling the start of the performance. McLaughlin's 12-string arpeggios begin washing over the audience as the group opens with the title track to Birds of Fire. A dynamic exchange between guitar and drums versus violin, keyboards and bass unfolds. In the unusual time signature of 18/8, the interwoven nature of the arrangement makes for a thrilling and intense experience, although one unlike anything most jazz or rock music fans had ever heard before. Upon Birds of Fire's sizzling conclusion, the group segues directly into another track from the new album, "Open Country Joy." After the initial onslaught of "Birds of Fire, this strutting, gradually intensifying urban blues is the least complex, most accessible music the classic lineup ever played. Vacillating between a laidback pastoral feel and frenzied rocking power, this composition's disarming rustic theme provides the initial musical contrast within this set.

One of the bands most popular first album tracks, "The Dance of Maya", follows. This piece features an infectious rhythmic pattern that compliments the melodic line. Once the initial sequence has been established, the band suddenly shifts the instrumental focus, with Cobham playing a bluesy 10/8 drum pattern. There are many moments of brilliance here and many subtle changes occur during the extended exploration to follow. Despite its imposing 18-minute length, the improvisations remain tight, focused, and never veer off into meandering jamming. One of the most fascinating sequences occurs right off, following the initial theme, when the rhythm section drops out completely, leaving the front line musicians remaining as a trio. The interaction between Goodman's pizzicato violin, McLaughlin guitar, and Hammer's electric piano is full of a humor and playfulness that is absolutely delightful. Cobham and Laird eventually join back in and after a few surprising stop/starts to jolt the audience, they launch into a cosmic jam with Jerry Goodman as the primary pilot. Another highlight of this piece occurs approximately 10 minutes later when McLaughlin rips into a sizzling solo with Billy Cobham in tow. The unison playing here is equal parts thrilling and fun. At times one can sense McLaughlin and Cobham toying with each other, just to see what the other will do. One would be hard pressed to find a more impressive display of musical telepathy.

The second half of this remarkable performance concentrates solely on additional Birds of Fire material, beginning with "Sanctuary," a slower contemplative piece, that proves the rhythm section of Laird and Cobham to be equally effective at subtlety as they are at intensity. After all the fury that occurred during the previous 40 minutes, "Sanctuary" provides some tranquility during the middle of this night's performance. Jan Hammer's introspective synthesizer solo weeps while Goodman's wailing violin complements McLaughlin's guitar. The tender melody and superb musicianship serve as a calming prelude to the staggering intensity of "One Word," which follows. Beginning with the haunting and ominous opening sequence, this gives way to a relatively sparse improvisation between Hammer's synthesizer and Laird's bass. This slowly develops with Laird's bass becoming the prominent driving element, gradually becoming more active and deepening the groove, as McLaughlin accents the jam with his rhythmically slashing guitar comping. Just before the 10-minute mark, McLaughlin, Goodman, and Hammer develop a three-way call and response. Following this triple barrage of soloing, Billy Cobham also gets a brief showcase, beginning smoothly and continuously escalating in both speed and dynamics, preparing one for the explosive ending of the piece. When the group launches back in, playing in 13/8 time, the front line soloists blaze away in a manner that has rarely ever been equaled in terms of intensity. Beneath all this, Laird and Cobham anchor things, while contributing to the overall searing effect. "Resolution," another short composition rarely performed after the early months of 1973, ends this remarkable performance. Here the Mahavishnu Orchestra's music ascends toward the heavens, driven by Laird's anchoring bass and McLaughlin's signature minor chords, and this may indeed be the most penetrating performance of "Resolution" ever.

However, the night isn't over yet as the group delivers an equally powerful encore, beginning with the uplifting "Hope, another short piece free of solos. In 7/8 time, "Hope" unfolds in an elegant, magisterial way, anchored by a repeating melodic phrase that gradually builds in intensity. Cobham's drumming, which fuels the escalating intensity of this composition, suddenly blasts off at its conclusion, launching the group into one more track from the debut album, Awakening. Following Cobham's opening, Jerry Goodman takes flight and his solo is nothing short of thrilling. Jam Hammer follows with an intriguing solo of his own which develops into a duet with McLaughlin. One of the most interesting aspects of this sequence is that Hammer and McLaughlin intentionally keep the dynamic extremely low. This serves to set up listeners for the astonishing barrage that McLaughlin unleashes several minutes later when he cuts loose with a searing solo that easily rivals the most mind-blowing of his career. This is no exaggeration and must be heard to be believed! Cobham follows with a brief solo of his own before the band wraps things up with the compositions' dizzying conclusion.

This recording is the definitive example of Mahavishnu Orchestra's original lineup entering their final year, when they were crossing all musical boundaries and devastating audiences with their dexterity, volume, and speed. Many who experienced this era often speak of the group's performances as a life changing experience. This performance helps to explain this phenomenon as it burns with an intensity and passion that has rarely ever been surpassed. As talented as each individual musician is, The Mahavishnu Orchestra's true greatness was in the sum of its parts, which far outweighs any individual contribution. Many consider the Mahavishnu Orchestra to be the most influential group of the 1970s, and with this performance as a reference point, it is not difficult to see why. Guitarists, drummers, and keyboard players alike, were forced to rethink their instruments after hearing these musicians play, and every musician who listened to this band found themselves reevaluating their own motives and abilities. This group would inspire an entirely new approach to music and along with Miles Davis, launch the jazz/rock fusion genre as a result. That genre would continue to grow and diversify in the years to come, with decreasingly satisfying results, as few would come anywhere near the level of originality or musicianship that the Mahavishnu Orchestra displayed.

Mahavishnu Orchestra

January 24, 1973 

Le Grande Theatre de Quebec

Quebec City

01. Meeting of the Spirits 13:14 

02. You Know, You Know 9:59 

03. Vital Transformation 9:52 

04. The Dance Of Maya 17:50 

05. A Lotus On Irish Streams 8:49 

06. One Word 17:47 

07. Resolution 3:26 

08. Hope / Awakening  7:54 

Billy Cobham - drums

Jerry Goodman - violin

Jan Hammer - keyboards

Rick Laird - bass

John McLaughlin - guitar

The initial classic lineup of the Mahavishnu Orchestra lasted less than three years and only released two studio albums and one live recording during this era, but these recordings had a profound effect, redefining the jazz/rock fusion movement. Combining the improvisational elements of jazz with the volume and energy of rock music, the group created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences, musicians and critics alike. By early 1973, the Mahavishnu Orchestra had firmly established their reputation and with little over a year of live performances behind them, they had become one of the most exciting bands on the planet. This January 1973 performance is the group's second performance to follow the release of their highly acclaimed second album, Birds Of Fire. Recorded at Le Grande Theatre de Quebec, this performance still features much of the material from the band's debut album, but also captures the group as they were diversifying the onstage repertoire and extending the improvisational approach. This performance is a stellar example of the band's high energy and fluid virtuosity.

This performance begins in progress, with an incendiary reading of the opening track of their debut album, Meeting Of The Spirits; explosive, extended and pummeling in it's ferocity. While initially more faithful to the original album arrangement than many performances during this era, it is seething with an intensity that far surpasses the studio recording. This intense, high energy opener segues directly into the infectious groove of "You Know You Know," dominated by an R&B influenced bass line and containing tasteful arpeggios and unusual accent placements. The rhythm section of Laird and Cobham are showcased here and show they are equally effective at subtlety as they are at intensity.

"Vital Transformation" ups the intensity level significantly. In 9/8 time, this composition contains some of the funkiest playing that the band would ever achieve. Charismatic, powerful, and blazing with energy, this is a tour-de-force blend of all the elements that comprised the bands music. The virtuosity of the musicians and the tasteful applications create a sound that was truly progressive in every positive sense. These first three compositions are way beyond the length of the studio recordings and the group's breathtaking improvisational abilities are beginning to reach new heights here. Clocking in at well over half an hour, this opening sequence clearly displays the band taking the improvisational approach to new extremes.

One of the bands most popular first album tracks, "The Dance Of Maya," follows and it too gets a highly expanded treatment. This piece features an infectious rhythmic pattern that compliments the melodic line. Once the initial sequence has been established, the band suddenly shifts the instrumental focus, with Cobham playing a bluesy 10/8 drum pattern. Many subtle changes occur during the extended exploration to follow, and despite its imposing nearly 18-minute length here, this is certainly one of the most intriguing and accessible pieces for newcomers to the band.

Switching to acoustic guitar, "A Lotus On Irish Streams" presents McLaughlin, Goodman, and Hammer in a contemplative mode, with a gentle serenading atmosphere. Hammer's acoustic piano propels the track, but it's the occasional speed soloing from McLaughlin and especially the poignant violin contributions of Jerry Goodman that provide the flavor and spiritual atmosphere. The tender melody and superb musicianship serve as a calming prelude to the staggering intensity of "One Word," which follows and begins the presentation of material from the new album. Beginning with a haunting and frightening sequence that gives way to a relatively straightforward jam, McLaughlin, Goodman, and Hammer trade a seemingly endless barrage of solos. Billy Cobham gets a showcase in the middle, beginning smoothly and continuously escalating in both speed and dynamics, preparing one for the explosive second half of the piece. When the group launches back in, playing in 13/8 time, continually increasing in speed, McLaughlin, Goodman, and Hammer all blaze away in a manner that is nothing short of telepathic. Beneath all this, Laird and Cobham anchor things, while contributing to the overall searing effect. Soon to be dropped from the repertoire, "One Word" is followed by "Resolution," a relatively short composition to end this remarkable performance, which gradually increases in tempo, as the musicians ascend toward the heavens, driven by Laird's anchoring bass and McLaughlin's signature minor chords.

The group returns for an encore, beginning with "Hope, a piece similar in structure to "Resolution." Like the former composition, this unfolds in an elegant, magisterial way, before Cobham suddenly blasts off into "Awakening." Although incomplete, this too has moments of frightening intensity and the telepathy between these musicians is functioning at an astounding level.

The earliest existing 1973 recording of the Mahavishnu Orchestra, this serves to present the band at a critical turning point, just as the Birds Of Fire album was released. The band was consciously expanding the boundaries of their earlier material, finding vast new areas to explore with nearly every performance.

Mahavishnu Orchestra

January 26, 1973

Convocation Hall

Toronto, Ontario 

01. Meeting of the Spirits

02. You Know, You Know

03. Dream

04. The Dance Of Maya

05. Sanctuary

06. One Word

Billy Cobham - drums

Jerry Goodman - violin

Jan Hammer - keyboards

Rick Laird - bass

John McLaughlin - guitar

The initial classic lineup of the Mahavishnu Orchestra lasted less than three years and only released two studio albums and one live recording during this era, but these recordings had a profound effect, redefining the jazz/rock fusion movement. Combining the improvisational elements of jazz with the volume and energy of rock music, the group created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences, musicians and critics alike.

By early 1973, The Mahavishnu Orchestra had firmly established their reputation and with little over a year of live performances behind them, they had become one of the most exciting bands on the planet. This January 1973 recording captures the group shortly after the release of their highly acclaimed second album, Birds Of Fire. Recorded at Toronto's Convocation Hall, this performance, although incomplete, captures the group as they were diversifying the onstage repertoire and extending the improvisational approach. It is also worth noting that this performance occurred the night before the band recorded their now legendary King Biscuit Flower Hour performance in Buffalo, New York . Containing three of the most compelling compositions from the band's debut album, two from Birds Of Fire and one destined for their live album later that year, this performance is yet another stellar example of the band's diverse repertoire, high energy and fluid virtuosity.

The performance begins with an incendiary reading of the opening track of their debut album, "Meeting Of The Spirits," which is explosive, extended and pummeling in its ferocity. While initially faithful to the original album arrangement, here the composition is doubled in length, seething with an intensity that far surpasses the studio recording. This high energy opener segues directly into the infectious groove of "You Know, You Know," dominated by an R&B influenced bass line and containing tasteful arpeggios and unusual accent placements. The rhythm section of Laird and Cobham are showcased here and the entire group proves that they are equally effective at subtlety as they are at intensity.

The expansive "Dream" which follows allows the group to stretch out even further. A masterpiece of tension and release, "Dream" is equal parts lush and ferocious and features four distinct time signatures! It begins in a tranquil manner, with McLaughlin and Goodman establishing the initial theme. At approximately five minutes in, Cobham signals the rest of the musicians to join in. Rick Laird establishes a strong groove on bass, which is reinforced by Hammer, who then begins soloing. For much of this performance, Hammer is in particularly fine form, often leading the way. Goodman's violin states the theme again several minutes later, before a ferocious jam ensues, with the tempo increasing faster and faster. This becomes a head spinning display of creativity and technical virtuosity. Toward the end, McLaughlin takes a searing solo that develops into ferocious instrumental combat between he and Billy Cobham. A full 24 minutes after it began, the musicians reinstate the theme and bring this remarkable composition to a dramatic close.

One of the band's most popular first album tracks, "The Dance Of Maya," follows and it too gets a highly expanded treatment. This piece features an infectious rhythmic pattern that compliments the melodic line. Once the initial sequence has been established, the band suddenly shifts the instrumental focus, with Cobham playing a bluesy 10/8 drum pattern. Many subtle changes occur during the extended exploration to follow and despite its imposing 20+ minute length, this is one of the most intriguing and accessible pieces for newcomers to the band. Following the initial sequence, the rhythm section drops out completely, with the front line musicians remaining as a trio. The interaction between Goodman's pizzicato violin, McLaughlin's guitar and Hammer's electric piano is not only technically brilliant, but is brimming with humor and playfulness. These musicians are obviously having a lot of fun here, an aspect that is often overshadowed by the complexity of the group's music. Cobham and Laird eventually join back in and after a few surprising stop/starts that intentionally serve to jolt the audience, they launch into a cosmic jam with Jerry Goodman as the primary pilot. Following Goodman's lead, McLaughlin rips into a sizzling solo with Billy Cobham in tow. The unison playing here is often thrilling. At times one can sense McLaughlin toying with Cobham, just to see what he'll do. Despite McLaughlin's blazing speed and unpredictability, Cobham never misses a beat in a mind-blowing display of musical telepathy.

The remaining 15 minutes of the recording focus on Birds Of Fire material. "Sanctuary," which begins this final sequence, is a tranquil contemplative piece that sticks relatively close to the studio arrangement. Jan Hammer's introspective synthesizer solo weeps while Goodman's wailing violin compliments McLaughlin's guitar. This serves as a calming interlude before the group tackles "One Word." Unfortunately incomplete due to tape stock running out, what was captured is quite exciting. Following Billy Cobham's extended tension-inducing snare roll, the group launches into the haunting and frightening sequence that opens this composition. Following the initial statement, this gives way to an extended improvisation showcasing the remarkable musicianship of bassist Rick Laird. The tape stock runs out shortly before the eight-minute mark, but not before treating listeners to a prime example of Rick Laird clearly leading the way.

Mahavishnu Orchestra

January 27, 1973 

Century Theater

Buffalo, NY

01. Greetings / Moments Of Silence (2:12)

02. Birds Of Fire (12:53)

03. Open Country Joy (10:28) 

04. Dawn (20:20)

05. Dance of Maya (22:25)

06. Sanctuary (7:30)

07. One Word (24:47)

08. Hope (2:02)

09. Celestial Terrestrial Commuters (6:13)

Billy Cobham - drums

Jerry Goodman - violin

Jan Hammer - keyboards

Rick Laird - bass

John McLaughlin - guitar

On February 18, 1973, the King Biscuit Flower Hour launched the first syndicated radio series of the rock era to reach North American radio listeners with live concert performances. Securing an agreement with Columbia Records, the premiere KBFH program featured a triple bill of Blood Sweat & Tears, Mahavishnu Orchestra, and an unknown by the name of Bruce Springsteen, each recorded live in concert just weeks before. These artists were promoting new albums at the time and the KBFH provided an exciting new opportunity to reach a national listening audience.

For many listeners, this initial KBFH program was their first exposure to the music of Mahavishnu Orchestra, a globally diverse group formed by legendary English guitarist, John McLaughlin. Combining the improvisational elements of jazz with the volume and energy of rock music, the group also brought elements of Eastern, R&B, blues, and classical music to the table. The Mahavishnu Orchestra created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences and critics alike. The group had a firm grip on dynamics and was equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation. The classic lineup of the group released only two studio albums and one live recording during this era, but these recordings had a profound effect, redefining the jazz/rock fusion movement in the process.

By January of 1973, when the KBFH recorded the Mahavishnu Orchestra at the Century Theatre in Buffalo, New York, the group had established a strong reputation, although it was primarily among fans of Miles Davis' early explorations into electric instrumentation. They were still a relatively unknown commodity within the much larger rock world. Their debut album, The Inner Mounting Flame, had mesmerized musicians and listeners alike and with more than a year of live performing behind them, they had arguably become the most exciting live band on the planet. Earlier that same month, the group's blazing sophomore studio effort, Birds Of Fire, had been released and the group was now integrating that material into their live repertoire. Additionally, they were consciously taking a more improvisational approach in their performances, breathing new life into the material from their debut album. This performance not only captures the band at its most eloquent stage, but also is a stellar example of the group's fluid virtuosity. By the end of the year, this initial lineup of Mahavishnu Orchestra would perform together for the last time, but in January of 1973, the performances were consistently astonishing, overflowing with creativity and featuring the most cohesive interaction these legendary musicians would ever achieve as a unit.

Following a greeting from John McLaughlin, who communicates to the audience how happy he is to be back at the Century Theatre and feeling healthy, unlike the performance at the same venue the previous year, they begin the set with a contemplative moment of silence to set the mood. Billy Cobham's massive gong sounds the majestic opening of the title track of the new album, Birds Of Fire. Unlike most bands, which slowly build up the intensity level throughout a performance, this surging, high-energy opener sets the bar at an astonishing level from the get-go. Rather than bringing the song to its usual conclusion, here it soars directly into "Open Country Joy." After the initial onslaught of "Birds Of Fire, this strutting, gradually intensifying urban blues is the least complex, most easily accessible music the classic lineup ever played. Vacillating between a laidback county feel and frenzied rocking power, this initial two-song sequence displays the band in top form and firing on all cylinders. There are no weak links here. This can be overwhelming at times, but it also makes repeated listens a rewarding experience.

Providing some musical contrast within this set, they next perform "Dawn," a relatively contemplative track from the first album. Another mesmerizing performance, this is a perfect example of the improvisational extremes the band was now embracing. Exploring possibilities one could barely imagine from the relatively short studio recording, it's not surprising that this track was chosen to represent the band on the initial KBFH broadcast. Many who recorded that initial broadcast, and listened to it countless times, pondered why only the first 15 minutes of "Dawn" was aired, rather than the entire performance. The time constraints of the KBFH's radio format aside, the explanation turns out to also be a logistic one, as the master multi-track reels literally ran out while this song was still in progress. Although approximately two minutes were missed during the reel changes, here for the first time listeners can enjoy the conclusion of this remarkable composition.

Also from the debut album, the set continues with a heavily improvised version of "The Dance Of Maya" that cooks for a solid 22 minutes. There are so many moments of brilliance here, it is really beyond description, but what stands out overall is that here the group is obviously having a wonderfully joyous experience. Following the initial theme, the rhythm section drops out completely leaving the remaining trio. The interaction between Goodman's pizzicato violin, McLaughlin guitar, and Hammer's electric piano is full of a humor and playfulness that is absolutely delightful. Cobham and Laird eventually join back in and after a few surprising stop/starts to jolt the audience, they launch into a cosmic jamfest with Jerry Goodman as the primary pilot, before McLaughlin rips into a pulverizing solo with Billy Cobham in tow. The unison playing here is thrilling. At times one can sense the musicians toying with each other. Despite McLaughlin's blazing speed and unpredictability, Cobham never misses a beat—another mind-blowing display of musical telepathy. This eventually becomes a delicate call and response with Hammer adding his gurgling mini-moog embellishments, before all converge and reinstate the song's theme, bringing it to a gloriously satisfying close.

After all the furious intensity explored so far, "Sanctuary" provides some tranquility to the proceedings. Hauntingly beautiful and taken at an extremely slow tempo in 9/4, Hammer's introspective synthesizer solo weeps while Goodman's wailing violin complements McLaughlin's guitar. Cobham and Laird establish the perfect relaxed rhythmic groove that further accentuates the contemplative mode, with a gentle serenading foundation. This transitions into the tour-de-force performance of the evening, "One Word." Beginning with a haunting and frightening sequence that gives way to a relatively straightforward jam, McLaughlin adds delicious wah-wah guitar, while the band members trade a seemingly endless barrage of solos. Billy Cobham gets a showcase in the middle, beginning smoothly and continuously escalating in both speed and dynamics, preparing one for the explosive second half of the piece. When the group launches back in, playing in 13/8 time, continually increasing in speed, McLaughlin, Goodman, and Hammer all blaze away in a manner that is nothing short of telepathic. Beneath all this, Laird and Cobham anchor things, while contributing to the overall searing effect. This is a truly spectacular performance.

The Mahavishnu Orchestra concludes the evening with the pairing of two additional Birds Of Fire tracks. "Hope" begins contemplatively, with Mclaughlin and the group slowly building up the intensity level. This stays relatively true to the original two-minute studio arrangement, but when one expects the piece to end, they literally explode into "Celestial Terrestrial Commuters." This features expressive soloing from Hammer and blazing call and response sequences between Goodman and McLaughlin. Although every concert from this era of the group is compelling, this particular performance captures the band at a fascinating time, when the personal relationships within the band were strong and the musical possibilities were boundless.

Mahavishnu Orchestra

February 15, 1973

University Of Toledo

Toledo, OH

01. One Word  (Incomplete) 10:28 

02. The Dance Of Maya  (16:38)

Billy Cobham - drums

Jerry Goodman - violin

Jan Hammer - keyboards

Rick Laird - bass

John McLaughlin - guitar

Many of the musicians orbiting Miles Davis during his early explorations into electric instrumentation inevitably were inspired to form bands of their own. Few were as adept or influential as The Mahavishnu Orchestra, a globally diverse group that included guitarist John McLaughlin and drummer Billy Cobham, both alumni of Miles Davis sessions. Combining the improvisational elements of jazz with the volume and energy of rock music, the group also brought elements of Far Eastern, R&B, blues and classical music to the table. The music they created was often intricate and complex, performed by musicians whose virtuosity thrilled audiences, musicians and critics alike. They were equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation. This diversity and technical ability dazzled audiences the world over and helped to expose jazz and world music to a younger audience. The initial "classic" lineup of the group only lasted a little over two years and released just two albums and one live recording during this era, but these recordings had a profound effect, virtually defining the jazz/rock fusion movement.

In January of 1973 The Mahavishnu Orchestra released their second album, Birds Of Fire. Like the group's debut album, all the tracks were John McLaughlin compositions. The album retained its predecessor's blistering intensity, but also expanded the musical palette of the group, exploring a wider range of textures and dynamics. The North American tour that directly followed this release arguably contained the original MO lineup's greatest moments onstage, when the group's musical focus and cohesiveness was reaching its peak and the competitive nature of these musicians hadn't yet created personal rifts within the group. Recorded on the campus of The University of Toledo, Ohio, this recording is another example of the band's high energy and fluid virtuosity.

Despite being incomplete, this recording captures Mahavishnu Orchestra sizzling with energy throughout. It begins with the group well into the staggering intensity of "One Word," a centerpiece composition from the new Birds Of Fire album. The recording begins approximately six minutes into the composition's performance as McLaughlin, Goodman and Hammer are developing a three-way call and response that becomes more intense with every round. Beneath this barrage, Laird and Cobham anchor things, while contributing to the overall searing effect. Approximately two minutes in, following this barrage of front line solos, Billy Cobham takes an extended solo, beginning smoothly and continuously escalating in both speed and dynamics, preparing one for the composition's dizzying conclusion.

One of the bands most popular first album tracks, "The Dance Of Maya," follows. This piece features an infectious rhythmic pattern that compliments the melodic line. Once the initial sequence has been established, the band suddenly shifts the instrumental focus, with Cobham playing a bluesy 10/8 drum pattern. There are many moments of brilliance here and many subtle changes occur during the extended exploration to follow. Despite its imposing length, the improvisations remain fluid and focused, never veering off into meandering jamming. One of the most fascinating sequences occurs following the initial theme, when the rhythm section drops out completely, leaving the front line musicians remaining. The interaction between Goodman's pizzicato violin and Hammer's electric piano is full of a humor and playfulness. Cobham and Laird eventually join back in and after a few surprising stop/starts to jolt the audience, they launch into an infectious jam with Jerry Goodman as the primary pilot. Equal parts blues and funk, this is an extraordinary sequence. Another highlight of this piece occurs when McLaughlin eventually rips into a sizzling solo with Billy Cobham in tow. The unison playing here is equal parts thrilling and confounding. At times one can sense McLaughlin and Cobham toying with each other, just to see what the other will do and one would be hard pressed to find a more impressive display of musical telepathy.

Mahavishnu Orchestra

February 16, 1973 

Kenyon College

Gambier, OH

01. Birds Of Fire 9:12 

02. Open Country Joy 10:09 

03. Hope 1:40

04. Awakening 14:07 

05. Miles Beyond 9:29 

06. One Word 16:49 

07. Resolution 3:05 

08. Sanctuary 6:41 

09. The Dance Of Maya 15:27 

10. Celestial Terrestrial Commuters 5:09 

Billy Cobham - drums

Jerry Goodman - violin

Jan Hammer - keyboards

Rick Laird - bass

John McLaughlin - guitar

The initial classic lineup of the Mahavishnu Orchestra lasted less than three years and only released two studio albums and one live recording during this era, but these recordings had a profound effect, redefining the jazz/rock fusion movement. Combining the improvisational elements of jazz with the volume and energy of rock music, the group created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences, musicians and critics alike.

By early 1973, the Mahavishnu Orchestra had firmly established their reputation. With little over a year of live performances behind them, they had become one of the most exciting bands on the planet. This performance occurred shortly after the release of their highly acclaimed second album, Birds Of Fire. Recorded at Kenyon College in Gambier Ohio, this set focuses heavily on that material, with a few choice selections from their debut album, The Inner Mounting Flame, included for good measure. Now an established headliner, the Mahavishnu Orchestra had more time onstage and they seized that opportunity to explore in greater depth. This recording captures the group as they were diversifying the onstage repertoire and extending their improvisational approach.

This performance begins with an incendiary pairing of the new album's title track with "Open Country Joy." While both remain aligned with the arrangements on the Birds Of Fire, album, they both also contain extended solos, often explosive and pummeling in their ferocity. In the unusual time signature of 18/8, the interwoven nature of Birds Of Fire makes for a thrilling and intense experience, although one unlike anything most jazz or rock fans had experienced before. "Open Country Joy," a strutting, gradually intensifying urban blues is perhaps the least complex, most easily accessible music the classic lineup ever played, vacillating between a laidback county feel and frenzied rocking power. "Hope" is executed nearly identical to the studio recording, but more penetrating, as it unfolds in an elegant, magisterial way, before Cobham suddenly blasts off into "Awakening." Hammer takes one of his most impressive solo of the evening here, simultaneously playing bluesy Fender Rhodes with gurgling mini-moog embellishments. It eventually becomes a duel between McLaughlin and Cobham and this is unison playing at its most astounding. McLaughlin doesn't let up for a second, interjecting an endless barrage of ideas, while Cobham often does more with a hi-hat and snare drum than most drummers are capable of with an entire kit.

Next up is McLaughlin's tribute to Miles Davis, "Miles Beyond," with the group again displaying breathtaking improvisational abilities within a funkier context. The centerpiece of the set is "One Word." While not quite as expansive as later versions, this is nonetheless a staggering performance. Beginning with a haunting and frightening sequence that gives way to a relatively straightforward jam, McLaughlin, Goodman and Hammer trade a seemingly endless barrage of solos. Billy Cobham gets a showcase in the middle, beginning smoothly and continuously escalating in both speed and dynamics, preparing one for the explosive second half of the piece. When the group launches back in, playing in 13/8 time, continually increasing in speed, McLaughlin, Goodman and Hammer all blaze away in a manner that is nothing short of telepathic. Beneath all this, Laird and Cobham anchor things, while contributing to the overall searing effect. "One Word" is followed by "Resolution," a relatively short composition to end this remarkable performance, which gradually increases in tempo, as the musicians ascend toward the heavens, driven by Laird's anchoring bass and McLaughlin's signature minor chords.

The "Sanctuary" that begins this final sequence is a tranquil contemplative piece that sticks relatively close to the studio arrangement. Jan Hammer's introspective synthesizer solo weeps while Goodman's wailing violin compliments McLaughlin's guitar.

One of the band's most popular first album tracks, "The Dance Of Maya," follows and it too gets a highly expanded treatment. This piece features an infectious rhythmic pattern that compliments the melodic line. Once the initial sequence has been established, the band suddenly shifts the instrumental focus, with Cobham playing a bluesy 10/8 drum pattern. Many subtle changes occur during the extended exploration to follow and despite it's imposing nearly 18 minute length here, this is certainly one of the most intriguing and accessible pieces for newcomers to the band. The performance concludes with an explosive "Celestial Terestrial Commuters." This features expressive soloing from Hammer and blazing call and response sequences between Goodman and McLaughlin. Although relatively short compared to the highly improvisational material featured earlier in the set, this is another thrilling hyperdrive performance. The improvisational abilities of the group were at the most astonishing level during this latter part of 1973. All of this music burns with an intensity few groups have ever matched in live performance. The Mahavishnu Orchestra's tempestuous mix of jazz, rock, and Eastern influences is at its peak here. This is a vivid example of the band taking improvisation to the extreme. All of the musicians are clearly challenging themselves to push the envelope here, with constantly surprising and utterly compelling results.

Mahavishnu Orchestra

February 17, 1973 

Case Western Reserve University

Cleveland, OH

01. Birds Of Fire 10:56 

02. Open Country Joy 9:25 

03. Hope 1:39 

04. Awakening 13:11 

05. Miles Beyond 12:17

06. One Word 13:11 

07. Sanctuary 6:59 

08. The Dance Of Maya 18:55 

09. Vital Transformation 5:58 

Billy Cobham - drums

Jerry Goodman - violin

Jan Hammer - keyboards

Rick Laird - bass

John McLaughlin - guitar

Most of the musicians orbiting Miles Davis during his early explorations into electric instrumentation inevitably were inspired to form bands of their own. Few were as adept , intense, or influential as the Mahavishnu Orchestra, a globally diverse group that included guitarist John McLaughlin and drummer Billy Cobham, both alumni of Miles Davis sessions. Combining the improvisational elements of jazz with the volume and energy of rock music, the group also brought elements of Far Eastern, R&B, Blues and Classical music to the table. The music they created was often intricate and complex, performed by musicians whose virtuosity thrilled audiences, musicians, and critics alike. They were equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation. This diversity and technical ability dazzled audiences the world over and helped to expose jazz and world music to a younger audience. The initial "classic" lineup of the group only lasted a little over two years and released just two albums and one live recording during this era, but these recordings had a profound effect, virtually redefining the jazz/rock fusion movement.

By early 1973, the Mahavishnu Orchestra had firmly established their reputation. Their debut album, The Inner Mounting Flame, had mesmerized musicians and listeners alike and with more than a year of live performing behind them, they had arguably become the most exciting live band on the planet. The material from the group's blazing sophomore studio effort, Birds Of Fire was now integrated into the live repertoire and they were consciously taking a more improvisational approach in their performances. This February 1973 performance captures the group six months prior to the Central Park recordings issued as their live album, Between Nothingness And Eternity. Recorded on the campus of Case Western Reserve University in Cleveland, Ohio, this performance is a stellar example of the band's high energy and fluid virtuosity reaching it's peak.

The performance begins with "Birds Of Fire," the title track from the recently released second album. This intense, high energy opener segues directly into another track from that album, "Open Country Joy." After the initial onslaught of "Birds Of Fire," this strutting, gradually intensifying urban blues is the least complex, most easily accessible music the classic lineup ever played. Vacillating between a laidback county feel and frenzied rocking power, its disarming rustic theme provides the initial musical contrast within this set. They continue with "Hope," unfolding over its brief 90 seconds in an elegant, magisterial way, before Cobham launches the group into "Awakening." This has moments of frightening intensity and the telepathy between these musicians is astounding. McLaughlin's "Miles Beyond," titled in honor of you-know-who, follows in a funky, more relaxed manner.

The remainder of the show takes things to the next level. "One Word," a centerpiece composition from the Birds Of Fire album, begins with a haunting sequence that gives way to a relatively straightforward jam, with the band members trading solo lines. Billy Cobham gets a showcase spot midway, which begins smoothly and escalates in both speed and dynamics, preparing one for the explosive second half of the piece. The group launches back in, playing in 13/8 time, continually increasing in speed, with McLaughlin, Goodman and Hammer blazing away, often in unison! Within this complicated time signature, one will discover McLaughlin applying a technique where he reduces his guitar strokes by one with each proceeding line, playing six notes on the first line, five on the second and so on. Beneath all this, Laird and Cobham anchor things, while contributing to the overall searing effect.

They next perform "Sanctuary," a slower contemplative piece, demonstrating that the rhythm section of Laird and Cobham are equally effective at subtlety as they are at intensity. After all the fury that occurred during the previous piece, "Sanctuary" provides some tranquility to the proceedings. Jan Hammer's introspective synthesizer solo weeps while Goodman's wailing violin complements McLaughlin's guitar. This segues into a lengthy heavily improvised version of "The Dance Of Maya" that burns for a solid 18 minutes! There are so many moments of brilliance here, it is really beyond description, but what stands out overall is that here the group is obviously having a wonderful experience playing this composition. Following the initial theme, the rhythm section drops out completely, with the front line musicians remaining as a trio. The interaction between Goodman's pizzicato violin, McLaughlin guitar, and Hammer's electric piano is full of a humor and playfulness that is absolutely delightful. Cobham and Laird eventually join back in and after a few surprising stop/starts to jolt the audience, they launch into a cosmic jam with Jerry Goodman as the primary pilot. Around the 14-minute mark, McLaughlin rips into a pulverizing solo with Billy Cobham in tow. The unison playing here is thrilling. At times one can sense McLaughlin toying with Cobham, just to see what he'll do. Despite McLaughlin's blazing speed and unpredictability, Cobham never misses a beat—another display of musical telepathy. This eventually cools down to a delicate call and response with Hammer adding his gurgling mini-moog embellishments, before all converge and reinstate the song's theme—bringing it to a close a full 26 minutes after this continuous sequence began.

To fully pummel the audience into submission, they oblige by closing the night with "Vital Transformation." In 9/8 time, this contains some of the most furious playing that the band would ever achieve. Charismatic, powerful, and blazing with energy, this is a tour-de-force synthesis of jazz, rock, funk, and R&B condensed into six minutes of pure power. 

Mahavishnu Orchestra

February 18, 1973

Kinetic Playground

Chicago, IL

01. Meeting of the Spirits (14:15)

02. Open Country Joy (8:56)

03. Hope (1:41)

04. Awakening (13:36)

05. Miles Beyond (5:41)

Billy Cobham - drums

Jerry Goodman - violin

Jan Hammer - keyboards

Rick Laird - bass

John McLaughlin - guitar

The performance begins with an incendiary reading of the opening track of their debut album, Meeting Of The Spirits; this performance is explosive, extended and pummeling in its ferocity. While initially faithful to the original album arrangement, here the composition is doubled in length, seething with an intensity that far surpasses the studio recording. This intense, high energy opener segues directly into a composition from the new album, "Open Country Joy." This strutting, gradually intensifying urban blues is the least complex, most accessible music the classic lineup ever played. Vacillating between a laid back pastoral feel and frenzied rocking power, this composition's disarming rustic theme provides the initial musical contrast within this set.

The set continues with the uplifting "Hope," a short composition free of solos. In 7/8 time, "Hope" unfolds in an elegant, magisterial way, anchored by a repeating melodic phrase that gradually builds in intensity. Cobham's drumming, which fuels the escalating intensity of this composition, suddenly blasts off at its conclusion, launching the group into another track from the debut album, "Awakening." Following Cobham's opening, Jerry Goodman takes flight followed by Jan Hammer. Their improvisations serve to set up listeners for the astonishing barrage that McLaughlin unleashes several minutes later.

This develops into a great example of the chemistry between McLaughlin and Cobham and features unison playing at its most astounding. Both interject an endless barrage of ideas, while Cobham often does more with a hi-hat and snare drum than most drummers are capable of with an entire kit. This has moments of frightening intensity and the telepathy between these musicians is quite astonishing. Cobham concludes the improvisations with a solo of his own before the band wraps things up with the compositions' dizzying conclusion.

Unfortunately incomplete, the recording concludes with McLaughlin's homage to Miles Davis, "Miles Beyond." This particular version is unusual, even compared to other performances from this time frame, as they explore the composition at a slower tempo and the musicians give each other additional room. This translates into a sparser than usual performance that engages the listener by very gradually building in intensity. It is keyboardist Jan Hammer who primarily leads the way here, but prior to the tape stock running out, Hammer lays back while Goodman engages in an impressive display of violin processed through his wah-wah pedal. Often mistakenly attributed to Davis, this McLaughlin original pays tribute to one of his greatest mentors while providing a funkier context for these musicians to explore their improvisational abilities.

Mahavishnu Orchestra

February 23, 1973 

Cornell University

Ithaca, NY

01. Birds Of Fire 9:52 

02. Miles Beyond 13:23 

03. Noonward Race 16:22 

04. Lotus On Irish Streams 8:51 

05. One Word 20:38 

06. Vital Transformation 5:42  

Billy Cobham - drums

Jerry Goodman - violin

Jan Hammer - keyboards

Rick Laird - bass

John McLaughlin - guitar

Musicians that recorded and performed with Miles Davis during his early explorations into electric instrumentation inevitably went on to form bands of their own, but few were as adept or as influential as the Mahavishnu Orchestra, a globally diverse group formed by legendary English guitarist, John McLaughlin. Combining the improvisational elements of jazz with the volume and energy of rock music, the group also brought elements of Far Eastern, R&B and Classical music to the table. The Mahavishnu Orchestra created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences and critics alike. The group had a firm grip on dynamics and were equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation. This diversity and technical ability dazzled audiences the world over and helped to expose jazz and world music to a younger audience. The initial "classic" lineup of the group lasted barely three years and only released two studio albums and one live recording, but these recordings had a profound effect, redefining the jazz/rock fusion movement in the process.

By early 1973, the Mahavishnu Orchestra had firmly established their reputation. Their debut album, The Inner Mounting Flame, had mesmerized musicians and listeners alike and with more than a year of live performing behind them, they had become one of the most exciting bands on the planet. The material from the group's blazing sophomore studio effort, Birds Of Fire was introduced into the live repertoire and they were consciously taking a more improvisational approach to much of The Inner Mounting Flame material.

This February 1973 performance captures the group as they were diversifying the onstage repertoire and extending the improvisational approach. Recorded at Cornell University, this performance is yet another stellar example of the band's high energy and fluid virtuosity. They begin the set much like many 1972 sets, with the opening title track of the second album, Birds Of Fire. This intense, high energy number then segues into McLaughlin's tribute to the master himself, "Miles Beyond," a funky and more relaxed display. Both compositions are nearly twice the length of the studio recordings. As remarkable as this opening sequence is, it is a mere warm-up exercise to the devastating "Noonward Race" which follows. This is the Mahavishnu Orchestra at full throttle and playing at warp speed. To break up the intensity level and give the audience a chance to catch their collective breath, McLaughlin switches to acoustic guitar, Hammer plays acoustic piano and along with Jerry Goodman on violin, perform a lovely acoustic trio rendition of the more classically influenced ballad, "A Lotus on Irish Streams."

Then it is on to perhaps the group's most fully realized composition, "One Word." Another piece from the Birds Of Fire album, this begins with the extended snare drum roll from Cobham before launching into a haunting and frightening sequence that gives way to a relatively straightforward jam, with McLaughlin adding delicious effect-laden guitar over a solid groove, while the band members trade solos. Billy Cobham gets a solo spot in the middle, which begins smoothly and escalates in both speed and dynamics, preparing one for the explosive second half of the piece. The group launches back in, playing in 13/8 time, continually increasing in speed, with McLaughlin, Goodman and Hammer blazing away, often in unison. Within this complicated time signature, one will discover McLaughlin applying a technique where he reduces his guitar strokes by one with each proceeding line, playing six notes on the first line, five on the second and so on. Beneath all this, Laird and Cobham anchor things while contributing to the overall searing effect. This piece is the unquestionable highlight of the show and although it clocks in at 20 minutes here, "One Word" would continue to expand in the coming months, sometimes reaching nearly half an hour in length.

A blazing "Vital Transformation," in 9/8 time closes the set and contains some of the most furious playing that the band would ever achieve. Charismatic, powerful and blazing with energy, this is a tour-de-force blend of all the elements that comprised the band's music, condensed into seven minutes of pure power. Like all the music performed on this night, it burns with an intensity that will leave a lasting impression on all who dare to listen.

As the Mahavishnu Orchestra ventured into the final year of the original lineup, they began headlining more shows, which provided them more time to experiment on stage. In the months to come, this would be taken to the extreme, with compositions often stretching out to over twenty minutes. However, this performance is a prime example of the middle phase of the original lineup, when they were simultaneously introducing new material to the live repertoire and taking the more familiar first album material further than it had gone before.

I haven't been able to spend a lot of time expanding this post the last couple of days because of the situation back home where after 62 years of Communist rule the people have decided that enough is enough. Internet and Phones heve been down most of the time so it's been hell to get in touch with my parents who still live there. 

But I digress, I was planing to make this a huuuuge post, but it seems I'll have my attention somewhere else, but I had already uploaded all the shows, so go to where u usually go to find the download links and you will find a treasure trove of Mahavishnu 1973 soundboard tapes from Dinky Dawson's collection.