# John McLaughlin & Jimmy Herring: A true sense of camaraderie and ebullient inspiration marked this occasion: Video

- Link: https://jazzblues.eu/2017/12/01/john-mclaughlin-jimmy-herring-a-true-sense-of-camaraderie-and-ebullient-inspiration-marked-this-occasion-video/
- Published: 2017-12-01T00:05:14+01:00
- Author: https://JazzBlues.EU

**When it comes to virtuosi, guitarist John McLaughlin ranks high in the jazz fusion
world. Having the early fortune to connect with legendary drummer Tony Williams 
upon arriving in New York from his native England, McLaughlin’s spirited approach
found favor among both rock and jazz devotees. **

As the ’60s ended and a new decade approached, the guitarist added to his resume
work with Miles Davis and the subsequent forming of his own ensemble. The Mahavishnu
Orchestra debuted in 1971 and over the course of their brief existence logged in
the highly acclaimed albums The Inner Mounting Flame, Birds or Fire, and Visions
of the Emerald Beyond.

Although McLaughlin’s legacy reaches far beyond his groundbreaking work with Mahavishnu,
it is this body of material that served as the forefront of his farewell U.S. tour
which kicked off November 1st. The 75-year-old guitarist has spoken about his battles
with arthritis and his desire to go out on top. So while he will continue to play
and record, he has stated that this outing will be his last to involve traveling
around the globe. Marking roughly the midpoint of the twenty-three dates comprising
his Meeting of the Spirits tour, this three set/three-hour extravaganza made quite
an impression on a sold out crowd at the Michigan Theater in Ann Arbor.

A jam band favorite and currently the guitarist with the group Widespread Panic,
Jimmy Herring has been on the scene for almost 40 years and boasts a resume that
includes time spent with such folks as Col. Bruce Hampton, Billy Cobham, and Phil
Lesh. In fact, it was at a 2015 reunion concert for Hampton and his Aquarium Rescue
Unit that McLaughlin had a chance to play with Herring and later decided to make
him a part of the farewell tour.

The first set featured about 35 minutes of music from Herring and his band The Invisible
Whip. It would be fitting that their opening tune would be “John McLaughlin,” one
of the numbers from Miles Davis’ visionary album Bitches Brew. Over the course of
about a half dozen numbers, Herring demonstrated his command of the guitar with 
bristling solos filled with emotion and a strong sense of direction. There was a
marvelous degree of variety in his operational muse as well, recalling a great range
of styles from Dick Dale to ’50s cop show themes to overtones of the Mississippi
Delta. As has been noted by more than one observer, Herring might just be the best
guitarist you probably have never heard of before.

Wedged in between Herring’s opening gambit and the extended jam session that would
close out the evening, McLaughlin and his group the 4th Dimension would cover some
serious ground of their own. Part of the allure here would be the mere technical
brilliance of the guitarist’s sidemen. An accomplished keyboard man and drummer,
Gary Husband has a long standing relationship with McLaughlin’s music and it showed.
Bassist Etienne Mbappe dazzled with his own set of killer chops, donning black gloves
while he played. Rounding things out, drummer Ranjit Barot alluded to the polyrhythmic
influence of his Indian heritage, spurring on an advanced drum battle with Husband
at one point in the show.

McLaughlin’s “El Hombre Que Sabia” offered many rewards with its Latinesque groove
and quick fire tempo. A lush keyboard intro ushered in “Light at the Edge of the
World,” a feature for the fleet-fingered work of M’Bappe and a stellar closing cadenza
by McLaughlin who even managed to squeeze in a quote of “It Might As Well Be Spring.”
The previously mentioned drum off between Barot and Husband came during the course
of “Meeting of the Spirits.” Recalling popular tabla cadences like the tihai and
chakradar, Ranjot would sing a rhythmic passage which would then be developed further
by Husband. These patterns were at the heart of many of the pieces and Husband could
be seen using hand motions when he wasn’t playing to indicate the irregular beat
patterns.

During the third set, both bands would take the stage, with Herring and crew on 
the left and McLaughlin’s unit on the right. Pieces like “Lotus on Irish Streams”
and “Eternity’s Breath” offered plenty of room for blowing with Matt Slocum almost
stealing the show with his B3 and clavinet statements. Jason Crosby would also bring
an authentic flavor to the proceedings with his violin playing. “Birds of Fire” 
and “The Dance of Maya” served their purpose as incendiary vehicles for the guitar
histrionics of both McLaughlin and Herring.

A true sense of camaraderie and ebullient inspiration marked this fortuitous occasion
and the crowd was clearly mesmerized by the results, demanding an encore which was
provided without hesitation. McLaughlin’s powers have clearly not diminished and
he indeed will be going out on top during this momentous and important last stand.

![Image result for John McLaughlin & Jimmy Herring](https://i0.wp.com/www.relix.
com/images/uploads/about/Screen_Shot_2017-10-30_at_2.46_.04_PM_1.png?w=640&ssl=1)

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