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Maha vishnu Orchestra, Visions of the Emerald Beyond. CBS SBP 474293

Reviewed by Kerry Doole

'Visions of the Emerald Beyond' can justly be considered the first self-contained product of the current Mahavishnu Orchestra; their other release, 'Apocalypse', including as it did the combined force of the London Symphony Orchestra.

'Virions' was recorded just a few months after the Orchestra's amazing NZ tour of last year. The line-up is the same; a nucleus of Ralph Armstron (bass), Gayle Moran (key-boards), Michael Walden (drums), Jean-Luc Ponty (electric violin), and, of course, Mahavishnu John McLaughlin (6 & 12 string guitars), augmented by five others including violins, trumpets cello, saxes and flute.

'Visions' soon reinforces the impression pined live of the prowess, indeed virtuosity, of all musicians (I was fortunate enough to see the Mahavishnu Orchestra Mach 1 in Montreal as well as the present line-up). Comparisons with the first orchestra may be pointless, but Ponty is clearly in a class of his own with his violin playing; Jerry Goodman to Jean-Luc Ponty is what Cilia Black is to Kiri to Kanawa. Even Roxy's music 'Golden Boy' Eddie Jobson is a comparative lightweight. Ponty's recent departure must have created a vacuum in the Orchestra. Again Michael Waiden can more than match Billy Cobham's express speed drum delivery, and Ralph Armstrong's bass provides all the balance and stability you could wish for and then some.

Side 1 opens with 'Eternity's Breath', Parts 1 & 2. The creation of a soaring atmosphere is impeccable; the sound of an organ rises, a plaintive, high-pitched guitar, quick switch to a wailing violin, a combined, light-ening-fast riff, drum roll, then a crescendo of voices invoking the love supreme. You're immediately transfixed, and the fade to violin and keyboards affords a welcome chance to breathe again. Tension builds with brass and voices returning, and the song fades out strongly (is that possible?).

A quiet piano introduces 'Lila's dance', then comes the typical McLaughlin surge upwards (a la 'Dream' or 'Inner Mounting Flame'). A haunting blues atmosphere dominates, Ponty's phrasings and the string section making significant contributions. The next track, 'I can't Stand your Funk', would leave Stevie Wonder or Billy Preston breathless. McLaughlin's visions may reach for the emerald 'beyond', but this shows he can play earthy soul pieces as well as anyone. Then a complete change of pace to bird songs. (It is called 'Pastoral') and an accoustic guitar intro. Ponty enthralls with a compelling solo. Then back to the bird songs. It's not Rock n' Roll, but I like it. A short testament of faith sees a sensuous laugh bring side I to a delightful conclusion.

How can you follow 24 mins. of music like that? Michael Walden answers with his own vigorous composition 'Cosmic Strut', More contrast comes with Gayle Moran's clear majestic vocals on 'If I could See', then it's back to the intoxicating high speed energy of 'Be Happy', McLaughlin and Ponty partake in a ferocious duel in which the only winner is you. A stand-out track ending all too soon, replaced by the exquisite flute and Moran's vocals on 'Earth Ship'. The next two numbers, 'Pegasus' and 'Opusl', run into each other, and with a duration of 2:12 it' scarcely a 'magnum opus'. They provide my one point of reservation about the whole album, for they see the Orchestra unexpectedly enyer the electronic eyries, occupied by Pink Floyd, Tangerine Dream, etc., most competently, naturally, but inconsequentially. 'On the Way Home to Earth', however sees them in a more characteristic setting, and a menacing aural change brings this amazing album to an end.