The first track features Al di Meola and Paco de Lucía teaming up for a medley of di Meola's "Mediterranean Sundance" (first recorded by the duo on di Meola's classic 1976 album Elegant Gypsy) and de Lucía's own "Rio Ancho." It is a delightful performance, full of the fire and inhuman chops that one expects from two players of this caliber. Broken up into three duo and two trio performances, Friday Night in San Francisco catches all three players at the peaks of their quite formidable powers. Loose and spontaneous, this (mainly) live album is a meeting of three of the greatest guitarists in the world for an acoustic summit the likes of which the guitar-playing community rarely sees. Johnny Almond (Tenor Saxophone, Alto Saxophone, Flutes, Mouth Percussion) John Mayall (Vocals, Harmonica, Slide Guitar, Acoustic Guitar, Tambourine, Mouth Percussion)
Thoughts About Roxanne (John Mayall/Steve Thompson) 8:21 California (John Mayall/Steve Thompson) 9:31Ħ. The Laws Must Change (John Mayall) 7:22Ģ. by Lindsay Planer, AMGĪlbum: The Turning Point (Live at Bill Graham's Fillmore East, New York City)ġ. The politically charged "Laws Must Change," the personal "I'm Gonna Fight for You J.B." and the incomparable "Room to Move" are tinged with Mayall's trademark sense of irony and aural imagery. Likewise, Mark's intricate acoustics pierce through the growl of Mayall's haunting slide guitar solos on "Saw Mill Gulch Road." The Turning Point also examines a shift in Mayall's writing. The taut interaction and wafting solos punctuating "So Hard to Share" exemplify the controlled intensity of Mayall's prior electrified outings. It becomes readily apparent that Mark's precision and tasteful improvisational skills place this incarnation into heady spaces. Mayall (vocals/harmonica/slide guitar/telecaster six-string/hand & mouth percussion) joined forces with former associates Steve Thompson (bass) and Johnny Almond (tenor & alto sax/flute/mouth percussion), then added the talents of Jon Mark (acoustic finger-style guitar). Mayall gave this potentially negative situation a positive outcome by retooling the combo into an acoustic quartet featuring old friends as well as some vital new sonic textures.
After the passing of Brian Jones, the Rolling Stones decided to tour and at the behest of Mick Jagger, Mayall suggested Mick Taylor - who had been with him since Crusade (1967). The specific lineup featured here is conspicuous in its absence of a lead guitarist, primarily due to Mayall recommending himself out of his most recent string man. This album also signifies a distinct departure from the decibel drowning electrified offerings of his previous efforts, providing instead an exceedingly more folk and roots based confab. This prophetically titled project represents yet another crossroad in John Mayall's ever evolving cast of prime British bluesmen.
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