The Parable of Two Garys, and One John.

And Etienne, and Ranjit too.  By now, I’m sure these names hint what this entry is all about. The 4^th Dimension - the current quartet led by guitar pioneer John McLaughlin - was set to play at the Grand Sunset Pavilion of  Sofitel Phillipine Plaza on March 16, 2014 .

There’s got to be only one John. McLaughlin formed the Mahavishnu Orchestra, which happens to be among the major forces seminal to the rock-jazz movement (alongside Return to Forever and Weather Report, as far as I can remember). And then he turns around, picks up the acoustic guitar, goes unplugged before even the term was hip, and gravitates towards the contemplative powers of Shakti.

If the gospels ascribe John (the Beloved) as Christ’s loved disciple, McLaughlin comes as the John (the guitarist) Miles loved. He played on the Miles Davis’ birth-of-fusion album “Bitches Brew”. Davis’ must have loved him that much as one track is simply titled ‘John McLaughlin’. And he went on to play with Miles for more releases. Any musician or serious fan would willingly be a part of history that is written tonight.

McLaughlin’s evolution has blown, run down, inspired, appalled, deconstructed, and blasted writers, musicians, critics and creatives into dust. But as the set begins, there is no hint of nostalgia. Now they’re tearing the set song after song from the album “John McLaughlin and 4^th Dimension: Boston Record” (released by Abstract Logix), and it was a set of generally unfamiliar material. But in fusion-speak, there is a tinge of “Where Have I heard You Before?” prevalent in the hall.

One thing was so familiar with the audience was the vibe- it was home for all of us. This quartet of virtuosos was at the top of its game, and then there’s McLaughlin. His snooker-pool eyeballs rolling upward as he dips through, in and beyond the zone, Armed with a solid body PRS, McLaughlin is as McLaughlin can get. Jagged guitar lines tear each solo, theme after theme knocked down to give way to creations on the fly. It was a communion - they were all giving, all sharing the common universal language and we were fortunate enough to partake of everything that was brought to the table. Eyes were closed, standing ovations given number after number, heads bobbing up and down, a happy Lourd De Veyra (of Radio Active Sago Project) dancing at the left side of the hall – it was a convergence. Etienne M’bappe on bass was spectacular live, Gary Husband on dual instruments (drums and keyboards) was unbelievably handling rhythmic, soloing and harmonic roles, while Ranjit Barot always won over with polyrythms, grooves and trading konnakol phrases (Konnakol or konakkol is a South Indian percussion style using syllables).

Virtuosity aside, the songs and the arrangements hold high merit. Crafty arrangements, riffs and hooks (yes hooks) were aplenty. It was a breather from the current “unison-motif-start-stop” fusion material. The track “Abbaji”  - which may well be lifted directly from the “A Love Supreme” template  - ushers THE moment and transforms the hall into one stream – featuring Barot’s vocals. “Little Miss Valley” is a raunchy, riff driven number.

The evening ended with the whole quartet signing autographs on CDs, LPs and even guitars. I joined in – nary an idea that I lined up for my biggest boo-boo. I approached the table and as I went to Gary Husband, the fan in me was fumbling of something to say: And said something, like how I was really amazed with his playing, and that his work on Tribal Tech was highly influential.

Ooops.

Husband said “Sorry, I never played with them, but yeah they’re good. I know the guys”. Something like that.

Then it dawned that it was another Gary. Gary Willis. Ugh. How could I miss Husband? The guy behind Allan Holdsworth’s  Secrets, Atavachron and my favorite, Metal Fatigue  - how could I? Well I guess if it happened to Tuck Andress as he met Carlos Santana on the hallway, It can – and it did - happen to me too. Being so dazed, confused, blown and all.

I hope Gary forgives me. Forgiveness, after all, is a doctrine of the gospel. 

And this, is the gospel according to John (McLaughlin).  

Addendum:

After having my CD signed, I approached someone at the end of the queue, and told him: I know you didn't perform tonight, but I would like you to sign my CD too.

He replied: " Wasaaaaak", and obliged with the note: " Idol ko sila , Lourd".  Here's that that near-cryptic message. 

Thanks, Lourd.