Home » Jazz Articles » Album Review » John McLaughlin: The Mediterranean Concerto
John McLaughlin: The Mediterranean Concerto
As expected, the orchestra sounds, well, orchestral. But, there is something thrilling about hearing McLaughlin’s unusual melodies emanating from such a traditional source. The Concerto sounds nothing like Apocalypse and nothing like jazz, although McLaughlin does improvise in certain sections. It is, however, yet another validation of McLaughlin's versatility as a musician and a composer-arranger. The orchestra drowns out his acoustic guitar at times, but his presence is still palpable.
I had the pleasure of seeing the 1986 world premiere of the Concerto, featuring McLaughlin and the Los Angeles Philharmonic. The piece was very well received by the crowd and by local classical music critics. (Miles Davis was also in the audience.) The Concerto featured many of McLaughlin's trademark riffs expanded into coherent streams and themes. His playing was, as always, evocative and energizing.
Five pieces for guitar and piano also appear on the album, and that's where the jazz happens. Katia LaBeque, a gifted classical musician who was also McLaughlin’s love at the time, joins in. The tunes are jazz thematic in nature and are quite dynamic. The most pleasing piece is "Zakir" which McLaughlin has presented in several different contexts over the years. All in all, the album is yet another impressive example of John McLaughlin’s ability to occupy many musical worlds.
Related link: John McLaughlin Reviews @ All About Jazz .
Track Listing
The Mediterranean- I-Rhythmic II- Slow and Sad III- Animato; Brise De Coeur; Montana; Two Sisters; Until Such Time; Zakir
Personnel
John McLaughlin
guitarJohn McLaughlin- classical guitar; Michael Tilson Thomas- conductor; London Symphony Orchestra; Katia LaBeque- piano
Album information
Title: The Mediterranean Concerto | Year Released: 2002 | Record Label: Columbia Records
About John McLaughlin
Tags
PREVIOUS / NEXT
Become a Sustaining Member
Since 1995, All About Jazz has championed jazz as an art form and supported the musicians who create it. Over three decades, it has grown into one of the world's leading jazz resources, serving hundreds of thousands of readers, musicians, presenters and industry professionals each month.
Help Build the Future of All About Jazz
Your support helps us continue building All About Jazz for the next generation—expanding our editorial coverage, preserving jazz history, developing new community features and creating better ways to discover the music and the people behind it.
Become a sustaining member for as little as $20 per year and you'll immediately enjoy an ad-free experience along with access to subscriber features and future articles for a full year.
Together, we're not simply sustaining All About Jazz—we're building its future. Thank you for being part of the journey.
