“We’re in the studio and Miles is in the control room and John McLaughlin starts messing around on his guitar and I come in then – whomp! – bassist Michael Henderson hits us with this heavy groove.

Along with original Mahavishnu Orchestra drummer Billy Cobham ... kick-ass live band to which the studio album only alluded. The group remained together for three years, but made a stop at Montreux in ...

Between Nothingness and Eternity was released in 1973 and proved to be the swansong of the first edition of The Mahavishnu Orchestra. While the band had produced two truly great studio albums ...

Also, we [the Mahavishnu Orchestra] were the younger generation ... Tony invited me to a jam with him and Jimi at the Electric Ladyland studio around the corner from the Vanguard.

And so Mahavishnu Orchestra, the way the American public reacted to it, it was simply unbelievable, and it just got stronger and stronger.” But by the end of 1973, with their third studio LP ...

The Mahavishnu Orchestra. It opened the doors to developing ... They gave me a platform, a studio, to record. Since I wasn’t the top dog [at Atlantic Records], I did what I could.

That opened the door to join forces with McLaughlin when he came calling to form the Mahavishnu Orchestra, one of the early pioneers of jazz-rock fusion. He then transitioned to live and studio ...

Detractors have dismissed fusion as masturbatory exhibitionism, but at its best (Mahavishnu, Miles Davis's electric bands, Return to Forever, Tony Williams Lifetime, Billy Cobham, Larry Coryell ...

In addition, he’s an excellent drummer whose stint in John McLaughlin’s Mahavishnu Orchestra coincided with ... in France way out in the country. The studio has open windows so you can see ...

That opened the door to join forces with McLaughlin when he came calling to form the Mahavishnu Orchestra ... playing on the group’s first two studio albums, including the classic debut ...