At 83 years John McLaughlin (Doncaster, United Kingdom, 1942) never stops. On the contrary, he seems driven to finish his projects, and he gives his time the value it undoubtedly has. Perhaps that's why he kindly attends to expoflamenco when your testimony is required for the series The chosen ones, but he's strict about the limits: only five questions, no more. But five answers from someone who's been on stage for so long is a lot.
McLaughlin has recorded for Miles Davis, Gil Evans and the Rolling Stones, improvised with Jimi Hendrix and given guitar lessons to Jimmy Page… And he formed, together with Paco de Lucía and Larry Coryell (and later with Al Di Meola), the Guitar Trio that definitively opened the doors of the jazz market to the genius from Algeciras. That adventure was captured in albums such as Friday Night in San Francisco o Paco and John, the latter recorded together in Montreux in 1987. Also memorable is the concert they gave at Expo '92 in Seville. A legend who has never forgotten his friendship with that Spanish colleague touched by magic.
– Everyone agrees that Paco was a guitar genius, but no one seems to agree on what exactly made him so superior to other guitar musicians. flamencoCould you tell us what made it unique?
– First, his love for the guitar was fundamental to his life. Second, he had enormous self-discipline to achieve excellence. Third, Paco was a true artist in the sense that he was willing to take risks in the development of his music and his art. In this sense, he welcomed other musical cultures, primarily jazz and the music of Slavic and Arab countries, and allowed them to influence him. In doing so, he was criticized by purists, who are the disgrace of all musical culture, although later the flamenco community and the entire world would recognize how intelligent he was for doing so.
– Paco himself acknowledged that, when he joined the Guitar Trio, he had significant limitations, especially when leaving the field of flamenco and venture into the language of jazz. Do you remember how its evolution developed?
Paco himself told me on numerous occasions that he felt limited by the improvisations at the heart of jazz. However, those so-called limitations didn't last long. Paco threw himself into the heart of jazz with a profound love. That love, combined with his natural genius, gave him the ability to play on the same level as Chick Corea, me, and many other jazz musicians, and his music was recognized throughout the jazz community.
"Paco de Lucía welcomed other musical cultures, primarily jazz and the music of Slavic and Arab countries, and allowed himself to be influenced by them. In doing so, he was criticized by purists, who are the bane of all musical culture, although later the flamenco community and the entire world would recognize how intelligent he was for doing so."
– The Guitar Trio is remembered as a joyful gathering of great musicians (you with Paco, Larry Coryell, Philip Catherine, and later Al Di Meola), captured in delightful albums, but also with a certain competitiveness. Do you enjoy recalling that adventure, or do you have bittersweet memories of it?
– If we go back to the 18th century, piano competitions were regularly held in the homes of aristocrats and patrons. The moment you put three or even two instrumentalists playing the same instrument, a kind of competitiveness arises from the outset. This is absolutely natural and even welcomed, not only by musicians but also by listeners, and you'll find it in all musical cultures around the world. Musicians basically play for love, and as a result, these competitions are friendly and, I would say, important in the sense that we challenge each other to reach uncharted territory in improvisations.
– What was Paco like offstage? It's said he enjoyed beating them at cards, but what other personal anecdotes do you remember about him?
– Paco was a beautiful and wise human being. Yes, we used to play cards and other games on tour to pass the time while traveling. In the 1980s, at Christmas and during summer vacations, Paco and I would meet in the Basque Country to watch Jai Alai games in the towns and villages around Durango. We also teamed up to play Trinquet, Basque pelota, with friends in the French region of the Basque Country.
– Do you remember how you received the news of his death? Do you still think about him often?
– I'll never forget the moment I received the news of Paco's loss. Even now, when I think about that moment, I'm filled with sadness and melancholy. Yes, I think about him often and recently made a pencil portrait of him. ♦
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