John McLaughlin's greatest strength, other than being the quickest ever electric guitarist in jazz, has been the ability to reinvent himself. With
Floating Point, he has vastly improved the concept he originally fomented on the CD
Industrial Zen, where he used a variety of different groupings. This ensemble has a relatively finite lineup, modified from the previous combo in that they play to
McLaughlin's strong willed ideal of fusing his guitar synthesizer to a more contemporary sound. Where
Industrial Zen was more about jamming, the band here is focused and cohesive, playing deft melodies and busy, rhythmic funk that allows the music to breathe considerably deeper.
McLaughlin's impressive core sidemen include the formidable electric bass guitarist
Hadrien Feraud who is retained from the prior band, and drummer
Ranjit Barot. They are active players whose concentrated styles and techniques fit well with the naturally fleet guitar work of
McLaughlin. What makes this recording listenable over time is the consistency of the music while avoiding being homogeneous. "Raju" has that distinctive
McLaughlin signature quality, with blurring unison lines and an Eastern Indian flavor so important to the spirit of the guitarist. The darting and dancing melody of "Off the One" is also pure
McLaughlin, as stated over the years. He has forged bonds of steel with this band via the busy drumming of
Barot to match the pronounced zig-zag patterns, and a bamboo flute on top of it all. Scat singing during "The Voice" with gliding guitar synth from the leader sounds like musical velvet, while the Indian scat of "Inside Out," complemented by the electric mandolin of U. Rajesh, reflects
McLaughlin's days with
Shakti merging with
Mahavishnu-type sixteenth notes in brave counterpoint. A funkier side comes out during "Abbaji (For Alla Rakha)" in the reconstructed style
McLaughlin has favored since the album
Belo Horizonte, with soprano sax from
George Brooks, and the Hundustani slide guitar of
Debashish Bhattacharya in the midst of the melody, while a slower, soulful, contemporary beat identifies the lotus flower-sweet "Maharina." Unexpected sounds are on the tail-end of this CD, as a happy samba with bamboo flute identifies the brightest track, "1 4 U." The closer "Five Peace Band" is a fast tick-tock organ-based jam with a straighter, less processed electric guitar, and is a prelude to the all-star ensemble of the same name that
McLaughlin was forming with
Chick Corea. This is a surprisingly fine effort, ebbing and flowing from track to track, with
McLaughlin's high-level musicianship shining through, same as it ever was. ~ Michael G. Nastos