John Mayall - The Turning Point (1969, Polydor); He Was Ahead of His Time
John Mayall live at Fillmore East, Jul 12, 1969 (Wolfgang's)
John Mayall - The Turning Point - Documentary
Liner Notes
John Mayall - vocals, harmonica, slide guitar, keyboards; Jon Mark - nylon string guitar; Johnny Almond - saxophones, flute; Steve Thompson - bass
Like Eric Clapton and Peter Green before him, it was inevitable that lead guitarist Mick Taylor would eventually conclude his tenure with John Mayall's Bluesbreakers. With Mayall's blessing and recommendation, Taylor became a Rolling Stone in June of 1969. Bluesbreaker's drummer, Colin Allen, would also depart the band at this point to join Stone The Crows, leaving Mayall and bass player Steve Thompson as the only remaining members. These events would trigger a major shift in Mayall's music, beginning with the formation of a new group. Although blistering electric guitarists had been a prominent element of Mayall's music for years, he would not pursue trying to replace Taylor or Allen. Instead, Mayall would daringly reinvent his music, forming an acoustic based band that would eliminate drums and electric lead guitar altogether. A distinct departure from the high volume electric blues of his previous outfits, this new group would create rich textural music that would incorporate folk, jazz, and roots-based elements into their blues-based sound. This was a courageous move at the time and Mayall was determined to push his music into new areas. To help him achieve this musical vision, he recruited two new musicians that would prove to be inspired choices.
Mayall brought on board the highly accomplished acoustic finger-style guitarist Jon Mark and one of the most talented multi-instrumentalists in England, Johnny Almond. Both of these musicians had distinguished careers as session musicians. Guitarist Jon Mark had been a member of Sweet Tuesday (a group that also featured Alun Davies, a critical element in Cat Stevens future fame and pianist to the stars, Nicky Hopkins) and had spent the past three years as accompanist to Marianne Faithful. Johnny Almond had been a prominent element in the success of Alan Price and Zoot Money's respective bands and had contributed sax to two of Mayall's most popular albums, the classic Blues Breakers with Eric Clapton and A Hard Road, which firmly established Peter Green's reputation.
This new primarily acoustic quartet, of Mayall, Thompson, Mark, and Almond would immediately hit the road, performing all new material that was quite the departure from previous Mayall projects. The absence of drums and electric lead guitar helped to facilitate the more atmospheric and intimate sound that Mayall was pursuing. One of the most memorable performances by this new lineup occurred on July 12, 1969 at Bill Graham's Fillmore East in New York City, just weeks after the new group's formation. Recorded and released as Mayall's The Turning Point LP, this prophetically titled live recording would capture an outstanding performance that featured a diverse range of sonic textures and moods. Although it was a radical change from the electrified blues that Mayall's reputation had been built upon, the Fillmore East audience would embrace this new direction and help to inspire what has come to be considered one of Mayall's definitive works. The recording would even provide Mayall with the biggest hit of his entire career, with his memorable harmonica workout on "Room To Move."
The recording from this now legendary Fillmore East performance begins with the politically charged "The Laws Must Change." Directly addressing recreational drug use and counter-culture concerns, this song signals a distinct shift in Mayall's writing, which had never previously addressed social issues. Right off the bat, it becomes readily apparent that this is one talented group, capable of deceivingly effortless interaction. With bassist Steve Thompson providing the bottom end and the majority of the rhythm, Mayall has structured this group so that instrumental solos emerge and soar above the intricate backing of bass and acoustic guitar. On "Saw Mill Gulch Road," which follows, Jon Mark's intricate acoustic work thoroughly complements Mayall's haunting slide guitar solos. Throughout this performance, Jon Mark's skillful precision and tasteful improvisations on acoustic finger-style guitar stimulate the other musicians, especially Johnny Almond, whose inspired sax and flute solos take several of these numbers into the realms of pure jazz. It's no wonder that Mark and Almond would team up after their tenure in this band to pursue a similar style that would venture even deeper into jazz textures and instrumentation.
"I'm Gonna Fight For You J.B." is a fine example of Mayall's most personal writing up to that point, while the tight interaction and drifting solos that punctuate "So Hard to Share" approach the type of controlled intensity that often defined Mayall's previous work. The possible peak of this performance comes with "California," where Mayall would soon relocate. Here the use of woodwinds and acoustic guitar, combined with Mayall's harmonica, continue the flirtation with jazz textures and its elegantly flowing groove epitomizes the new approach, free of excess. This song would become an FM radio staple at the beginning of the next decade and along with "Room To Move," help propel the success of The Turning Point LP. Here, all four musicians work to create a crisp, contrasting sound and the acoustic instrumentation works exceedingly well. Almond's sax work is remarkable and his harmonic climb helps to create one of the most beautiful performances of the entire set. "Thoughts About Roxanne" continues to explore Mayall's more introspective and personal writing before the recording closes with the definitive example of his harmonica prowess, "Room To Move."
Throughout this performance, Steve Thompson's unassuming bass playing, Jon Mark's inspired nylon-string guitar improvisations and Johnny Almond's sometimes vigorous, sometimes sultry sax and flute work raise Mayall's compositions to extraordinary heights, while proving that in the right hands, indeed less can be more. Mayall and this group were breaking new ground here and like the best of jazz musicians, they think loose while playing in a remarkably tight manner. In the process, they created a new sort of fusion, combing elements of blues, folk, and jazz that were accessible to a rock audience.
This new music showcased a more introspective side of John Mayall, which few of his fans had ever experienced and represented a turning point in the evolution of all four musicians. In many ways, this recording represents some of the most beautiful and overtly enthusiastic music of Mayall's career. While much of Mayall's previous music now sounds dated and of it's time, much of the music performed here retains a timeless quality and contains a depth that continues to reward repeated listening. Upon their inevitable departure, John Mark and Johnny Almond would team up and further explore this recipe in the critically acclaimed Mark-Almond band. (Wolfgang's)
John Mayall – July 1969
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THE MUSICIANS
(In order of photographs top to bottom, on the left)
JOHN MAYALL – vocals, harmonica, slide guitar, telecaster 6 string guitar, tambourine, mouth percussion
JON MARK – acoustic finger-style guitar
STEVE THOMPSON – bass guitar
JOHNNY ALMOND – tenor and alto saxophones, flutes, mouth percussion
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THE MUSIC
Side 1
THE LAWS MUST CHANGE
Composer - Mayall
Key - C
Time - 6.13
A few personal observations of police vs. youth and the drug situation
SAW MILL GULCH ROAD
Composer - Mayall
Key - E
Time - 4.38
The story of an innocent encounter one night in Monterey, California
I’M GONNA FIGHT FOR YOU J.B.
Composer - Mayall
Key - B
Time - 5.11
Fondly dedicated to the late J.B. Lenoir whose talent has yet to be acknowledged
SO HARD TO SHARE
Composer - Mayall
Key - G
Time - 6.43
Patricia and a possessive ‘old man’ who stood in our way
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Side 2
CALIFORNIA
Composer - Thompson/Mayall
Key - D
Time - 9.14
Improvisations and moods on the theme of homesickness
THOUGHTS ABOUT ROXANNE
Composer - Thompson/Mayall
Key - C
Time - 7.50
Memories of my love and friendship for a special girl in Los Angeles
ROOM TO MOVE
Composer - Mayall
Key - D flat
Time - 4.34
A musician’s need for personal freedom to love without entanglement
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THE CREDITS
Producer: John Mayall
Engineer: Eddie Kramer
Location: Bill Graham’s Fillmore East, New York City
Date: 12th July 1969
Photographers: Barrie Wentzell, Mayall, Zill, Larry La Fond, Bob Gordon and Tapani Tapanainen
Design and Artwork: John Mayall
Music Publisher: St. George Music Limited, Copyright 1969
Fan Club Newsletters: 67 Brook Street, London W1, England
Johnny Almond appears by the kind permission of The Decca Record Company Limited, England (to whom I owe much)
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JOURNALIST CHRIS WELCH REVIEWS THE FIRST BRITISH PERFORMANCE
They’re sensational! The new Mayall ‘blues without bashing’ band have suddenly developed into the most original, refreshing and exciting group in Britain, nay the world. Minus a drummer and minus the usual battery of amplifiers, the band, as a result of John’s inspirational change of formula, are creating some of the most subtle and rewarding music I have had the pleasure of hearing in many moons.
At the Cambridge May Ball last week, the band received an ovation from the hippest audience ever to wear full evening dress and gowns. The new group, with finger-style guitarist Jon Mark added at the last moment, made their debut at the Paris Olympia and went on to tour Germany. Cambridge was their first English date. John is playing harmonicas and electric guitar plugged into his PA system, having dropped organ, piano. Multi-instrumentalist and looner-extraordinary Johnny Almond is on flute, tenor and alto.
The range of sounds and moods they obtain is staggering.
It has to be admitted, I was extremely dubious about any band working without drums, which I thought could only lead to hours of boredom. However they played two sets, the second proving more together and intense than the first. Johnny Almond’s playing was brilliant throughout. After years of hard work with many English bands, he is surely destined to be a star. With the low level of volume he can play the sweetest sounds without being overwhelmed. The same holds true for the fine guitar of Jon Mark, who used to accompany Marianne Faithful, before going into session work. Steve Thompson on bass provided the firm pulse to their music and worked in such a way the absence of a drummer was quite unnoticeable after one became accustomed to the sound.
But the most remarkable feature of the new band is their interplay and empathy. Sometimes, perhaps only one member is playing, then the others join in gently, building up to climaxes that sound all the more exciting for the restraint that has gone before.
Talking later over a meal in the library, Mayall said the plan now is to get an LP out of the new band and he wants to record it live at the Fillmore in America. Speaking personally, I can’t wait to see the effect they’re going to have on the rest of the country and of course, the music scene.
– Courtesy of Melody Maker 21st June ‘69
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INCLUDED INSIDE IS A FOLDER CONTAINING PHOTOGRAPHS AND THE LYRICS OF THE SONGS
This year has been something of a rush so far and the changing face of my music has had a lot to do with this. During the tour of the USA that I did between February and May 1969 it became apparent that Mick Taylor was showing signs of following the pattern of his illustrious predecessors and about ready to make his mark in the world as a name and a musical leader. It no longer seemed logical to me that I should find yet another new lead guitarist; since Eric Clapton more or less founded a whole cult of blues guitar stylists, too many people are into that bag for it to mean much anymore. So I have now got a new thing in operation whereby drums are not used on the theory that every instrument is capable of creating its own rhythm. An acoustic finger style guitarist of the finest order, Jon Mark, replaced drummer Colin Allen, Johnny Almond on flutes and saxophones replaces Mick Taylor who made the headlines a week after leaving me when he was asked to join the Rolling Stones. Within the new format Steve Thompson is now heard to much greater advantage and I’d go as far to say he is the best bass player I’ve yet worked with. In addition to his prodigious playing, he is developing a flair for composition which is well illustrated on this album. That is all I have to say except that having bought the album I hope you will enjoy the new sounds and the new songs, the lyrics for which are printed overleaf.
STEREO
Polydor Inc. 1700 Broadway, New York, N.Y. 10019
24-4004
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