You don't have to call him Mahavishnu anymore. John McLaughlin, one of the most influential and accomplished electric guitarists of this decade, has finally ended his public association with Sri Chinmoy and decided to concentrate exclusively on making music. After virtually inventing the jazz-rock fusion style with Miles Davis, the Tony Williams Lifetime and his own Mahavishnu Orchestra, McLaughlin became so concerned with his devotion to Chinmoy that he alienated his peer musicians.

When the original Mahavishnu Orchestra broke up in a decidedly secular atmosphere of bitterness and self-righteous recrimination, McLaughlin seemed lost for a time, releasing several unconvincing albums tied to vaguely spiritual themes. His recent acoustic work with Shakti indicated a return to his best musical instincts, but Electric Guitarist is a major breakthrough. The record documents McLaughlin's reconciliation with Jerry Goodman and Billy Cobham from the old Mahvishnu Orchestra and provides the kind of stylistic self-realization characterized by Jeff Beck's landmark instrumental LP of last year, Wired.

The seven tracks on Electric Guitarist assemble five different groups of the most talented jazz-rock players in the world. "New York on My Mind" is a virtual duplication of the early Mahavishnu sound. McLaughlin's guitar and Goodman's violin re-create that classic clamor, while Cobham's drumming kicks them along, and keyboardist Stu Goldberg plays the Jan Hammer parts flawlessly. Cobham and McLaughlin catch fire on the duet, "Phenomenon: Compulsion," in an astonishing display of all-stops-out soloing–the pair pumping furiously, yet playing with cool precision.

On "Friendship," John McLaughlin is joined by Devadip Carlos Santana, another guitarist whose music has often been subservient to his religious beliefs. The two musicians improvise lyrically on a beautiful theme, exchanging leads over a Latin rhythm section led by conga master Armando Peraza. Santana's longtime musical director, Tom Coster, adds a marvelous organ accompaniment. "Every Tear from Every Eye" features David Sanborn's alto sax sharing the action with McLaughlin.

The album's high point is "Do You Hear the Voices That You Left Behind?," an ingenious restructuring of John Coltrane's monumental "Giant Steps." The song is masterfully constructed, opening with McLaughlin's restrained statement over a crisp cymbal pattern from Jack De Johnette and Chick Corea's slightly dissonant piano. McLaughlin then breaks into a lightning-fast solo with the others sailing along, and Stanley Clarke pins everything down with a double-time walking bass. Corea blocks out chords behind him, momentarily recalling the way these players interacted in the Miles Davis group. After Clarke's bass solo and a furious call and response among all four musicians (Corea on synthesizer), the number finishes with a sustained resolution from McLaughlin.

"Are You the One? Are You the One?" reunites the outstanding Tony Williams Lifetime combination of Williams, McLaughlin and bassist Jack Bruce. If ever there was a power trio worthy of the name, this is it. McLaughlin plays through a wah-wah at his loudest and gutsiest, while Bruce matches him at every step, interlocking with Williams' virtuoso drumming for a performance that's pure dynamite. McLaughlin ends the record on a pensive note with an understated solo version of the ballad, "My Foolish Heart."

Electric Guitarist is a step in the right direction for John McLaughlin and an indication that the much-maligned jazz-rock fusion style is a long way from dead. It would be interesting to see McLaughlin tour with Williams and Bruce again, because together, these three musicians could put most conventional rock bands to shame. (RS 272)

JOHN SWENSON