John McLaughlin's Composed A Score For A Movie That's Not Likely to Ever Be Produced

but it was worth it!

Like its namesake, it appears that the movie "Abandoned Heights" will also be abandoned or already has been. It's been listed as being in "pre-production" on IMDB since 2022, but no matter! If Jack Bruce could write a "Theme for an Imaginary Western", it's not a problem for John McLaughlin to write an entire film score for a movie he's never seen and perhaps will never will see. Usually film scores are written to picture, in the old days using a "click track" to time the music to bits of action on screen but that's not always done, as was the case with Miles Davis's music for the 1958 French crime noir Ascenseur pour L'échafaud (Elevator to the Gallows), which is referenced here in the annotation.

Briefed by the director about the characters and plot, McLaughlin brought into the studio a group of jazz-fusion musicians with whom he's previously worked: Gary Husband, on drums and keyboard, Julian Siegel on saxophone, Etienne Mbappé on electric bass and Misha Mullov-Abbado on acoustic bass. Husband is a member of McLaughlin's group The 4th Dimension, Siegel was a member of Husband's group Drive and also appeared on McLaughlin's 2021 album Liberation Time, Mbappé is also in 4th Dimension and Mullov-Abbado was recruited for reasons not explained in the annotation but it notes he's a Kenny Wheeler Music Prize winner.

McLaughlin didn't tell the musicians what to play, citing Miles's non-direction on that French film soundtrack, and this record was complete at the end of 3 studio days. Just about every tune here is keyed off of something familiar in the McLaughlin oeuvre, or something "adjacent" as on "DC Basketball", which Miles Davis fans will recognize from "Bitches Brew". McLaughlin's notes were written in 2024. As of March, 2026 there's nothing beyond the movie's pre-production, but McLaughlin's annotation makes clear he was well versed in the characters and wrote accordingly. The music is mostly jet propelled jazz fusion that explores the proposed film's dramatic tension, mixed with some contemplative balladry.

This was in interesting choice for an IMPEX original release. It's off the beaten path, though of course IMPEX has previously released more than once the classic Friday Night in San Francisco featuring McLaughlin, Al DiMeolo and Paco De Lucia.

Because these are not the usual short film cues, each piece is fully fleshed out propelled by Husband's powerful drumming on the uptempo numbers and on one, "Curacao Dream" McLaughlin solos, adding musical and emotional textures with overdubs.

McLaughlin followers will note quotes and inspiration from familiar older material while those new to his work will simply enjoy, and if inspired, to dig back into the catalog, find the roots of much of what's on this inspired set. Hopefully after hearing "Elijah in DC" anyone who doesn't own 1971's The Inner Mounting Flame will be motivated to pick up a copy. It's a "must have" musical landmark in McLaughlin's career and in jazz explorations generally.

The sound here, recorded and mixed by George Murphy at London's Eastcote Studios is the highest quality modern digital, which means it's super-dynamic, full bodied and thoroughly enjoyable in every possible audiophile way. The sound isn't "warm", nor, filled with modern electronic effects, should it be, though a track like "DC Basketball" would be worthy of a spin at a hi-fi show on any of the big room rigs cranked up to the max. The moody "Nathaniel & Christine" demonstrates that modern digital can produce a three dimensional soundstage and excellent front to back instrumental imaging.

Chris Bellman mastered and cut lacquers. RTI pressed on 180g vinyl. The gatefold package produced by Stoughton with Robert Sliger's illustrations and design, is first class. Abey Fonn's team did good! If this movie ever does get produced, admirers will get to see if McLaughlin's music fits picture—not that it matters. The music stands up well on its own.