MAHAVISHNU ORCHESTRA — Apocalypse (review)

MAHAVISHNU ORCHESTRA — Apocalypse album cover Album · 1974 · Fusion Buy this album from MMA partners
3.5/5 ·
js
Apocalypse” was the third album for Mahavishnu Orchestra and saw the band going through some changes. The first two albums were probably some of the most divisive albums in jazz history. There was nothing subtle about Mahavishnu’s first two outings. Their heavy rock approach and bombastic sound were a turn off to many jazzers, but a definite attraction to the prog rock crowd who flocked to them in droves. As if the band was not cumbersome enough already, this third album was recorded with the London Symphony Orchestra, a sign that the big prog rock sensibilities might reign supreme on this one, but upon hearing it, fortunately its not really all that. To their credit, Mahavishnu always had top notch musicians and their fiery solos could raise the roof, and with this third album they raise that ante with some new exciting players. Bassist Ralphe Armstrong and violinist Jean-Luc Ponty were just a notch above the people they replaced and now McLaughlin finally had some people in the band who could hold their own against him. Michael Walden replacing Billy Cobham was a fairly even trade and Walden does a great job of fitting into the Cobham style while supplying his own unique syncopations and energy.

The first side of the album presents a surprisingly coherent musical vision as John steps up as a worthy composer and arranger fitting band and orchestra passages together to build a dynamic musical piece. Some highlights include a heavy string motif that sounds like a cross between Mussorgsky and King Crimson and a middle section where John lays down a repeating impossibly funky riff, one of his best since “Jack Johnson”. The closing ballad, sung by Gayle Moran, is one of the finest bits of composition in McLaughlin’s long career. On side two, things get a bit more disjointed, but separate sections still have nice things to offer. There is one high energy trio jam with John, Ralphe and Michael that allows Armstrong to show what an incredible bass player he is, but it is marred by an overly processed sound on the guitar. On the bad side of things, the section towards the end that features furious trading of fours with a string section is just kind of ridiculous, this is the sort of excess that dragged down many a 70s prog rock opus.
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