If you were looking for one John McLaughlin record you might play for a curious friend, this would be the one. Extrapolation was McLaughlin's first album release as a leader, and it sounds as fresh today as it did way back in 1969. From the opening strains of "Extrapolation" to the closing softness of "Peace Piece," this album presents a fine modern European jazz quartet in full charge of the sounds of their time.
Extrapolation features the under-appreciated John Surman on sax, Tony Oxley on drums and Brian Odges on bass. (Odges had just replaced Dave Holland, who was on his way to meet Miles in New York).
This quartet blazes through McLaughlin's JAZZ-blues-rock compositions and forms a hodge-podge of restless rhythms and irresistible hooks. Yet, despite its freeness (not meant in a strict jazz sense), Extrapolation is also quite cogent and thematic, as most tunes effortlessly run into each other. As always with McLaughlin, all of the players are allowed to excel and this makes for a very pleasing mix. Odges is surprisingly active and some even believe Surman steals the show. Oxley was a young star who never seemed to catch on in the States, but he remains a well-respected drummer in Europe.
Extrapolation also offers glimpses into the future. It presents the melody that would eventually become "Follow Your Heart." We discover "Arjen's Bag" (named after Dutch bassist Arjen Gorter) and "Pete the Poet." And don't forget about Binky. There is a bit of a beatnik sensibility to this album.
It would take the world 20 years to discover how truly timeless this album was. Extrapolation is definitely a jazz record. The great traditional jazz guitarist Joe Pass didn't have much interest in Mahavishnu John McLaughlin or fusion music. But someone played him this record once, and he commented that at least this guitarist (McLaughlin) knew how to play jazz. You think? - Walter Kolosky
Another one of those albums whose beauties grow apparent with repeated playing. McLaughlin is of course the young British guitarist who has recently been working with Miles Davis and the new Tony Williams group. His association with these men seems to have been anticipated by the music on this album, which in mood and construction continually recalls the latterday Davis albums from ESP onwards.
Tony Oxley’s interpretation of Tony Williams also adds to this feeling, and I must add mine to the many voices which have praised the recent improvement in Oxley’s playing. Surman needs no recommendation; he plays baritone on most tracks, and the blend of this instrument with the guitar is very satisfying. Certainly his form here confirms his world status.
McLaughlin is what one must, to differentiate from the Kessel lot, describe as a new wave guitarist, the style pioneered by Gabor Szabo, though McLaughlin sounds more like Jerry Hahn. He utilises rapid note-clusters inspired by the more modern trumpeters, and Szabo-like oriental effects. He relies very little on blues licks, and uses no feedback. He has been cited as yet another example of the links between pop and jazz, but only because he has worked in pop circles, which means nothing of course.
There are no signs of contemporary rock here; it’s jazz, very modern, very good. It would not have been half the album without Surman or even Oxley, but that hardly matters. What is important is the excellence of the group concept. - David Illingworth (Jazz Journal 08/1969)
Tracks
01. Extrapolation
02. It's Funny
03. Arjen's Bag
04. Pete The Poet
05. This Is For Us To Share
06. Spectrum
07. Binky's Beam
08. Really You Know
09. Two For Two
10. Peace Piece
JOHN SURMAN baritone saxophone, soprano saxophone
BRIAN ODGES bass
TONY OXLEY drums
JOHN McLAUGHLIN electric guitar, acoustic guitar
Recorded January 16, 1969 at Advision Studios, London
Polydor - 841 598-2