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Anatomy of THE Groove: “Dawn” by Mahavishnu Orchestra with John McLaughlin

John McLaughlin might very well be the best electric guitarist in the jazz fusion genre. He worked through the UK psychedelic rock scene,even giving guitar lessons to a young Jimmy Page. Finding much of this creatively unsatisfying,he picked up with Tony William’s Lifetime in 1969. As well as launching his own solo career.This led him to his iconic work with Miles Davis on his fusion breakthrough album Bitches Brew the following year. With the enormous acclaim working with Miles earned him, McLaughlin formed his own group The Mahavishnu Orchestra shortly thereafter.

Mahavishnu Orchestra’s actual lineup remained fluid over the years outside McLaughlin. In its original lineup though it consist of drummer/percussionist Billy Cobham,bassist Rick Laird,violinist Jerry Goodman and keyboard player Jan Hammer. In a similar manner to Miles,the band would become a platform for many future fusion band leaders. Their debut album in 1970 is called The Inner Mounting Flame. It consists entirely of McLaughlin compositions and is considered a fusion classic today. One of the songs on it that best epitomizes their style and groove for me personally is entitled “Dawn”.

Cobham and Hammer slowly accompany each other on a slowly funky mixture of cymbal heavy drumming and appropriately melodic electric piano. Cobham’s drums become louder as Laird’s bass (playing the exact counter line to Hammer’s keyboards) comes in for Rick Lairds violin solo-one which has a high pitched,sustained tone. He blends directly into McLaughlin’s guitar solo-full of Hendrix like flamboyance yet Santana style sustains. On the bridge of the song,the rhythm goes into a funkified hump with everyone playing their own accompanying solos together before fading out on its original theme.

“Dawn” is a song that’s full of feeling and passion. Listening to the way it instrumentally progresses,it does sound a lot like the day as it comes in. Its all very funky actually. The song has a slow grooving beginning-with the very hummable melody accented strongly. The bridge of the song,where the tempo gets into a faster and funkier groove,is like the sound the bright morning sunshine might make if it could. Jerry Goodman’s violin seemed to weep. And McLaughlin’s guitar seemed to be speaking and singing all at the same time. Its the best example of funky jazz fusion that can really speak to  core of the listener.

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