Artist: Collin Walcott
Album: Grazing Dreams
Genre: World Fusion
Label: ECM Records
Released: 1977
Quality: FLAC (tracks+.cue)
Tracklist:
- Changeless Faith: Song of the Morrow (Walcott) - 9:15
- Changeless Faith: Gold Sun (Walcott-Cherry) - 7:03
- Changeless Faith: The Swarm (Walcott) - 6:09
- Changeless Faith: Mountain Morning (Group Improvisation) - 1:58
- Jewel Ornament (Cherry-Abercrombie-Walcott) - 5:04
- Grazing Dreams (Walcott) - 6:53
- Samba Tala (Romao-Walcott) - 1:31
- Moon Lake (Group Improvisation) - 8:27
DOWNLOAD FROM FILECAT.NET >>>
- Personnel:
- Collin Walcott - sitar, tabla
- John Abercrombie - electric and acoustic guitars, electric mandolin
- Don Cherry - trumpet, wood flute, doussn' gouni
- Palle Danielsson - bass
- Dom Um Romao - berimbau, chica, tambourine, percussion
A plaintive, leisurely journey from Collin Walcott, North American pioneer in the art of the jazz sitar and ECM visionary whose life ended all too soon at the age 39. To anyone put off by this summary, I cannot stress enough the soulfulness of his playing. Walcott, who studied with the inimitable Ravi Shankar, does not treat his instrument as a mere substitute. Rather, he awakens the sitar to a whole new method of understanding, constructing a viable world around it rather than simply tossing it into the mix as a gimmick or afterthought.
Like the previously reviewed Survivors’ Suite from Keith Jarrett, Grazing Dreams is structured as long-form whole in which individual tracks blend into the overarching power that binds them. “Song Of The Morrow” starts things off right with flirtatious sitar riffs appearing and disappearing against a reverberant wash of guitar and trumpet while subtle and varied percussion sections sneak past in the background. “Jewel Ornament” is a personal favorite here, unfolding like a child’s raga. The hold and release of Cherry’s flute and Abercrombie’s insect-like guitar mesh beautifully with Walcott’s tabla stylings. By the time we get to the title track, which plays out like the folk tune of some undefined diaspora, we begin feel the weight of travel on our shoulders. And so, the final “Moon Lake” stretches out like a diffuse reflection across its titular surface, providing rest and replenishment beneath the sheltering sky of our nocturnal wanderings.
The engineering of this album is ahead of its time. Considering the way each track evolves, an attuned sensibility was clearly required to bring out the music’s full breadth. Case in point: the way the buzzing solitude that opens “Gold Sun” gradually develops into a honeyed elaboration of sitar and bass is nothing short of astonishing. Each tune is spun from the same cloth, dyed in real time with the languid syncopation of improvisers who feel what they hear. Gentility through strength is the backbone of Grazing Dreams, a poignant and timeless statement spun from the ether of dreams.