To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyses reviews to verify trustworthiness.
The early 1970s was an era of commercial and artistic exploration of spirit and consciousness, opened up by the mid 60s drug-influenced cultural revolution. Time and space became more fluid and indefinite; the meditative aspects of Asian, i.e., traditional Japanese and Hindustani, musics entered jazz, too. Miles Davis' In a Silent Way (1969) had helped lead the way, and Pharoah Sanders in 1980 would actually include koto and sitar in his Journey to the One. And, of course, there was the recent font of free jazz. The group Oregon, beginning in 1970, would mesh jazz and world music into high art. Nothing, however, could prepare the listener in 1974 for this recording from artists as Herbie Hancock, Buster Williams, and Billy Hart. Structures and silences, form and emptiness, pulses and flows: it is like sensing something in peripheral vision but when turning to focus, the impression disappears. Always interesting, often surprising, sometimes frustrating, the CD is out-there and yet in-here. In fact, it reminds me of Japanese court music, gagaku. Such experimentation would pass and the coherent features would enter the realm of classical and world music and persist in the sound of ECM jazz. In short, this recording is more for historical, intellectual, and spiritual study than for simple pleasure, which is why, I suppose, it remains timeless, pointing toward a deeper significance, as the Buddhist jewel in the lotus.