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To The One CD

Price: £12.81 & FREE Delivery in the UK. Details
Includes FREE MP3 version of this album.
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Product details

  • Audio CD (26 April 2010)
  • Number of Discs: 1
  • Format: CD
  • Label: Abstract Logix
  • ASIN: B00377V6G0
  • Other Editions: MP3 Download
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Bestsellers Rank: 106,697 in Music (See Top 100 in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. Discovery 6:19£0.99  Buy MP3 
Listen  2. Special Beings 8:38£0.99  Buy MP3 
Listen  3. The Fine Line 7:43£0.99  Buy MP3 
Listen  4. Lost And Found 4:26£0.99  Buy MP3 
Listen  5. Recovery 6:21£0.99  Buy MP3 
Listen  6. To The One 6:34£0.99  Buy MP3 

Product Description

Product Description

On the album 'To the One' iconic guitarist and composer and 2010 Grammy Winner John McLaughlin looks backwards and forwards simultaneously. The six original songs are hauntingly evocative of the telepathic group interaction of the John Coltrane Quartet and echo the profound influence of the saxophonists fearless mid-'60s quartet and, in particular, his 1965 spiritual jazz masterpiece 'A Love Supreme'.

Mostly written in 2009, the music composing 'To The One' was set down in the studio by McLaughlin's current performing outfit, the Fourth Dimension: Gary Husband (keyboards, drums), Etienne M'Bappe (electric bass), and Mark Mondesir (drums). From the surging opener "Discovery" to the gently propulsive title track which closes the programme, McLaughlin's own playing is at its very peak: emotional and probing, exploding into flourishes of rapid-fire sixteenth notes one moment, candid and unguardedly vulnerable the next.

No slavish imitation or sentimental tribute, 'To The One' is a fiery yet open-hearted work, taking on the artistic and spiritual challenges first offered by Coltrane's jazz masterpiece while making extensive use of the pioneering musical and technical vocabulary that McLaughlin has honed since the beginning of his storied career.

BBC Review

As it says on the sleeve, as opposed to the tin: file under jazz/rock. These words, as well as the crackling electrified sounds that they invariably conjure up, are the devil itself for those who see jazz as a purely acoustic, swing-based art. But even they would have to concede that British guitarist McLaughlin is one musician who has brought grace as well as aggression to the vexed sub-genre.

If one accepts that jazz-rock was Miles Davis' early 70s bombshell baby then he, along with Joe Zawinul and Herbie Hancock, among others, was an invaluable midwife. Four decades on, McLaughlin is still playing with fire and finesse and his elder statesman status means that he can cherry pick talent when he assembles a band. The four-piece he leads here is notable for the presence of two powerhouse drummers, Mark Mondesir and Gary Husband (the latter also plays keys), though the real jewel of the sidemen is arguably Cameroonian bass guitarist Etienne Mbappé. His bubbling, percussive lines, seamless slides into double time and razor-sharp sub-divisions of the beat bring forth the sophisticated ruckus that is not so much jazz-rock as jazz that rocks.

McLaughlin is highly effective when playing unison lines with Mbappé, no more so than the spiralling bebop-like melody of Recovery, which is squeezed into a few action-packed bars. These tactics are smartly deployed, but as flawless as the technique is on this set, what is missing is the one thing that has elevated McLaughlin above many of his peers–his lyricism or, as Zawinul's co-conspirator Wayne Shorter would put it, "the need to tell a story". Some of the arrangements are also a touch on the rigid side, with one too many songs breaking up their pulse just as a groove starts to cook.

On the plus side, the Pat Metheny-ish title-track uses a guitar-synthesiser deftly against Husband's intricate comping, but it's still hard to shake the feeling that this is a group that might have a great record in it rather than a group that will make a great record simply because it's a great group. --Kevin Le Gendre

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Customer Reviews

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Most Helpful Customer Reviews

12 of 12 people found the following review helpful By Bodhi Heeren TOP 1000 REVIEWER on 19 April 2010
Format: Audio CD
Hailed as a tribute to one of John McLaughlin's biggest heroes, the illustrious John Coltrane, this rather short album (40 min.s)is slightly more jazzy than its predecessor, the excellent "Floating Point".

Recorded with his present band 4th. Dimension it features Mark Mondesir on drums, while the versatile Gary Husband (Allan Holdsworth, Jack Bruce, Robin Trower)shines on keys as well as drums. With a new stellar bassplayer Etienne M'Bappe, taking over from Hadrien Feraud and Dominique di Piazza, and doing so in finest style. Displaying both solid, inventive grooves and blistering soloes.

The compositions might not be the most poignant ever from John's creative mind, though the title track certainly is one of those haunting McLaughlin ballads, somewhat reminiscent of "Nostalgia". The playing all the way top notch. Lots of fine interplay and fine soloes, the record brimming with inspiration, good chemistry and mutual respect amongst the musicians.

As a whole this brilliant release shows that he - like his friend Jeff Beck - just keeps getting better and better. Still dazzling virtuosity, still a deep spiritual undercurrent that certainly can bring Coltrane to mind.
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5 of 5 people found the following review helpful By Steve Keen TOP 1000 REVIEWER on 19 May 2010
Format: Audio CD Verified Purchase
Just for a second, as Mark Mondesir's drums kick-start Discovery, I had an M-Base flashback. But pretty quickly it's McLaughlin's scalding electric guitar that takes the lead, not Steve Coleman's alto sax. And the groove pretty soon escapes any M-Base resemblance and settles down into a McLaughlin style, though by no means a rerun of the past, just a progression from it.

Aside from the man who for me has always personified fusion guitar and the drummer once described by Courtney Pine, in the liner notes for 1988's Destiny's Song, as "futuristic", we also have the multi-talented Gary Husband and bassist Etienne M'Bappe, who maintains a growling undertone for most of the set which gives much of it a rich sound texture.

Some of the guitaring has a whiff of the old Mahavishnu about it - fret-burning fusillades of notes - and that's what ultimately makes this such a worthwhile enterprise.

Of the two tracks featuring synth-guitar, Lost And Found is the stronger, mainly due to Husband, who provides backbone with some atmospheric piano and organ. The other, To The One, is a nice tune, but the tone of the synth-guitar here drives the piece in the direction of the cocktail lounge.

At only 40 minutes long, about the norm for one of your old style 12-inch pieces of circular vinyl 40 years ago when I first heard Mahavishnu Orchestra, this is quite a short collection.

Still, as the authors of my copy of the Penguin Guide to Jazz say in explaining the lack of timings shown on record reviews, it's the quality that counts.
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6 of 6 people found the following review helpful By K. Swinton on 14 May 2010
Format: Audio CD
John Mclaughlin has produced another albums in a fine run starting with Industrial Zen (2006).

John uses a device he has employed for 40 years in renaming tracks. The title track at 2.40 suddenly becomes an uncredited cover of Lila's Dance from Visions of the Emerald Beyond. Special Beings in truth is Someday my Price will Come which John covered on the 2009 release Five Peace Band with Chick Corea. Lost and found has a resemblence to Nostalgia on Official Pirate (2008)which itself is a reworking of Reincarnation first found on Adventures in Radioland (1987).

This album is jazzy and relaxed but seek out Official Pirate, Floating Point or the more eclectic Industrial Zen first. While John claims that this album is spiritually connected to Coltrane it is difficult to hear that connection.

The running time of 40 minutes is rather short by comtemporary standards.

Good but not great.
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3 of 3 people found the following review helpful By A. R. Durham on 2 Nov. 2010
Format: Audio CD Verified Purchase
So.............JMcL goes Zappa does he? Not a bad direction for him to go, I guess. At least it defines a framework for him to improvise, rather than JMcL's usual speedfreak guitar that shows his technique rather than his improvisational skills.

This album is back to jazzrock for the man, and enables this very good band to shine. Step forward Gary Husband who is quite superb on drums & keyboards (a new Jack DeJohnette?)on this session - I hope they tour extensively as I would like to hear this band develop over the next few years.

The tunes are uniformly good (especially the latter 3 tracks), and there are even flavours of prog rock & Pink Floyd in there somewhere. I listened to the album initially and was not that impressed as the songs all seemed quite similar and lacklustre - but stay with it as this album is a grower and is certainly one of JMcL's best over the last decade.

Sadly, there are 2 half stars deducted. Firstly, the mix is not quite right with the drums up way too high. This is very noticable when listening in the car - all you hear are hi-hats and no guitar. Secondly - I am not too sure about JMcL's guitar synths that he uses. The sounds border on Pat Metheny's stuff - and I, for one, am sick to death of the smug rubbish of his last 3 or 4 albums. (Orchestrion?? The Way Up??.... I rest my case m'lud) For me, this is not the jazzrock land that JMcL should be operating in.......

Oh - the Zappa comparison? Well if you like this, then then try FZ's triple album magnum opus "Shut Up & Play Yer Guitar". Lunatic guitar solos from the much-missed legend. Come back Frank, we need you.
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