© 1969 Polygram Records
Extrapolation is John McLaughlin's debut solo album. It was recorded at Advision Studios in London on January 18, 1969 and released later that year by Giorgio Gomelsky's Marmalade Records and distributed by Polydor Records.
John McLaughlin (born January 4, 1942), also Mahavishnu John McLaughlin, is a jazz fusion guitar player from Doncaster, Yorkshire in England. He came to prominence with the electric group of Miles Davis in the late 1960s, and with other well-known players such as Chick Corea and Tony Williams.
Before moving to the United States, McLaughlin recorded Extrapolation (with Tony Oxley and John Surman) in 1969. The album showcased McLaughlin as a guitarist of great technical virtuosity, power, speed, and inventiveness (such as the ability to play in odd meters).
This disc showcases John McLaughlin's proficiency as a Jazz musician and composer when he was still living in the UK, before he joined Miles Davis and the formation of the legendary Mahavishnu Orchestra.
Jazz / Fusion
The Inner Mounting Flame (1971) is the Mahavishnu Orchestra's first studio album. The back cover of the LP features a poem entitled "Aspiration" by Sri Chinmoy. A remastered version of the album, on CD, was released in 1998 by Sony Music Entertainment. It features a facsimile of the LP front cover, a new set of liner notes by Bob Belden, as well as many photographs of the band. The Inner Mounting Flame consists solely of original compositions by John McLaughlin. He was also the producer.
Jazz / Fusion
Birds of Fire (1973) is the Mahavishnu Orchestra's second studio album and the last one performed by the original Mahavishnu Orchestra line-up, before Jean-Luc Ponty replaced Jerry Goodman on violin and Narada Michael Walden replaced Billy Cobham on drums. As in the case of The Mahavishnu Orchestra's previous album, The Inner Mounting Flame, Birds of Fire consisted solely of compositions by John McLaughlin.
Classical / Flamingo / Fusion
Friday Night in San Francisco may be considered the most influential of all live acoustic guitar albums. Though some have criticized it for its muscular tendencies, the recording certainly captures the excitement of the event itself. In a world of electric guitars, it was quite unusual to hear a crowd go absolutely ballistic over acoustic strumming. It is not so unusual today, and this record is one major reason for that.