I have a profound affection for Buddhism, and Zen Buddhism's particular ways of meditating.
— John McLaughlin
In my world, if you want to make a record to make money, you're already off to a bad start.
Frankly speaking, if I care what people write, whether it is positive or negative, I believe, personally, I'm on the wrong path.
The Beatles, they brought a whole new dimension to pop music. Of course, the psychedelic period is much more interesting to me, starting with 'Rubber Soul' and on to the 'White Album.' Great, great records. I was such a Beatles fan. I was very sad when they broke up.
Every day, I discover something utterly unbelievable when I play.
Miles Davis himself, I discovered him when I was 15, and he rocked my world.
The first LP, 'Inner Mounting Flame,' is, of course, one of my favorites, and also 'Visions of the Emerald Beyond.' But the others are also very dear to me.
I discovered flamenco when I was 14, before I even got involved with jazz music. I was so crazy about flamenco music. I wanted to be a flamenco guitar player.
I'm not the sort of chap who can sit down and write music. When it comes, I'm happy.
I don't have any particular goals in making a recording. In a way the recording is itself the goal. The music comes into my mind, and from there the main job is to give form to it.
Interplay and interaction are the integral parts of music - they're as important as the notes.
At the risk of sounding hopelessly romantic, love is the key element. I really love to play with different musicians who come from different cultural backgrounds.
The moment you start to talk about playing music, you destroy music. It cannot be talked about. It can only be played, enjoyed and listened to.
I have a great affection for Indian culture and music.
If I had to live on record sales, I'd be pushing up the daisies.
Music is closer to poetry than anything.
The guitar l learned on was probably worth $4 or something, but it was priceless to me. It meant so much.
The day I stop making music would be the day I keel over, really.
You realize as you get older that tomorrow is not guaranteed for anybody.
When Mahavishnu came out in '71, the unbelievable reaction to the band was a real shock to me. It was a shock to everybody.
In 1978, I was in Paris - I was in someone's car and listening to the radio - and on comes Paco de Lucia. I'd never heard of this chap, and I just thought, 'I have to meet him.' And I was very lucky; I found him very quickly. Crazily enough, he happened to be in Paris!
My entire life is dedicated to music, and at my age, that makes a lot of years! But all the work and dedication is only that I'm able to forget myself and let the music do the 'talking.'
In my opinion, there is one singular problem with religions in general: they are exclusive. To me, this exclusivity is not right.
I don't have any message in the music. Music will be fine as long as you take care of yourself.
You can have the greatest player in terms of mastering an instrument and you could be yawning your head off when you hear them. So, it's not what you do, but the way you're doing it and in the end that's all that we have.
Only in spontaneity can we be who we truly are.
I'm not a classical player. I don't want to be a classical player. I love to improvise, because things happen that never happen anywhere else.
To pay attention to flattery or criticism is a waste of time for artists.
When I was five, I heard the end of Beethoven's 'Ninth Symphony' with my mother, and I got goosebumps all over my body.
I was 11 years old, and I had been playing classical piano for three years, and suddenly the guitar came and landed in my arms. I fell in love with that instrument, and I still love it today. I love it so much.
The Mahavishnu Orchestra - when it came out, it was an explosion, completely unexpected as far as I was concerned. I was just forming a band.
As far as favorite tunes, 'You Know You Know' is one, and why it is important is difficult to say. The rhythmic cycle is very interesting and challenging to play, since it can be considered three bars of 4/4 or four bars of 3/4. 'The Dance of Maya' is another, and I have to mention 'Sanctuary.'
One of the advantages of playing in a club is that even with bass and drums, the atmosphere remains intimate with the audience.
I already experimented with free jazz in the 1960s and, in my opinion, to play free jazz, you have to be a perfect musician and a perfect human being - and none of us are!
I've been more or less vegetarian for about 40 years. Health diet really helps. I do meditation every day, and either yoga or sport several times a week.
I've been studying the cultures of Asia for many years, and I'm very attracted to the culture of Japan, in particular to the impact Zen has had on the Japanese mind and spirit.
I find Indian music very funky. I mean it's very soulful, with their own kind of blues. But it's the only other school on the planet that develops improvisation to the high degree that you find in jazz music. So we have a lot of common ground.
There are two kinds of success. One is musical or artistic and the other is commercial.
The mathematics of rhythm are universal. They don't belong to any particular culture.
