“I once wrote that McLaughlin’s music sticks out like a jagged rock. To me, there is nobody like him and never will be. I can’t explain the draw of his music to me outside of using a metaphor like Star Trek’s Tractor Beam. I am drawn to his music. I believe it is the same for others. When it comes to McLaughlin’s music, you either get it or you don’t. There is no middle! For me, and I assume for those that remain spellbound, there is a two-way communication that is most profound.”

Walter Kolosky:

The Legacy of Mahavishnu Orchestra

Walter Kolosky is best known for his work on the music of the guitarist/composer John McLaughlin. He is the author of the acclaimed book about the Mahavishnu Orchestra, "Power, Passion and Beauty." "Follow Your Heart," continued his study of McLaughlin’s music, song by song since 1969. In 2024, released his new book "Mahavishnu Memories (1971-1973): The Remarkable Tour History of the Legendary Mahavishnu Orchestra". In 135,000 words and close to 200 images, Kolosky tells the remarkable tale with the help of fans, journalists, musicians and the crew that traveled with the band. Personal remembrances take front and center in this story. Seeing and hearing Mahavishnu in person had a profound effect on many lives that has carried on to this very day. Mahavishnu Memories has the added benefit of being edited by the noted author and Mahavishnu historian Colin Harper and having a foreword from Gary Husband - one of the world's greatest musicians and a true scholar of the Mahavishnu way.

(Photos: Walter Kolosky and his new book "Mahavishnu Memories)

Walter Kolosky has written for many publications such as Jazz Improv, Jazziz, allboutjazz.com, jazz.com, Self & Society – International Journal for Humanistic Psychology, Swiss Guest Book and more. He has authored liner notes for John McLaughlin, Larry Coryell, Earth Code, Aurora Clara, Carl Orr, Wolfgang Schaulk and others. Kolosky is also co-host of the popular Jazz Rocks Podcast. Walter has interviewed such luminaries as John McLaughlin, Billy Cobham, Jerry Goodman, Rick Laird, Jan Hammer, Jean-Luc Ponty, Narada Michael Walden, Ralphe Armstrong, Pat Metheny, Joe Zawinul, Herbie Hancock, Gary Husband, Dennis Chambers, Carlos Santana, Jeff Beck, Sir George Martin, Bill Frisell, Ken Scott, Steve Lukather, John Abercrombie, John Scofield, Bill Bruford, Steve Morse, Lyle Mays, Jonas Hellborg, Danny Gottlieb, Peter Max, Steve Khan, Raul Mannola, Carl Orr, Kai Eckhardt and many others.

Interview by Michael Limnios

Special Thanks: Walter Kolosky & Leonardo ‘MoonJune’ Pavkovic

How has the music influenced your views of the world? What moment changed your music life the most?

WK: Other than perhaps to identify different cultures through their music, I don’t think my world views have been influenced by music at all. In fact, I think it is the other way around. I view the world’s view of music, and all arts, as indicative of cultural or political proclivities - most particularly, societies that either honor or mistreat their artists. To me, music and all art is about self-expression. Countries that frown upon self-expression through art are morally weak. Those familiar with my work know that my taste in music was forever changed when I saw the Mahavishnu Orchestra in March of 1973 on TV on a show called In Concert. It was as if a light switch was turned on and left on till this very day. I can’t explain it - only live it.

What do you love most about the act of writing and radio broadcasting? Why is it important to we preserve and spread the Jazz/Rock and Fusion music?

WK: In both cases, it is about the learning. Research is very hard, but very rewarding. It is also something you can measure because you get better at it the more you do it. I take pride in taking facts, sometimes confusing, and weaving them into an understandable and entertaining narrative that both experts and non-experts can understand and appreciate. When it comes to music, I try to ride that fine line of not being too technical nor too vague. I consider myself a historian first and a writer second. The future is the future and it is very important. However, ignoring the past is a crime against your children. They must know what was in order to understand what will be. Who knows what is going to happen to music andmusicians when A.I. fully kicks in? My own belief is that jazz, and certain jazz-fusion in particular, will become classical music. It has already started. I want future generations to know where it came from. So, to me, my books, including my latest Mahavishnu Memories are history books and not music books per se.                                        (Photo: Walter Kolosky & John McLaughlin)

“To me, music and all art is about self-expression. Countries that frown upon self-expression through art are morally weak. Those familiar with my work know that my taste in music was forever changed when I saw the Mahavishnu Orchestra in March of 1973 on TV on a show called In Concert. It was as if a light switch was turned on and left on till this very day. I can’t explain it - only live it.”

How did the idea of books about Mahavishnu Orchestra come about? Do you have any interesting stories from the creation of your books?

WK: This was very simple. I looked around me and there were no books about the Mahavishnu Orchestra! You have got to be kidding. Why couldn’t I write one? It was the best decision, outside of my personal life, that I ever made. That said, my professional AND personal life have been greatly rewarded.

The “creation” of my books was damn hard work! The thing that stands out for me was that I developed a support system over the years that I would use to bolster my presentations. I am very grateful to many people. In the case of John McLaughlin material, I would lean on Rod Sibley, who spent hundreds of hours helping, but also critiquing, pushing and testing my views. We could argue about a sentence for 20 minutes. In the end, anything I put forth had been tested. I also received great support and help from Ted McCallion, Marco Anderson and others. So, my stories are personal about the rewards of making such friends along the way of my pursuits.

Why do you think that John McLaughlin music legacy continues to generate such a devoted following?

WK: I once wrote that McLaughlin’s music sticks out like a jagged rock. To me, there is nobody like him and never will be. I can’t explain the draw of his music to me outside of using a metaphor like Star Trek’s Tractor Beam. I am drawn to his music. I believe it is the same for others. When it comes to McLaughlin’s music, you either get it or you don’t. There is no middle! For me, and I assume for those that remain spellbound, there is a two-way communication that is most profound.

Which interviews have been the most important experiences for you? What´s been the highlights in your life and career so far?

WK: I have interviewed so many great musicians and others that I can’t pick out a single event above others. But, what I will say is that from all of my experiences, great artists tend to be good people. Not every single one is a pleasant person, but the vast majority are. I realized many yearsago, that you would get better results if you treated celebrities and/or artists as normal human beings instead of being starstruck. I am never nervous when I meet someone with great stature. We are both people.

“I believe it is most important for jazz, and any improvisational music really, that it be experienced live. In fact, I am on a crusade for live music. Mahavishnu Memories is all about the effect live music can have on us.” (Photos: Walter Kolosky reeds “Mahavishnu Memories” / Cover of “Power, Passion and Beauty")

What do you miss most nowadays from the music of the past? What are your hopes and fears for the future of?

WK: I don’t miss anything from the past. When I listen to any music, it is in the here and now. Music from my youth is with me every day, but there are fantastic contemporary musicians around every corner with something to offer. Clearly, there are so many challenges these days standing in the way of any creative individuals. I do find that sad. It is something that has to be overcome - and quite frankly everyone is facing challenges! My hope is that in someway A. I. is harnessed to the good of mankind and art. My fingers are triple-crossed. Music is the most efficient communication tool on this planet. It has no barriers as long as it is allowed to be played and listened to. Music will survive.

Do you think there is an audience for jazz music in its current state? or at least a potential for young people to become future audiences and fans?

WK: This question has been asked for decades. I don’t know what is going to happen tomorrow. But, I realize that jazz or jazz-rock fusion is in our lives everyday. People who don’t know just don’t know. It is in popular music, it is in TV and movie scores. It is even in Hip Hop. I believe it is most important for jazz, and any improvisational music really, that it be experienced live. In fact, I am on a crusade for live music. Mahavishnu Memories is all about the effect live music can have on us. Putting my actions where my mouth is, I donate a portion of every book sale to help fund the MoonJune Music Festival 2026 to be held in Italy. My strong feeling is that jazz, progressive music at MoonJune as well, deserves to be heard. It will either speak to you or not. But, it is all about getting the music out to as many people as possible.

Walter Kolosky - Home

(Walter Kolosky / Photo by Drew Stawin Photography)