Mahavishnu Orchestra, Meeting of the Spirits | Throwback Vibez

In the 197^th edition of Throwback Vibez (2025), we recollect and reflect on “Meeting of the Spirits” by Mahavishnu Orchestra with John McLaughlin.

The vibes, the vibes, those Throwback Vibez! Throwback Vibez is a column that celebrates awesome songs from the past.  The records that grace this column are older, but that doesn’t necessarily mean they’re ancient – no fossils 🦴! All genres of music are welcome. In the 197^th edition of Throwback Vibez (2025), we recollect and reflect on “Meeting of the Spirits ” performed by Mahavishnu Orchestra.  

Fusion is one of many intriguing movements in jazz music.  Compared to other jazz styles, fusion is younger and departs from more traditionalist styles. Jazz is not monolithic, so, depending on who you ask (notably virtuosic trumpeter and composer, Wynton Marsalis), they may have a less favorable opinion of the rock-infused brand of jazz.  Regardless, groups like the Mahavishnu Orchestra, led by English guitar extraordinaire John McLaughlin (b. 1942), released some extraordinary, once-in-a-lifetime music.  One of my personal favorites from McLaughlin and company is “Meeting of the Spirits”, the opening track from the band’s 1971 album, The Inner Mountain Flame, one of the true fusion masterpieces.  Written by McLaughlin, “Meeting of the Spirits,” an undeniable masterpiece, is complex to the nth degree.

“Meeting of the Spirits” was written for guitar (McLaughlin), violin (Jerry Goodman, b. 1949), keyboard (Jan Hammer, b. 1948), bass (Rick Laird, 1941 – 2021), and drums (Billy Cobham, b. 1944). In many instances, the meter is notated as 6/4, though there are transcriptions in 3/4 and 6/8.  The introduction of the cut is written freely, with sustained, dissonant-sounding chords and drum fills. While these chords are bold, harsh, and shocking to the ear, theoretically, these advanced harmonies are incredibly clever. Following the free intro, the tempo is rapid, with all pitched instruments performing rhythmic lines (quick eighth notes). The basis of “Meeting of the Spirits” is modal, specifically F# Phrygian, which in scalar form comprises F#, G, A, B, C#, D, and E.  The altered notes compared to a F# Aeolian (natural minor) are the G, a lowered second in Phrygian mode.

The keyboards and guitar set the tone of “Meeting of the Spirits” once the tempo kicks in. The violin (Goodman) enters the mix for the first time once the vamp section is established. The drums (Cobham) provide an anchor, with the syncopated kick, and eventually, the inescapable ride. The fills by Cobham kick some serious ass and definitely take names. Some of the rhythmic figures and ideas are tied and written across the bar line, further increasing the complexity. McLaughlin delivers killer soloing on guitar, spirited with a rock attitude.  Beyond McLaughlin’s solo, there is a superb keyboard solo by Hammer. I love how busy the backdrop is, characterized by its rhythm and harmonic scheme (often vamping between F# minor and G major chords), while he has his moment to shine.  So much more could be said about the innovative, thought-provoking “Meeting of the Spirits”. All told, it is a stellar, must-hear record.