Gregg Bendian: Inner Flame, Musical Visions
AAJ: What was the general reaction of people when you announced your intention to play entire Mahavishnu Orchestra albums in concert?
GB: We've always faced two reactions; one is that true fans of the music are thrilled that someone else is interpreting this stuff and playing it again, and they are happy to hear it live, some for the first time. And then there's always been a dubious attitude from some towards the group. For some reason the Mahavishnu Orchestra is viewed by many people to be merely a rock band because they reached rock band popularity, rock band success, rock band numbers in the business. So, for us to be doing the Mahavishnu Orchestra music we must be a "rock 'n' roll cover band . But that attitude has changed because we've been doing this for five years now and I think people are catching on that we are serious about this being a classic form of music and that we are a group music that is worthy of investigationplus we are out there doing our own thing with it.
GB: To be honest, we started doing this just out of a love of the music and never had any imaginings that it would grow into a regular, ongoing project. It was just so much fun, so intense and so rewarding musically and artistically that it took on its own energy. The idea was to continue to play music from the first band (Mahavishnu Orchestra '71-73) and to play it as well as we could.
John McLaughlin's wife, Ina contacted me after our Live Bootleg (Aggregate Music, 2002) came out and said, "John has heard about you guys and he's glad that there's a band playing this music. Could you send us a copy of your first CD? I was quite nervous in fact, and waited for his response. Ultimately, I did hear from John and he told me that he was thrilled with what we were doing, and that we should continue doing it and he gave us his blessing.
AAJ: The Mahavishnu Orchestra was in some ways a synthesis of everything McLaughlin did before and has done since; are you as big a fan of the other incarnations of John McLaughlin as you are of the Mahavishnu Orchestra?
GB: John is truly a musical hero of mine. I've followed everything he's done. After the Mahavishnu Orchestra I went on to see him with the One Truth Band and Shakti in my teenage years. I was actually lucky enough to see Shakti's first New York city concert in Central parkthat was the summer of '76 at the Schaefer Music Festival.
Then I worked my way back, Extrapolation (Polydor, 1969), Love Devotion Surrender (Columbia, 1973), and his electric Miles work. I've followed everything that he's done with amazement and I've always learned something. Since 1976, I've gone to see him play every time he's in New York, and he remains one of my great inspirations.
AAJ: He's a big hero to many people, and I find it unbelievable that he hasn't received a knighthood from the British government. They give them to Elton John and Mick Jagger, no disrespect to them, but I think McLaughlin should have received some sort of recognition for the body of music he's produced these last forty years.
GB: Well, I agree with you completely, and it only points to the fact that there's a sort of popularity contest involved with that whole knighthood thing.
AAJ: How much of a challenge was it to recreate Visions of the Emerald Beyond (Columbia, 1975) compared to the other Mahavishnu Orchestra albums?
GB: It was a big undertaking, to be sure. I felt that I had to do a lot of pre organizing before we launched it. I had to add another six players to the group, so the group more than doubled in size. I had to find the right players, players that loved the music. In January of 2006 the group changed personnel in terms of the core quintet, so this was only six months later! I had just brought in Glenn Alexander on guitar, Adam Holzman on keyboards and David Johnsen on bass. Rob Thomas has been with me on violin since 2002 and now, for Return to the Emerald Beyond, I was adding strings, horns and voice.
The real challenge was one of reorganizing some of the pieces and deciding the focus each of the pieces would take, but also an overview of the whole piece. I've treated it as a suite, and tried to make a musical connection over the course of the thirteen pieces that are in the Visions of the Emerald Beyond set. Our concept was not to radically overhaul these pieces, not to deconstruct these pieces and then reconstruct. The concept is to play the existing material in our own fashion, and then use the pieces as a platform for improvisation, just like any other form of jazz music.
AAJ: I imagine a lot of rehearsal time was needed before performing this live.
AAJ: Has your own opinion of Mahavishnu Orchestra II ('73-75) changed since doing this album?
GB: Somewhat, yes. As a kid in'74, '75, listening to Apocalypse (Columbia, 1974), and Visions of the Emerald Beyond on eight track tape, they were, to me, as "Mahavishnu-ey as the original. I didn't see them as a lesser Mahavishnu Orchestra then. I just thought it was a slightly different musical direction.
I do now see just how ambitious Mahavishnu Orchestra II truly was for John, and for music in general, perhaps for the audience especially. It was really about reaching for the best aspects of musical fusion, and bringing together the interests of John McLaughlinfrom Indian music, classical music, jazz, blues, rock of course, and making for lack of a better word, a fusion of these things, creating something unique and personal, making it his own.
The difficulty of an eleven-piece band on stage, the technical difficulties, and the musical challenge is completely real to me now, playing the stuff. And I can see what a great challenge it was for the original Mahavishnu Orchestra II to pull this off live.
It's very exciting for me because I see, and have seen over the last five years, what a fan favorite Visions of the Emerald Beyond is. Now that we are playing this music live, people are coming from all over to hear us play this because they love this recording and Mahavishnu II played so little of it live back in 1975.
Now that we have revisited this music on our new recording a lot of people are starting to very strongly support it. That's great because I think that for many people the barrier between the original Mahavishnu and the subsequent large band was always something in the mind of the writers, and perhaps not in the minds of the fans.
I feel the fact that it was a new direction for John's Mahavishnu concept was handled poorly by the critics, who I think at the time were looking for more and more commercial, accessible music and just were losing interest in how challenging and diversified truly great musicians could be.