Extrapolation (Album)

Occupation

  • Guitar: John McLaughlin
  • Baritone and soprano saxophone: John Surman
  • Bass: Brian Odgers
  • Drums: Tony Oxley

Extrapolation is the debut album of jazz guitarist John McLaughlin. It first appeared at Marmalade Records; also due to the collapse of this label, the album was only sold internationally since 1972. It is now considered one of the classic albums of British jazz, are " fused paradigmatic jazz and rock " on the (Ulrich Kurth ).

Prehistory

McLaughlin had started as a guitarist in the British blues-rock scene and played in groups of Graham Bond, Brian Auger, Herbie Goins and Georgie Fame. In addition, he accompanied American soul singer on their European tours. In addition, he had already played in the bands of jazz musicians such as Kenny Wheeler, Sandy Brown or John Stevens and occasionally performed in the opening act at Ronnie Scott 's Jazz Club. There he often played in a trio with bassist Dave Holland and drummer Tony Oxley. In 1967 he was with Gordon Beck in the studio to record for Marmalade; with Gunter Hampel, he played on the 1968 Essen Song days.

For his debut album, he initially wanted to record in a trio with Holland and Oxley; as Holland went to America at the urging of Miles Davis, Brian Odgers came in his place. The relatively short term, it was decided to expand the trio to John Surman, The album was recorded in London on 16 January 1969. Producer Giorgio Gomelsky wanted to address with the album is a prog rock audience.

The Music

The theme of the title track extrapolation is bebop -like and is first presented after an introduction by Odgers and Oxley, which brings to mind the work of Charlie Haden and Billy Higgins in Lonely Woman Eric Thaker in unison of guitar and saxophone. It's Funny reminds thematically, especially in the saxophone line on Goodbye Pork Pie Hat by Charles Mingus and highlights the skill of undervalued by critics studio musician Brian Odgers.

Arjen 's Bag plays in the Dutch bassist Arjen Gorter on ("one of Holland 's greatest musicians ," said McLaughlin in the liner notes ), the shell of the bass is always there where you do not expect. The situation is similar here with the rhythmic emphasis: The piece has a 11/8-Takt, the Roger T. Dean, divided into its analysis according to the accents of the drummer in 4/4 and 3/8. Because of this accentuation of uneven meters built here two pulse speeds, over which can be improvised in parallel. Later, McLaughlin developed the piece to Follow Your Heart on. This oscillating " 11/8-Metrum goes in the next piece seamlessly into a fast 3/8 clock on" Pete the Poet, a " aptly trolliges " piece was named after the poet and singer Pete Brown. There sat a McLaughlin a strong fat guitar tone.

This Is for Us to Share Rubato has great arches, which contributes impressive McLaughlin on acoustic guitar. Detached from the pace Oxley uses his drums here to create inspiring sounds on his drums and cymbals.

In Spectrum Surman was initially able to play a baritone sax solo, before rapid guitar solo followed by the unison featured topic. The piece goes on in Binky 's Beam. With the bass player Binky McKenzie, the McLaughlin dedicated this composition of the album, McLaughlin played among other things, Pete Brown Group Huge Local Sun. In the liner notes, he praised Binky McKenzie as one of the best bass players; He was then sentenced along with his brother Bunny, ungerecherweise of the guitarist 's view. Binky 's Beam is a Jazz Blues in 11/8-Takt. Later arose from this issue in 1973 with the Mahavishnu Orchestra rehearsed Celestial Terrestrial Commuters.

Similar to this piece Oxley also superimposed in Really You Know the various meters " with a delicate lightness " as the biographer Ulrich Kurth notes; the naturalness plays with the Oxley, " gives the album a dance gesture. " In Two for Two, after McLaughlin's biographer Paul Stump " Album prophetischsten number ," McLaughlin plays a " wild geschrummeltes Solo", which has Flamencoanklänge. The last piece of the album, Peace Piece, which was dedicated to peace and has first trains of the same tune by Bill Evans, McLaughlin played unaccompanied on acoustic guitar; However, here is not a hymn, but a comparatively aggressive and " brutal Access" of guitarists detectable.

Title list

Billboard Album Charts

Reviews

Stuart According to Nicholson, the album is not just " rhythmically and harmonically liquid", but uses both modal harmonies and the Time, No change principle as the basis for improvisation, where the composition tempo, key and mood sets, but the choice of chord changes of spontaneous interaction of artist and musicians accompanying leaves. The music magazine Jazzwise recorded the album in the list The 100 Jazz Albums That Shook the World.

For Ian Carr extrapolation was one of the classic jazz albums of the decade and a virtual summary of common combo playing techniques; it anticipated the jazz-rock of the 1970s and showed that McLaughlin was already a good composer as well as great and original jazz guitarist was. Eric Thacker agrees with that judgment and emphasizes the " nice -consistent sequence of jazz excellence " in which already reflecting the free play. If it were one of the most original and prophetischsten albums that had arisen in British jazz for the transition in the 1970s. Scott Albin emphasized that the album was a classic, and McLaughlin have never topped it. Scott Yanow has rated extrapolation for Allmusic four and a half out of five; he is of the opinion that John Surman places dominate the album. For Richard Cook and Brian Morton, who distinguished extrapolation with the highest grade velvet crown in the Penguin Guide to Jazz, it is " one of the greatest albums ever recorded in Europe [ ...] It is essential and timeless. "

Alexander Schmitz says that McLaughlin " had built his own monument, stable and widely visible in the vast landscape of jazz and Fusiongitarristik stands today, a monolith, where no one comes by. " With extrapolation contrast, Ben Watson takes the view that the album had little innovative, but based on banal and harmoniously limited runs and melodies, even if some " pure Bailey " was here in McLaughlin's playing position.

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