Note: For this, my 1500th blog entry, I’m taking a look back in time. The events described herein took place more than a year and a half ago, so please take the specific details with a grain of salt. I find that I had to wait this long to allow the events to settle in
Continued from Part Three… Bill Kopp: Speaking of playing onstage, how do the live pieces differ from the studio versions? Do you open them up for improvisation, or are they tightly structured? John McLaughlin: Oh, yes! The minute we start playing. They even change in the studio; take 1 could be different from take 2.
Continued from Part Two… Bill Kopp: This is an obvious thing to say, but since instrumental music has to convey its messages without the benefit of lyrics, it has to do so using tone, volume, melody, harmony and so forth. When you compose a piece, do you think about it in extramusical terms – that
Continued from Part One… Bill Kopp: A Tribute to Jack Johnson is among the most underrated of all Miles’ works, I think. John McLaughlin: A lot of people don’t underrate it, though. Especially him. And in the end, he’s the one that counts. BK: You composed all of the tracks on the new album. How
Far be it from me to attempt to introduce John McLaughlin. One of the world’s greatest guitarists, his career has spanned five decades. His latest album Now Here This is credited to John McLaughlin and the 4th Dimension, and it’s the third studio album from this particular improvisational jazz outfit. The band’s 2013 tour will
A sell-out crowd of 80,000 descended on a barren 70-acre tract in middle Tennessee (halfway between Nashville and Chattanooga) for the Bonnaroo Music & Arts Festival, one of the world’s largest and most successful festival enterprises. This year’s lineup of bands for the four-day event (June 14-17) was more varied than in previous years, with