In 1973, Pink Floyd recorded Dark Side of the Moon, the Who released Quadrophrenia, Aerosmith’s debut album came out, and the number one best-selling single was Tony Orlando and Dawn’s Tie a Yellow Ribbon Round the Ole Oak Tree. Tucked well beneath the top sellers and hit singles existed a host of progressive bands that pursued the breadth of their members’ vision and, through sympathetic record labels, serviced those efforts to the public. The Mahavishnu Orchestra represented a genre that actually grew during this blasé year: jazz-rock fusion bands popped up all over the landscape, joined by the growing progressive rock movement represented by groups like Queen, E.L.P., and Yes. So, although the majority of the world might have been mellowing out on a steady diet of cheesy pop, I stayed busy on the cutting edge with John McLaughlin and his thundering ensemble.

John’s lightning-fast melodies, staccato musical bullets, and ethereal pastels of phasing guitar provided an incredibly high standard for his companions to keep up with. But take him on they did. Jerry Goodman’s electric violin glided along in perfect symmetry to John’s best licks, breaking off suddenly to flip into a stunning counterpoint. Jan Hammer’s fiery and masterful keyboard duels with the bandleader set a standard that every subsequent jazz-rock fusion ensemble would strive to meet. Billy Cobham could be given a generous solo slot in each show, but often, as in “Dream” from the Mahavishnu Orchestra’s live album, he would dart in to provide sizzling rhythmic encouragement to a McLaughlin jam. Rick Laird, although he was given far less solo space, never ceased to be an inventive weaver on his bass.

With the Mahavishnu Orchestra evolving into a crack live unit and recent studio attempts not quite connecting, the band members decided to tape two upcoming concerts and see if the live takes on the new material would hit the mark. For the high profile performances on August 17 and 18, 1973, in New York City’s Central Park, I put together the largest music reproduction system Dawson Sound had ever mustered. With applauding, appreciative fans stretched all the way to the trees on each flank, and Manhattan’s tall spires glaring down from beyond, these concerts were truly inspiring to the band members, who played magnificently on both days. Sonically, the system proved to be a great success, especially in reproducing the sound of Cobham’s drums, which resonated deeply across the field.

McLaughlin and the band members felt these Central Park performances more accurately captured the essence of the Mahavishnu Orchestra as it existed at that moment, surpassing previous studio efforts to record a follow-up to Birds of Fire. After taking weeks for the band to mix these multi-track tapes in the studio, an album of new musical pieces from the concerts, Between Nothingness and Eternity, was released.

Earlier in the year we played all kinds of venues, from college gymnasiums to concert halls, and every performance had special moments. You can find some of these special moments on Wolfgang’s Concert Vault. One concert in particular, Waterbury, Connecticut in May, 1973, is especially vibrant and inspired. Even if you are not a fusion fan, Mahavishnu Orchestra is worth the listen. Don’t be surprised if you are taken aback by each band member’s musicianship and skills blending to create an electrifying musical experience. A major sense of spirituality thoroughly permeates this music, so prepare yourself to be energized, stimulated, and awakened into the realm of high-octane sound.

Mahavishnu Orchestra at the Waterbury Palace, 1973

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