John McLaughlin - Belo Horizonte WIth Paco De Lucia 12" Vinyl LP Album

In the smoldering crucible of 1981, John McLaughlin, the British guitar virtuoso who had already blazed trails with Miles Davis and his own Mahavishnu Orchestra, threw another log on the fusion fire. Teaming up with the flamenco firebrand Paco de Lucia, he unleashed "Belo Horizonte" upon an unsuspecting world.

This wasn't your dad's jazz, folks. It was a furious collision of continents, a sonic clash of cultures. McLaughlin's electric guitar, a weapon of mass distortion, met de Lucia's nylon-string flamenco guitar in a duel that transcended genre. The result? A wild, untamed beast of an album that defied categorization, earning both acclaim and controversy for its bold fusion of jazz, rock, and flamenco elements.

Recorded at the Power Station in New York City, a studio known for its raw, gritty sound, "Belo Horizonte" captured the raw energy of the performances. McLaughlin's band, a crack team of fusion all-stars, including percussionist Trilok Gurtu and bassist Kai Eckhardt, laid down a rhythmic foundation that was as complex as it was propulsive.

The album opens with "One Word," a blistering track that sets the tone for the rest of the album. McLaughlin's guitar soars and dives, weaving intricate lines over de Lucia's fiery flamenco flourishes. It's a musical conversation that's both intense and playful, a testament to the deep musical connection between the two guitarists.

Other tracks, like the title track "Belo Horizonte" and "David," showcase the band's ability to blend seemingly disparate styles into a cohesive whole. The music is at once intricate and accessible, challenging and rewarding. A particular highlight is "Manitas de Oro," a dedication to de Lucia, where the two guitarists engage in a breathtaking display of virtuosity. The album also features Katia Labèque, a classical pianist, whose contributions add another layer of texture and complexity to the music.

Of course, not everyone was a fan. Some jazz purists dismissed the album as a sellout, a watered-down version of McLaughlin's earlier, more experimental work. But for those who were open to new sounds, "Belo Horizonte" was a revelation. It was a bold, ambitious album that pushed the boundaries of what was possible in music.