Mahavishnu Orchestra
Visions of the Emerald Beyond

“Visions of the Emerald Beyond” is the second album produced by the new lineup of the Mahavishnu Orchestra, namely John “Mahavishnu” McLaughlin (guitar), Jean-Luc Ponty (violin), Gayle Moran (keyboards), Ralphe Armstrong (bass), Narada Michael Walden (drums).

Recorded at Hendrix’s Electric Lady Studios and released in 1974, it consists of thirteen instrumental tracks, aside from a few phrases spoken in three songs primarily by Gayle Moran. McLaughlin was evidently still uncertain about the form and structure to give his ever-changing and multifaceted musical creature; he chose to follow funk-fusion that was rampant in the first half of the seventies in jazz, whose extremes were embodied by figures like Herbie Hancock and Weather Report. The core of the album is thus characterized by the presence of a series of tracks with a pronounced funk vein, such as “Can’t Stand Your Funk”, the most influenced by “Head Hunters” (1973), “Cosmic Strut” and “Be Happy”. 

The best tracks, however, are those that at least partially deviate from this pattern, namely “Eternity’s Breath part 1 & 2” and “On the Way Home to Earth”. The former is an almost eight-minute suite divided into two tracks. The piece is distinguished by a splendid guitar riff (often revisited live by Gov’t Mule, particularly within Trane - the version in “Live at Roseland Ballroom” is notable), which precedes and concludes a long instrumental jam characterized by Walden’s powerful drumming, Ponty’s violin escapades, and the ecstatic voices uttering “A Love Supreme”, a clear tribute to the music of John Coltrane. The latter is an excellent experimental track distinguished by the leader’s guitar altered by electronic effects. “Lila’s Dance” is beautiful and engaging, starting with a charming guitar arpeggio and leading into a torrid track with a blues soul torn by a remarkable guitar solo. “Pastoral”, with Ponty’s excellent violin showing classical inclinations, is an evident legacy of the previous album for group and orchestra “Apocalypse” (1974); “Faith”, a brief interlude concluded with an instrumental escape at high speeds; “Earth Ship”, the most reflective track. The brief “If I Could See”, “Pegasus”, and “Opus 1” are superfluous.

Essentially, it is an excellent record, free of the mannerisms and exaggerated technical and rhythmic virtuosity that on some occasions exasperated listening to masterpieces like “Inner Mounting Flame”. It is a fusion album with strong funk tints, surely inspired by the listening to what was in circulation at the time. The sound, dominated by Ponty’s violin and the leader’s guitar, appears more balanced than in the past and this version of Mahavishnu appears overall less aggressive in approach and, overall, more refined. The album is therefore recommended both to lovers of the first incarnation of Mahavishnu and to those less accustomed to the whirlwind technicalities of the first group.