Love, Devotion and Surrender
Artist Carlos Santana
Album Title Love, Devotion and Surrender
Date of Release 1972 (release) inprint
Genre Rock
Styles Latin Rock, Album Rock, Post-Bop, Fusion, Hard Rock, Blues-Rock, Rock & Roll
Time 38:44

Mahavishnu John McLaughlin and Devadip Carlos Santana came together under the influences of John Coltrane and Sri Chinmoy (the latter of whom McLaughlin would eventually renounce), cut their hair, and joined forces in probably the greatest guitar summit meeting of the jazz-rock era. Their rapport is obvious from the first track, Coltrane's "A Love Supreme"; both guitarists are on fire, flashing their stuff with extraordinary energy and remarkable arrhythmic placement of each note. From this point, the two fuse the high-octane virtuosity of the Mahavishnu Orchestra and Tony Williams' Lifetime (present are Billy Cobham and Jan Hammer — on drums! — from the former and Larry Young from the latter) with Santana's thundering Latin percussion team of Armando Peraza and James Mingo Lewis, without either element dominating. The music reaches an ecstatic peak on the lengthy jam "Let Us Go Into the House of the Lord" (based on the chords of Bobby Womack's "Breezin'"), where Santana's trademark ascending chromatic flurries give way to McLaughlin machine-gun volleys that make more coherent musical sense than anything he was recording with the first Mahavishnu group around this time. Whatever you may think of gurus and Indian religions, there must be something to it if the results of spiritual immersion are as spectacular and fulfilling as the music on this CD. — Richard S. Ginell

1. A Love Supreme performed by Carlos Santana / Mahavishnu Orchestra
2. Naima performed by Carlos Santana / Mahavishnu Orchestra
3. The Life Divine performed by Carlos Santana / Mahavishnu Orchestra
4. Let Us Go into the House of the Lord performed by Carlos Santana / Mahavishnu Orchestra
5. Meditation performed by Carlos Santana / Mahavishnu Orchestra




Jan Hammer - Drums, Keyboards
John McLaughlin - Guitar, Piano, Producer, Performer
Larry Young - Organ
Armando Peraza - Percussion, Conga, Vocals
Don Alias - Drums
Phil Browne - Percussion
Billy Cobham - Drums
Glen Kolotkin - Engineer
James Mingo Lewis - Piano
Doug Rauch - Bass, Guitar
Mike Shrieve - Drums
Khalid Yasin - Organ
Carlos Santana - Guitar, Vocals, Producer, Performer

1990 CD Columbia 32034
1980 LP Columbia 32034
1991 CD Columbia CK-32034
1973 LP Columbia 32034
1995 CD Columbia 982830 2
Columbia KC 31067
1991 CS Columbia PCT-32034


src: http://www.allmusic.com/


=====================================================



CARLOS SANTANA & JOHN McLAUGHLIN "LOVE, DEVOTION, SURRENDER"

Larry Young(org)Carlos Santana(g)John McLaughlin(g;p-1)Doug
Rauch(bg)Charles Don Alias,Jan Hammer,Billy Cobham,Michael
Shrieve(d) James 'Mingo' Lewis(perc)Armando Peraza(cga)

-New York City, October 1972 & March 1973-

A love supreme Columbia KC 32034
Naima -
The life divine -
Let us go into the house of the Lord -
Meditation (CS & JML only) (-1) -


============================================


From smsi@attbi.com Wed May 15 20:17:21 2002
Date: Wed, 1 May 2002 11:07:41 -0400
From: Walter Kolosky
Reply-To: one-word@cs.cf.ac.uk
To: one-word JM mail list
Subject: [OW] JMMP # 4 - Love, Devotion and Surrender


Just starting the thread with the proper header.



============================================


From slbr03460_2@blueyonder.co.uk Wed May 15 20:17:21 2002
Date: Wed, 01 May 2002 17:49:04 +0000
From: Sound Advice
Reply-To: one-word@cs.cf.ac.uk
To: one-word@cs.cf.ac.uk
Subject: Re: [OW] JMMP #4 Drawn from the hat....


Big choice

Ba-doom (I think)

Marco

> From: "Walter Kolosky"
> Reply-To: one-word@cs.cf.ac.uk
> Date: Wed, 1 May 2002 11:06:26 -0400
> To: "one-word JM mail list"
> Subject: [OW] JMMP #4 Drawn from the hat....
>
>
> About 30 seconds ago, I reached into the hat and pulled out..........
>
>
>
>
> LOVE, DEVOTION and SURRENDER
>
>
> This album was panned by many back in the day...it should be interesting to
> see what the album means to us...did it stand up then...does it stand up
> now......??????????????????????
>
>
>
> -------------------------------------------------------------
> To unsubscribe, send "unsubscribe one-word" to majordomo@cs.cf.ac.uk
> For other info send word "help" to majordomo@cs.cf.ac.uk



============================================


From morrone@italway.it Wed May 15 20:17:21 2002
Date: Wed, 01 May 2002 23:27:41 +0200
From: Massimo Morrone
Reply-To: one-word@cs.cf.ac.uk
To: one-word@cs.cf.ac.uk
Subject: Re: [OW] JMMP # 4 - Love, Devotion and Surrender


Walter Kolosky wrote:

>Just starting the thread
>

When I heard this version of "A Love Supreme" I already knew the
original by Trane and of course "Naima". I was really "devoted" to this
spiritual force called "the Afro-American" movement including the music
of Archie Shepp, Pharoah Sanders, Albert Ayler, Sam Rivers, Anthony
Braxton....etc.
Being not a huge Santana fan by discipline (except for a few records) I
concentrated much more on the work done by Mahavishnu John Mc Laughlin
who at that time was an obscure figure, a prince of darkness to me
because of his angular playing.
Despite the back and inside cover of the album showing the two guitarist
in the company of Sri Chinmoy I've never taken care of his figure as a
dominant one while listening to the tracks, perhaps because of JmL's
funny smile from those pictures. :-)
I have always liked what Larry Young did at the Hammond organ with his
great psychedelic tone.
The nature of this recording still is unsurpassed.

Best
Mass

PS: Speaking of great music I just saw the Dave Holland Quintet in
Florence last night!

--
------------------------------------
http://www.italway.it/morrone/
------------------------------------ <> <>
/_
ciao >



============================================


From AndersonM@citybathcoll.ac.uk Wed May 15 20:17:21 2002
Date: Thu, 2 May 2002 10:51:48 +0100
From: AndersonM
Reply-To: one-word@cs.cf.ac.uk
To: "'One-word@cs.cf.ac.uk'"
Subject: [OW] Re: LDS


Hi y'all

Approaching this record again actually scares me......

For me, this album is one of the most 'spitritually imbued' records ever
made. It still makes the hairs stand up on the back of my kneck.

Background:

Two things imbue this album with a deep sense of spirituality and gratitude;
John McLaughlin had not long before introduced Carlos Santana to Sri Chinmoy
and the both of them were 'loved up' on their shared mission. Secondly, John
had found someone to share his passion for John Coltrane and his spiritual
music. He introduced Carlos to JC's music, although Carlos must have been
aware of it through Miles, who he had admired and followed around a great
deal in the late 60's and early 70's.

The Mahavishnu were already creeking at the seems and it was obvious at this
time that all the members of that band did not share John's musical and
spiritual quest. I think this project was a tremendous release of all John's
aspirations in the two directions mentioned above and both guitarists took
the cream of their bands to form this one 'super' band.

In a way, considering John's original hit-list of musicians for the MO,
this album represents something of what the MO would have really sounded
like, had he got his wishes. He always wanted Larry Young on organ, and Don
Alias was one of the drummers who JM had at the top of his list. Judging by
the latin tinged grooves on most of this album, the MO would probably not
have gone down the intense compositional route it did (a direct result I
suspect of the input of Messrs Goodman and Hammer, together with their
incredible classically-trained chops) and in many ways the band here
assembled represented an early introduction to the type of vibe JM produced
in the early One Truth Band, being much more Latin flavoured than the
markedly Eastern sound of the MO and later OTB incarnations.

What can one say of this music ? Critics have pointed to the 'roughness'
both of production and execution and there is no doubt that this was a very
rushed job, the sessions for the album having been recorded over 2-3 days
max, with probably ongoing rehearsals during the sessions (the control room
master tapes of the whole session are quite revealing, showing as they do
much jamming and rehearsal in the studio). But to counter that the brilliant
honesty of the recordings and the sheer aspiration-smile (sorry Sri) of both
players just creates a fantastic magic, so evident in the bootlegs of this
ferocious band live.

To all intent and purpose, I think this is a 'live' studio recording, the
only thing obviously overdubbed being JM's solos, which were constructed (I
think the correct word is 'comped') from multi takes of him soloing over the
original 'live' tracks. Santana's playing throughout is thoughtful and
melodic without reaching the burning heights of JM's work, but for me this
is some of CS's top playing. You can feel that he is being pushed beyond his
limits into this new music by JM who likewise absolutely revels in the
situatioin.

John's playing on this album is nothing short of ecstatic. This must have
been his ultimate dream session, surrounded by spiritually charged musicians
who were able to give him the urgency, power and support he needed to really
soar; and soar he does on the the killer track for me 'The Life Divine'. Set
up by the beautiful acoustic guitar duet on 'Naima', this is probably my all
time favourite JM track.

Listen to the solo how it starts from broody low register bends right up to
the anguished cries at the top of the neck - he actually sounds like he's
out of breath with those last top register bends. He's reached the giddy
heights, he's there in the stratusphere and then with that last long phrase
he returns to earth to keep us hanging on that last F/E.

Taking up the baton, Larry Young then produces the classic futureshock organ
solo like no-one else could. Just a mash of sound that seers across the the
furious 6/8 drums. It's out there, it's a fabulous rush of adrenalin that
you thought was climaxed and over with John's solo, but Larry kicks into
interstellar overdrive and he's gone literally.

My recommendation is to play this track really, really loud and then tell me
it's a bum album. This track takes me back to my first live MO show when I
felt myself being physically pushed upward and out of my seat. It tears at
your heart and threatens to carry you off into the clouds, never to return
the same. I don't often cry tears of joy in music but this track can do that
to you, along with Trilogy and Dream from BN&E.

Footnote:
It appears that the acoustic track, 'Meditiation' was appended to the
original sessions sometime after and features possibly the only recorded
instance of JM on piano that I know. It does not appear on the control room
session tape.

Marco Anderson
May 2002


============================================


From smsi@attbi.com Wed May 15 20:17:21 2002
Date: Wed, 7 May 2003 15:57:40 -0400
From: Walter Kolosky
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word JM mail list
Subject: [OW] JMMP #4 - Love, Devotion and Surrender


I always liked this album. Over the last several nights, I have listened
more intently than ever to it. I have come to the conclusion that I like
it even better now. I have always dismissed The Life Devine as a less than
stellar derivative of A Love Supreme. I have never been a fan of any of
the vocals on JM's albums. However, after my recent listenings, I have
determined it is indeed a kick-ass piece and the vocals are fine by me.

The guitar playing is great from both John and Carlos but...it is Larry
Young's (Khalid Yasin) playing on this album which clinches it for me. It
is really the last recording of Larry which showcased his brilliance. This
type of Organ playing was not "in" at that time. It is not "in" now either.
But what it possesses is a timelessness which allows for it to be accepted
both then and now. It is simply brilliant.

Let Us Go Into the House of the Lord is the perfect tune to blow your stereo
speaker with. John and Carlos give an understated feeling to the stunning
Naima and the band does Coltrane proud on A Love Supreme. I do not know of
any other version which comes as close to honoring JC as the LDS attempt.

I remember clearly going into the store and discovering this album when it
was released. I was very disappointed in the album cover and was quite
frankly expecting something less than was delivered. I also remember a
great wave of disappointment and fear among the Santana fans that Carlos was
going to become a "religious nut". Then there was the jam with John, Carlos
and Eric that scared everyone about Eric. It was an interesting time. The
original MO was breaking up, although we did not know it at the time.

I realize everything is about marketing. But what a crock Divine Light was!
LDS was much more a JM album than a Carlos endeavor...and to not have JM
even credited on the cover of the album, as if LDS was a Santana album, was
insulting.





============================================


From munrostuart@hotmail.com Wed May 15 20:17:21 2002
Date: Wed, 08 May 2002 07:28:34 -0700
From: Stuart Munro
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] LDS #4


Hello all: we opened the enormous wooden chest containing several thousand
albums. He consulted his alphabetical list and drew LDS from its place. We
put it on the ancient turntable and listened through the ancient speakers.
LDS, and the gear we listened on are of the same vintage, which made for an
authentic listening experience!

This was only the second time I'd heard LDS. It was great to hear Carlos at
his most intense. I have a copy of Santana 3. There are moments on that
album where Carlos goes ballistic. Thirty years later, such extreme playing
cannot really expected from either JM or CS. I love the chord that runs
through A Love Supreme. B Gb B E, with various other notes thrown in as
intrigue.

I greatly enjoy the tones as used by Larry Young. If only he'd had a
Theramin back then ;-).

Having listened again on phones, I'm really happy to have finally heard this
album. There is some stellar playing all around, studio jamming from beyond.
As for the cover art: perhaps the record company were hoping that shock
value alone would make it interesting!

stuart




============================================


From Kenny.Haughan@vships.com Wed May 15 20:17:21 2002
Date: Fri, 10 May 2002 13:14:31 +0100
From: "Haughan, Kenny"
Reply-To: one-word@cs.cardiff.ac.uk
To: "'one-word@cs.cardiff.ac.uk'"
Subject: RE: [OW] JMMP #4 - Love, Devotion and Surrender


Hello all OW`ers,

I have really enjoyed everyone`s LDS appraisals and feel very humble in
chucking in my own personal thoughts on the project. Like a few of you, I
have not listened to LDS with much consideration, merely enjoyed JM`s
contributions, which I find,as always,very fulfilling.
I had recently got a hold of "Go Ahead John" by Paul Strump , and while
listening to the LDS over the last few nights, I thumbed through the book to
see if I could glean any enlightenment as to the background of the project
and any pointers for what to listen out for.
In a nutshell,Strump gives the album a very negative review, though in the
light of the high expectations for JM collaborations, maybe, as an ardent
follower, he can be forgiven for being disappointed. Here are a few of his
conclusions:
"A love supreme"- Plink plonk conga heavy foursquare vamp all too typical of
Santana which even Larry Young`s ghostly tone can`t redeem. LDS chooses to
use the more mystical inspirations of John Coltrane as a kind of
legitimiser. Crucial difference in styles, Santana rooted in western
harmony. constrained within blues, latin based language.
"Naima"- was zonked rather than serene, contrast in guitar styles lacking.
"The life divine"-promising JM composition whose maniacal charge down
through the opening chord sequence is one of the few things to remind the
listener of his MO achievements. Santana probably plays the more fluidly and
JM`s technophiliac tendencies are manifesting themselves in the finer points
of his playing.
"Let us go into the house of the lord" Young`s playing here with the
overlapping flurries of triplets ia a moment of pure genius worhty of
mention in its own right, a musical equivalent of a swarm of surreally
coloured butterflies.

So there we have it, inspired writing , but doesn`t quite capture the
experiences of the OW listeners who generally speak quite highly of the
album.
I should mention that I found Strump`s book totally riveting, very well
written, informative and appreciate that he is obviously a huge fan of JM
and has tried to give a very objective comment of JM`s career. I recommend
his book highly to all genuine JM enthusiasts

Here are my OWn meanderings:

"A love supreme"- have never heard this tune before. Explosive opening,
organ appears to hold a "melody" atmospheric/moody/pensive organ,
fuzzy,phased guitar chords,JM and CS solo,at first alternating each 8 bars,
then 4, then 2 then 1, ulimately a free for all jam. Accomplished guitar
playing, the louder the better.
"Naima"-Very interesting melody, two guitars exiting seperate stereo
channels. The melodic playing is sometimes not very subtle or imaginative
whereas the accompaniment is.
" The life divine" Engaging descending phased opening chord sequence,
contemplative and interesting solo playing by CS with echo and wah-wah
adding to the variety of guitar sounds.Eventually dying away allowing JM to
pick up the gauntlet, beginning with bending weeping slurs then all out
attack, staccato, rising and joined by CS for the final exchange.This is JM
at his most engaging.
"Let us go " Cadenza style opening by JM playing most fluently, followed by
latin american bongos adding the required Santana groove, enter CS,with his
instantly recognisable beautifully pure melodic tone. Jm adds, in his unique
guitar language, wild staccato notes machine gunning to the death.

Finally, I do love this album and appreciate the playing of Larry Young,
however , I have no knowledge of organ technique or virtuosity and have to
admit that had it not been for all the OW promptings, it would have gone
over my head. I totally respect Hammer and Corea, however their playing is
audibly laid on a plate for approval, whereas Larry Young`s thing is maybe
not the same or as obvious, but evidently just as good.

A humble OW`er




============================================


From j.haidenbauer@fz-juelich.de Wed May 15 20:17:21 2002
Date: Fri, 10 May 2002 17:07:44 +0200
From: Johann Haidenbauer
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP #4 - Love, Devotion and Surrender


"Haughan, Kenny" wrote:
>
> I should mention that I found Strump`s book totally riveting, very well
> written, informative and appreciate that he is obviously a huge fan of JM
> and has tried to give a very objective comment of JM`s career. I recommend
> his book highly to all genuine JM enthusiasts

Please don't take this too personal - but your comments above clearly
mean
that you don't know very much about JM. Some time ago there was a sort
of
game played here on OW - discovering errors in Stumps's book, and I
think
we ended with finding in average 5 factual errors per page!

Johann


============================================


From Kenny.Haughan@vships.com Wed May 15 20:17:21 2002
Date: Fri, 10 May 2002 16:31:39 +0100
From: "Haughan, Kenny"
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: RE: [OW] JMMP #4 - Love, Devotion and Surrender


Hi Johann!

Don`t worry , I won`t take you`re remark personally!
I admit to knowing nothing about JM. I`ve only heard several albums, all of
which I love.
I like to get a little background info on musicians I enjoy, and that`s why
I bought the book.
If I `d known it was a load of bollocks I wouldn`t have bought it. I`m sure
Strump wrote it in good faith though, I mean it can`t be easy to
retrospectively write about the musical career of someone from almost 30
years ago, researching, interviewing and coming up with the one whole truth.
I`m not going to chuck it in the bin though, because I know some of the
facts are true and I will occasionally refer to it.
You are obviously a diehard fan , and good luck to you. I`m envious.

K


-----Original Message-----
From: Johann Haidenbauer [mailto:j.haidenbauer@fz-juelich.de]
Sent: 10 May 2002 16:08
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP #4 - Love, Devotion and Surrender



"Haughan, Kenny" wrote:
>
> I should mention that I found Strump`s book totally riveting, very well
> written, informative and appreciate that he is obviously a huge fan of JM
> and has tried to give a very objective comment of JM`s career. I recommend
> his book highly to all genuine JM enthusiasts

Please don't take this too personal - but your comments above clearly
mean
that you don't know very much about JM. Some time ago there was a sort
of
game played here on OW - discovering errors in Stumps's book, and I
think
we ended with finding in average 5 factual errors per page!

Johann


============================================


From munrostuart@hotmail.com Wed May 15 20:17:21 2002
Date: Sat, 11 May 2002 07:05:03 -0700
From: Stuart Munro
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: RE: [OW] JMMP #4 - Love, Devotion and Surrender


Hello all:

>("A love supreme"- Plink plonk conga heavy foursquare vamp all too typical
>of Santana which even Larry Young`s ghostly tone can`t redeem.)

GGRRRR. Is this REALLY a quote from Paul Stump's infamous book???? I can't
believe that any fan of JM's would put such a comment in print. Someone
please tell me it ain't so! The interplay between JM and CS is momentous on
there.

So OW put the book through the big wringer. I'm a writer with two
travelogues to my credit. If I wrote a book about JM, and I just might
someday, the very FIRST goal would be to produce something that the artist
would be very pleased to own and refer to. Otherwise, why bother......stuart




============================================


From kstitzel@attbi.com Wed May 15 20:17:21 2002
Date: Sun, 12 May 2002 18:09:33 -0600
From: Ken Stitzel
To: OneWord
Subject: Re: [OW] JMMP #4 Love Devotion and Surrender


Dear One-Word,

Not a bad review from allmusic.com. (Don't know about the part about
LUGITHOTL being based on "Breezin'", when the source is listed as
"traditional." Probably Breezin is based on the same traditional hymn if
anything, though I don't know which hymn it is. Can anyone comment?):

"Mahavishnu John McLaughlin and Devadip Carlos Santana came together under
the influences of John Coltrane and Sri Chinmoy (the latter of whom
McLaughlin would eventually renounce), cut their hair, and joined forces in
probably the greatest guitar summit meeting of the jazz-rock era. Their
rapport is obvious from the first track, Coltrane's "A Love Supreme"; both
guitarists are on fire, flashing their stuff with extraordinary energy and
remarkable arrhythmic placement of each note. From this point, the two fuse
the high-octane virtuosity of the Mahavishnu Orchestra and Tony Williams'
Lifetime (present are Billy Cobham and Jan Hammer - on drums! - from the
former and Larry Young from the latter) with Santana's thundering Latin
percussion team of Armando Peraza and James Mingo Lewis, without either
element dominating. The music reaches an ecstatic peak on the lengthy jam
"Let Us Go Into the House of the Lord" (based on the chords of Bobby
Womack's "Breezin'"), where Santana's trademark ascending chromatic flurries
give way to McLaughlin machine-gun volleys that make more coherent musical
sense than anything he was recording with the first Mahavishnu group around
this time. Whatever you may think of gurus and Indian religions, there must
be something to it if the results of spiritual immersion are as spectacular
and fulfilling as the music on this CD."
- Richard S. Ginell

Source: http://allmusic.com/cg/amg.dll?p=amg&sql=A8bkbu3l5an6k

Ken Stitzel
Fort Collins, Colorado, USA




============================================


From rasibley@concentric.net Wed May 15 20:17:21 2002
Date: Mon, 13 May 2002 10:52:16 +0900
From: Rod Sibley
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP #4 Love Devotion and Surrender


Aloha Y'all,

Ken wrote re "LDS" review from allmusic.com.

>The music reaches an ecstatic peak on the lengthy jam "Let Us Go Into the
>House of the Lord" (based on the chords of Bobby Womack's "Breezin'")
>
>(Don't know about the part about LUGITHOTL being based on "Breezin'", when the
>source is listed as "traditional." Probably Breezin is based on the same
>traditional hymn if anything, though I don't know which hymn it is. Can
>anyone comment?):

Santana does quote from 'Breezin'' starting at 5:03 minutes into the
piece. It was probably the only thing that was familiar to the reviewer
;-).

atb,

r



============================================


From rasibley@concentric.net Wed May 15 20:17:21 2002
Date: Mon, 13 May 2002 11:27:45 +0900
From: Rod Sibley
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP #4 Love Devotion and Surrender


Hi Again,

I'm sorry, I "cut and pasted" a section and didn't answer it. I meant to
do this:

Ken wrote re "LDS" review from allmusic.com.:

>The music reaches an ecstatic peak on the lengthy jam "Let Us Go Into the
>House of the Lord" (based on the chords of Bobby Womack's "Breezin'")

The source I have thinks their version may be based on Pharoah Sanders'
version from his "Deaf, Dumb, Blind" recording. Has anyone made a
comparison between these?

Sorry for wasted bandwidth,

r




============================================


From slbr03460_2@blueyonder.co.uk Wed May 15 20:17:21 2002
Date: Mon, 13 May 2002 17:01:12 +0000
From: Sound Advice
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP #4 Love Devotion and Surrender


The quote is actually from 'Valdez in the Country', I think you'll find.

marco


> From: rasibley@concentric.net (Rod Sibley)
> Reply-To: one-word@cs.cardiff.ac.uk
> Date: Mon, 13 May 2002 10:52:16 +0900
> To:
> Subject: Re: [OW] JMMP #4 Love Devotion and Surrender
>
>
> Aloha Y'all,
>
> Ken wrote re "LDS" review from allmusic.com.
>
>> The music reaches an ecstatic peak on the lengthy jam "Let Us Go Into the
>> House of the Lord" (based on the chords of Bobby Womack's "Breezin'")
>>
>> (Don't know about the part about LUGITHOTL being based on "Breezin'", when
>> the
>> source is listed as "traditional." Probably Breezin is based on the same
>> traditional hymn if anything, though I don't know which hymn it is. Can
>> anyone comment?):
>
> Santana does quote from 'Breezin'' starting at 5:03 minutes into the
> piece. It was probably the only thing that was familiar to the reviewer
> ;-).
>
> atb,
>
> r
>



============================================


From sandyfreeze_ow@yahoo.ca Wed May 15 20:17:21 2002
Date: Mon, 13 May 2002 13:59:08 -0400 (EDT)
From: Sandy Freeze
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] Let us... sound ad-ice


Hello,Marco. For what it's worth, I think Benson didn't think there
was much to Breezin', but then, he didn't "turn it up" on earlier on
Miles' command, years before (sound advice!) either. It wasn't Charley
Christian type-inventiveness.

Extended LUGITHOTL vamp?
Sound like the whole band?
Simulatin' stimulating 1-left-finger chords...
I know, it's only pick and roll, but I pluck it.

~` DMAJOR 7th
E|--r2++----r2+++--r2++----r2++++...
B|----a2+----a2++----a2+-----a2++...
G|------m2-----m2------m2------m2...
D|K0++++++-------K0++++++--------...
A|--------k0+++++--------k0++++++...
E|,--------------,---------------...
~`
A 11/13/9
E|------r2++++--r2++++--r2++++--r0...
B|----a0++----a0++----a0++----a0++...
G|--m0++++--m0++++--m0++++--m0++++...
D|--------k0++++++--------k0++++++...
A|K0++++++--------K0++++++--------...
E|,---------------,---------------...
plucking off, Sandy

--- Sound Advice wrote:
>
> The quote is actually from 'Valdez in the Country', I think you'll
> find.
>
> marco
>
>
> > From: rasibley@concentric.net (Rod Sibley)
> > Reply-To: one-word@cs.cardiff.ac.uk
> > Date: Mon, 13 May 2002 10:52:16 +0900
> > To:
> > Subject: Re: [OW] JMMP #4 Love Devotion and Surrender
> >
> >
> > Aloha Y'all,
> >
> > Ken wrote re "LDS" review from allmusic.com.
> >
> >> The music reaches an ecstatic peak on the lengthy jam "Let Us Go
> Into the
> >> House of the Lord" (based on the chords of Bobby Womack's
> "Breezin'")
> >>
> >> (Don't know about the part about LUGITHOTL being based on
> "Breezin'", when
> >> the
> >> source is listed as "traditional." Probably Breezin is based on
> the same
> >> traditional hymn if anything, though I don't know which hymn it
> is. Can
> >> anyone comment?):
> >
> > Santana does quote from 'Breezin'' starting at 5:03 minutes into
> the
> > piece. It was probably the only thing that was familiar to the
> reviewer
> > ;-).
> >
> > atb,
> >
> > r

=====

~` PosI PosII PosIV picK and Roll
E|r1++.\..r3++.\..r5++.\..|E
B|a1++..\.a3++..\.a5++..\.|B Sandy Freeze
G|m0++...\m2++...\m4++...\|G
D|----Z3++----Z5++----Z7++|D K\/k___r)a)m)
A|----Z3++----Z5++----Z7++|A
E|----Z3++----Z5++----Z7++|E
http://www.geocities.com/guitalife



============================================


From kstitzel@attbi.com Wed May 15 20:17:21 2002
Date: Mon, 13 May 2002 22:12:35 -0600
From: Ken Stitzel
To: OneWord
Subject: Re: [OW] JMMP #4 Love Devotion and Surrender


One Word,

Thanks for all the interesting comments so far on LDS. It takes me way back.
I had to search deep in the murky corridors of my mind (gratuitous TWL
allusion) to put it all back together, but I finally realized that "Love
Devotion and Surrender" is the first McLaughlin I ever heard. (WARNING: This
post may contain extended sentimental nostalgia.)

'Twas 1973 or 1974. My teenage ears listened to middle-period Fleetwood Mac,
Black Sabbath, and Jethro Tull. My brother had bought a Technics turntable,
built a little Heathkit stereo amplifier, and bought some Utah speakers that
he put into his own particle board cabinets. Not pretty or powerful or
perfect fidelity, but it sounded a lot better than the Montgomery Wards
console stereo that was the only other choice at home.

My brother could also be a jerk. His room was right next to mine in our
oddball house. I slept soundly one night, head right next to an
only-slightly-boarded-over door between our rooms. He crashed in with three
or four friends and cranked up side one of the LDS LP. He skipped the mellow
"Naima," of course. Despite the rude awakening, the music really grabbed me.
(I got my first exposure to Weather Report's "Black Market" in much the same
way. "Gibraltar" sounds really sinister and exciting when it wakes you up at
night.)

I had little conception of jazz, never heard of fusion, had no idea who John
Coltrane was. But as a sometime religious geek, I liked the spiritual titles
and recognized the goofy geeky smiles. Later, I often wondered if some of
John's early fire came from the tension of his creativity sometimes
conflicting with his religious discipline. Chinmoy's writings in the album
gatefold even made a bit of sense to me--wrapped as they were in the tail
end of the 60s mystique for anything eastern.

Anyway, it was quite simply the best psychedelic rock album I had ever
heard. I've listened to this album a lot over many years and still love it.
I'm sure there's a thousand things that could be said, but here are some of
my comments and favorite bits.

In general:
* Rather than an MO variation, the album sounds to me much like a two-guitar
continuation of "Devotion", and not just because of Larry Young's presence.
* I'll agree with everyone else that Larry is brilliant on this album. He
had at least one more brilliant performance recorded on Lenny White's
classic "Venusian Summer" (1975), in which he tears up on the track "Mating
Drive". (Aside: this album also has a classic fusion guitar summit on one
track with Al Di Meola and Larry Coryell trading solos. Lots of other hot
players.)
* Other than The Life Divine (signature Cobham), I have no idea who plays
drums on which track. It's still fun to try to puzzle it out.
* I really like Doug Rauch's bass playing here--though I always wonder what
happened to him. He seemed to fall off the edge of the earth a few years
later.
* It's ironic how John seemed so influenced by selflessness for this--giving
Carlos first billing, etc.--especially when such credits seemed such a part
of the break up of MO #1.

A Love Supreme:
* I love the opening jam, free improv trailing off to Larry's mysterious
solo Hammond effects, then the lick trading reminiscent (of course) of "One
Word." This is where I go when I want to wallow in the head-bangingest wall
of guitars I can find.
* I like the goofy vocal chanting--it proves it's a rock album, but it also
works. LY is again brilliantly psychedelic.
* I love how the track fades away with the quiet conga patter and John's
arpeggiated 12-string chords.

Naima:
* It's quite simply lovely. When I first heard it, I marveled that anyone
could play such a nice lead with such a rapid double-picking style.
* Carlos backing is very tasteful--and I love the final chord.

The Life Divine:
* My first impression of this was that it was very dark. A weird contrast of
the spiritual uplift in the lyrics (and sometime silliness: "It blew our
minds, the light the shines," etc.) and the fierce drive of the drums and
guitars.
* Yes! It has typical 70s-style stereo panning effects! I love it!
* John's sitar-like moans beginning his solo at about 4:30 start an
incredible solo. You can hear the roots of the big solo on "Hymn to Him" on
Apocalypse.
* This track also ends with more of John's quite arpeggiated 12-string
chords. Maybe he overused this device, but it always intrigues me.

Let Us Go Into the House of the Lord:
* Incredibly, it took me months to listen to side two of the LP. When I
finally did, I found it didn't demand close listening like side 1, but it
was fun to let this monster jam wash over me like a big wave. It's not
ballet, it's a hoe-down, a tent-revival meeting. "Lets jam on two chords for
twenty minutes and have lots of fun."
* My only disappointment is that Larry's solo (beginning about 7:00) is too
far back in the mix. Seems like the engineers just set the levels and walked
away while the band jammed, then never tweaked the mix for the album. I
guess it contributes to the feeling of the big loose jam, but...

Meditation:
* Maybe it is just a curiosity for being John's only recorded piano playing,
but it's a lovely piece that reminds me of things I've thought of in
meditation. I love the way the organ swells (yeah, yeah, bad pun) and then
melds back in to the final sustained piano chord. Carlos and John could have
put together a nice album side of acoustic duets.

Shut up, Ken:
* I still get the hankering to hear this album sometimes, especially "A Love
Supreme". I dance in my living room to the guitars when no one is around.
Not a pretty sight, I reckon, but the music at least is still great after
all these years.

Ken Stitzel
Fort Collins, Colorado, USA




============================================


From rasibley@concentric.net Wed May 15 20:17:21 2002
Date: Tue, 14 May 2002 04:55:34 +0900
From: Rod Sibley
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP #4 Love Devotion and Surrender


Hello to All,

Ken wrote:

Re Larry Young:

>He had at least one more brilliant performance recorded on Lenny White's
>classic "Venusian Summer" (1975), in which he tears up on the track "Mating
>Drive".

That is a GREAT track! Ray Gomez on guitar, YEEOW!

>* Other than The Life Divine (signature Cobham), I have no idea who plays
>drums on which track. It's still fun to try to puzzle it out.

This is a bit of a mystery. And to make matters worse:

- The CD liner of "LDS" adds Michael Shrieve's name to the list of drummers
(who is not listed on my original vinyl), and deletes Mingo Lewis as a
percussionist (who is listed on the vinyl). Bill Laswell's "Divine Light"
remix CD does the same thing.

- Johann's Discography also has Shrieve listed on drums

- For the Nov.'72 (or Oct.?) sessions, The Aug.'73 issue of Circus has no
mention of Shrieve, has Alias playing drums, and says that Hammer played
percussion (not drums).

- But who's to say that Shrieve wasn't at the March '73 sessions?

- The book "Soul Sacrifice: The Santana Story" also does mention Shrieve as
being on the album.

This is usually Pierrot's territory, and I don't remember whether he
resubbed here after the...well, you know ;-). Anyone want to take a shot at
it?

>* I really like Doug Rauch's bass playing here--though I always wonder what
>happened to him. He seemed to fall off the edge of the earth a few years
>later.

He didn't fall off of it; he's six feet under it. He died in the late
70's. I don't have the date.

>* It's ironic how John seemed so influenced by selflessness for this--giving
>Carlos first billing, etc.--especially when such credits seemed such a part
>of the break up of MO #1.

We've talked about this before, but John seemed to be more generous to
other disciples than he was with "those not on the path".

Re Naima:

>...When I first heard it, I marveled that anyone could play such a nice lead
>>with such a rapid double-picking style.
>* Carlos backing is very tasteful--and I love the final chord.

I think Carlos picks the melody, John plays the chords. The picking is
too sloppy for it to be John, and I don't think Carlos could handle the
chords, IMO.

Nice post, Ken!

atb,

r





============================================


From smsi@attbi.com Wed May 15 20:17:21 2002
Date: Tue, 14 May 2002 07:30:05 -0400
From: Walter Kolosky
To: Ken Stitzel , one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP #4 Love Devotion and Surrender



----- Original Message -----
From: "Ken Stitzel"
To: "OneWord"
Sent: Tuesday, May 14, 2002 12:12 AM
Subject: Re: [OW] JMMP #4 Love Devotion and Surrender



>
(WARNING: This
> post may contain extended sentimental nostalgia.)


This is what we want!


Walter




============================================


From smsi@attbi.com Wed May 15 20:17:21 2002
Date: Tue, 14 May 2002 11:04:24 -0400
From: Walter Kolosky
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word JM mail list
Subject: [OW] JMMP#4 LDS- Two day notice


There are two days left to comment on Love Devotion and Surrender.

It is obvious from the number of responses, that fewer of us own this album.
Shame on you poseurs! In a way, JMMP separates the men from the boys, the
wheat from the chaff and the One-Worders from the one-worders. At any rate,
with this in mind, I will probably combine two albums when one of those
albums picked may not be owned by many. I.E. Extrapolation or the Lifetime
stuff etc. Of course, the best way to participate in the JMMP if you do not
own the album is to go out and purchase it.

Two days until JMMP # 5 is pulled from the hat.

Regards,

Walter






============================================


From Alan@edina.ie Wed May 15 20:17:21 2002
Date: Tue, 14 May 2002 16:56:51 +0100
From: Alan Maguire
Reply-To: one-word@cs.cardiff.ac.uk
To: "'one-word@cs.cardiff.ac.uk'"
Subject: RE: [OW] JMMP#4 LDS- Two day notice




>It is obvious from the number of responses, that fewer of us own this
album.
>Shame on you poseurs! In a way, JMMP separates the men from the boys,

Well, I cant take that lying down.

I've never really resolved how I feel about LDS. I didnt know it existed
till I found it in the local record shop. After the first listen I felt
distinctly nonplussed. I'd been listening to IMF and BoF constantly and had
been hoping for more tight arrangements and ensemble work. So, the
open-ended jamming of tracks like A Love Supreme seemed a bit of a let down.
Having listened to the album a couple more times made a few things more
clear to me: the acoustic tracks are really beautiful and most of all, The
Life Divine is an utterly amazing peice of music and it contains one of my
very favourite JM solos. In fact, I never even think about this album as a
collection of tunes or anything, I just think of it as the place in my cd
collection where "that solo" resides. Its a truly spiritual experience for
me. Listening to it is a distinctly new experience every time. Actually, it
was this peice that made the link between music and spirituality seem a
necessary and joyful one, rather then a pointless distraction, or some kind
of marketing gimmick.

I agree with the previous OWer who compared this album to Devotion. They
share a similar kind of sound: guys jamming in a rehearsal room. But I think
its also instructive to compare LDS with JMs previous twin guitar summit:
Spaces. They're diffrent albums obviously, as different as Coryell is from
Santana as a guitarist. But both albums were probably made under tight time
and financial constraints, and yet Spaces is to my ears a much more balanced
and satisfying peice of work. So whenever I listen to LDS I still cant help
feeling that it could have been better, more focussed, more coherent.....
Apart from the Life Divine of course.


Al.


============================================


From pandeyrajiv@yahoo.com Wed May 15 20:17:21 2002
Date: Tue, 14 May 2002 09:31:02 -0700 (PDT)
From: Rajiv Pandey
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP#4 LDS- Two day notice


ok, Ok...Will keep this brief and won't ramble too
much...

Bottmline, till this posting, I used to always feel
that LDS was one of those overlooked albums on this
list and I wondered why...It has always been one of
those albums where some passges give me the
goosebumps...

I know many consider "Let us go into..." as the
definitive track on this album and I think so too, but
the one that is overlooked by many is "Love
supreme"...Now that is a track that blew my hair back
right from the time i heard it over 20 yrs ago...The
interplay between JM and CS is amazing and I do not
care much for the compositional aspects or chord
patterns and whether it is complex enough for others,
it just "DOES" something for me -- it f#$kin moves me
and isn't that what counts in the end! Its the music
and what it does for you!

I feel the ones that really move me are Love Supreme,
Lets Go and Life Divine...The other tracks are
brilliant as well, but these three impact me
emotionally...

I am not a musician or one who can discuss the
subtleties of playing like many of you who articulate
on this list regularly, hence I held back...But
Walters email made me just put down what came to my
head...

BTW, I have discussed this before, I still feel the
LDS vinyl sounds better and warmer than the Columbia
CD or the Jap Mastersound...

Rajiv

PS: May be this discussion should have also included
the impressions of folks on the Laswell remix of the
album...

--- Walter Kolosky wrote:
>
> There are two days left to comment on Love Devotion
> and Surrender.
>
> It is obvious from the number of responses, that
> fewer of us own this album.
> Shame on you poseurs! In a way, JMMP separates the
> men from the boys, the
> wheat from the chaff and the One-Worders from the
> one-worders. At any rate,
> with this in mind, I will probably combine two
> albums when one of those
> albums picked may not be owned by many. I.E.
> Extrapolation or the Lifetime
> stuff etc. Of course, the best way to participate
> in the JMMP if you do not
> own the album is to go out and purchase it.
>
> Two days until JMMP # 5 is pulled from the hat.
>
> Regards,
>
> Walter
>
>


============================================


From JoacimT@aol.com Wed May 15 20:17:21 2002
Date: Tue, 14 May 2002 12:28:02 EDT
From: JoacimT@aol.com
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] LD & S


Just wanted to say this is one of the most touching albums that i've ever
listened to;

The intensity of JM's intro on "let's go....... is phenomenal and very upbeat

and passionate but I actually feel that CS is lifting the record with his
"special blend"
- you know, someone implied being 'sloppy' and not being able to deliver
proper choord progressions etc but guitar is totally about expressing
feelings - it's not showing muscles - admittedly JM is impressive with his
awesome technique but I feel this is not a conscious attempt on his part and
music is a matter of taste and CS reaches out and grabs hold of his listeners

just as much (more judging by record sales..?) through his unique sound -
actually I love both as much but for different reasons. Together they are
absolute dynamite and I just wish they would do something together again -
I'm sure they will...

Thanks to OW for a great forum with all different opinions !


Brgds
J Thomson



============================================


From KtheONE000@aol.com Wed May 15 20:17:21 2002
Date: Tue, 14 May 2002 12:31:22 -0400
From: KtheONE000@aol.com
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP#4 LDS- Two day notice


Greetings everyone.
I'm at work and have very limited time. I just wanted to set the record staright that I DO in fact have this album. When I first ehard it, I only owned "Inner Worlds", and basically knew nothing about JM's style. I had no idea which guitarist was playing what. Now, it is clear as day to me. I think the very first phrase JM plays on the disc in "A Love Supreme" makes the hair stand up on the back of my neck. Not the 12 string chords, the first lead phrase. The one with all those interesting bends. To be honest, I haven't given this album the attention is deserves. This week I wanted to listen, but I can't FIND it!! I'm very ashamed.
That's sadly it for now. I just wanted to say that I have the disc. Really.

Kerry


============================================


From DKingsley@aol.com Wed May 15 20:17:21 2002
Date: Tue, 14 May 2002 13:37:13 EDT
From: DKingsley@aol.com
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP#4 LDS- Two day notice


i always got goosebumps from this album too. i was an impressionable teenager
when i first got a copy and was knocked out by the distorted sound and
passionate playing.

the chaotic opening of "love supreme", the rubato "naima" and "let us go..."
-- how could my 16-year-old ears resist? and then that cover... it was both
cool and cheesy at the same time. in fact, i think the cover (and possibly
title) is what kept many people from buying the album. who's that smiling guy
in orange? (sidenote: carlos in clogs inspired me to wear them -- god, what a
geek i was)

coincidentally, i have just picked up a bootleg of outtakes from the LDS
sessions and am in the grand process of comparing between that, the columbia
cd reissue, and the laswell remix. the columbia cd reissue was done during
the first wave of transfers in the late '80s and totally sounds like shit;
but i was amazed at the sonic restoration that laswell produced. it sounds
like he had little to work with, there are many snippets from santana's lotus
and other sound sources thrown in as transitional material. overall, i
commend him.

there isn't much additional material from the LDS sessions on the bootleg.
even though the released album sounded footloose and almost improvised to me,
the few alternate takes have great similarity of structure. the musicians
were obviously not as loose as i thought they were.

in the words of garth trinidad, "peace and blessings"
m

In a message dated 5/14/02 12:31:16 PM, pandeyrajiv@yahoo.com writes:

<< Bottmline, till this posting, I used to always feel
that LDS was one of those overlooked albums on this
list and I wondered why...It has always been one of
those albums where some passges give me the
goosebumps...



PS: May be this discussion should have also included
the impressions of folks on the Laswell remix of the
album... >>



============================================


From jfd3@holyrood.ed.ac.uk Wed May 15 20:17:21 2002
Date: Tue, 14 May 2002 20:41:58 +0100 (BST)
From: jfd3
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP#4 LDS- Two day notice



please excuse the drift, but as Divine Light has been incorporated into
the discussion of LDS, I'll throw in this review i wrote for Sony...

Divine Light: Music From Illuminations & Love Devotion Surrender
Carlos Santana / Bill Laswell

The prolific Bill Laswell has been a part of New York's music scene since
moving there and forming jazz-funk-punk group Material in 1979. He has
appeared either as performer or studio technician on hundreds of albums,
as diverse as works by Laurie Anderson, Bootsy Collins, Motörhead and the
magnificent Fela Kuti. His breakthrough came with production of Herbie
Hancock's Future Shock in 1983. A particularly interesting project is with
Tabla Beat Science, his collaboration with percussionists Trilok Gurtu,
Zakir Hussain and Talvin Singh.

1997 saw Laswell reworking Miles Davis' electric music for Panthalassa:
The Music of Miles Davis 1969-1974, followed swiftly by Panthalassa: The
Remixes in 1999. If you were left wondering what Laswell had actually
achieved with Panthalassa then Divine Light may reinstate your faith in
the remixing industry.

For Divine Light Laswell has turned his attention to two classic 70's
spiritual albums, named as solo projects for Carlos Santana, Love Devotion
Surrender (1973) with John McLaughlin and Illuminations (1974) with Alice
Coltrane. Laswell selected Illuminations as his favorite Santana album and
popular for club chill-out rooms in NYC. whilst Love, Devotion, Surrender
was considered only later.

Let's peel back the layers on this CD. Firstly the packaging is
exceptional for imagery and design but frustratingly little about the
Laswell remix process and the original sessions - we know there's a lot
more on the original tapes because someone has bootlegged the Love,
Devotion, Surrender Sessions. I'm not sure whether I've got the
superdeluxe edition in front of me but the first 75,000 copies will come
as a 10 panel fold out digipak, artwork by renowned Japanese artist
Tadanori Yokoo, the artist for Santana's Lotus which explains why Divine
Light looks quite similar. To establish the spiritual context, new liner
notes include quotes from the writings of John Coltrane, Hazrat Inayat
Khan, and the Dalai Lama. Soon to the music, but first a few thoughts on
spirituality in music.

The roots of music are more exposed in India than anywhere else (Sachs,
1943). Early Sanskrit sources portray music as the center of all religious
rites, court ceremonials, and private entertainments (Ibid.). The Indian
culture is deeply rooted in music, and they believed that the gods they
worshipped were ardent musicians (Ibid.). The Vedic cantillation was
founded in India as a specific type of religious music. The Veda is the
whole of the pre-Buddhist religious wisdom collected in four books:
Rig-Veda, the Veda of verses; Sama-Veda, the Veda of melodies; and two
others, Yajur-Veda and Atharva-Veda (Ibid.) ... the Sama-Veda is divided
into seven tones where "the gods live on the highest note [and] man on the
first of the following." (Ibid.). This is why the Hindus would later refer
to the diatonic scale as one note plus six. (Ibid.) Thus we can derive
that Indian music was closely related to its culture and an integral part
of the religious service.

It is not surprising therefore that great musicians find Indian culture
harmonious with their own lives. The names Mahavishnu ("divine compassion,
power, and justice") and Devadip ("the eye, the lamp of the light of God")
were given to John McLaughlin and Carlos Santana by their guru Sri
Chinmoy. Turiya Aparana Satchidananda (Turiya is the terminal
transcendental level of nirvanic and super-consciousness) was given to
Alice Coltrane by her guru Swami Satchidananda. McLaughlin entered
Chinmoy's fellowship before Santana as a natural extension of his
interests in Indian culture and eastern religious beliefs stemming from
playing with Graham Bond.

The raga is perhaps the most difficult form of Indian music to comprehend.
Raga means "color" or "passion" and denotes a pattern of melody with a
well-defined mood and a modal scale in which every note has its individual
place as the starter, the predominant, the center, and the final. (Sachs,
1943) The raga also requires a drone, or pedal tone to emphasize the
predominant. The ragas were believed to have cosmic connotations and to
contain "secret energies that worked on man and nature." (Ibid.). The
Indians used ragas to arouse one of the nine sentiments: love, tenderness,
humor, heroism, terror, anger, disgust, surprise, and tranquility.
(Ibid.). This is one of the first known references to the theory of the
psychological effects of music, and musicologists would later consult the
ancient Indian document of Ramayana to support their theories of the
therapeutic value of music in the healing process. (Alvin 1966). Today
spiritually conscious musicians such as Ravi Shankar, John McLaughlin, and
Carlos Santana use the raga in their concert performances to "broaden the
understanding" of their audiences. (Gill 1995) This is a testament to the
spiritual power of the raga, that it is still being performed today in
concerts (read: ceremonies) by musicians.


============================================


From the active role that John McLaughlin took to pursue his interests
(travelling to India, studying Vina, forming Shakti, etc.) that it is
probably an injustice to have credited Love Devotion Surrender primarily
to Carlos Santana. If one assumes that this was an administrative error,
simply reflecting Laswell's bias, and perhaps attempting to cash in on the
success of Supernatural, then given the topicality of Santana's latest
acclaim, it is not surprising that the official press would echo this
falsity. Sadly, it also implies that McLaughlin and his management had no
input into the process. Love Devotion Surrender undoubtedly reflects more
the musical bent of ex-Lifetime, India-inspired Mahavishnu John McLaughlin
at that time. Indeed Carlos Santana's licks on the Illuminations material
are amongst the most eastern he ever got (compare them against his next
"solo" venture, the funky Oneness, Silver Dreams, Golden Reality from
1979).

The skill of Laswell's remixing is self-evident. Taking the master tapes,
he has reintroduced clips that were originally edited out of the final
recording including Jules Broussard's flute and has brought a lot of the
percussion forward including Phil Ford's tabla. The guitar work is
modified only slightly, cuts in track time being the major impact. A Love
Supreme uses only a few minutes of the extensive trade-offs of the
original whilst The Life Divine uses McLaughlin's 12-string track and cuts
all but the last few bars of his solo. Thankfully we have lost Tom
Coster's siren-like motif from Angel Of Air / Angel Of Water, the tedium
of which can only be forgiven because of the unchartered territory through
which the music was journeying, although Jan Hammer was doing something
far more exciting in the Mahavishnu Orchestra's Birds of Fire sessions at
about the same time, and the great Larry Young never failed to amaze.
Infact, one feature to benefit most from the remastering is the clarity of
Larry Young's Coltranesque sheets of sound, which has to be good thing for
us all.

The re-sequenced tracks are tied together with a tamboura drone that does
an adequate job of providing a smooth enough ride to create the sensation
of listening to an original album rather than a compilation. However, the
restructuring of this "new" album works in the main because of the clever
mixing and ephereal sonic tapestry on Illuminations. It doesn't matter so
much that Love, Devotion, Surrender has been chopped up, but Illuminations
was more of a journey in sound and spirit. Some of the voyager feeling has
been lost. Sometimes the post-production grates, for example an echo put
on the voices in A Love Supreme has resulted in the mantra ending up in a
sonic desert. With singing that bad, you need instruments in behind it!
The segue from Angel Of Sunlight onto that beautiful gentle end to Naima
sounds like a parochial DJ getting the mix wrong. A little patience here
would have made a much greater impact without ruining the acoustic magic.

Laswell is currently producing an Ethiopian pop record featuring Wayne
Shorter and Pharaoh Sanders and planning a Herbie Hancock remix project
along with a future Santana remix of Welcome and Caravanserai. There were
also rumours that he wanted to get hold of the tapes of Lifetime's
Emergency and Turn It Over.

Of Divine Light, the release as a package of cover art and music is
incredible. There are extensive improvements to the original mix on the
selected tracks, with some instruments, particularly acoustic ones
(percussion, harp, etc.) becoming clearer and the overall feel a lot
funkier with emphasised bass and organ. That we should see re-release of
this type of spiritual music at all is wonderful, what could have been
achieved by remixing the entire albums beggars belief. But Divine Light is
not the original albums, it is a reconstruction and therefore should be
approached as such. The product has, in one way or another, ended up more
Santana orientated and this is reflected throughout. However, any
self-respecting fan of the original classic albums, Indojazz, jazz-fusion,
Carlos Santana or John McLaughlin needs to own a copy of Divine Light.

References:

Alvin, Juliette. Music Therapy. New York: Humanities Press, Inc. 1966
Gill, Chris, and James Rotondi, and Jas Obrecht. "Within You, Without
You." Guitar Player May 1995: 49+.
Sachs, Curt. The Rise of Music in the Ancient World East and West. W.W.
Norton and Company, Inc. 1943

Internet Sources:

MTV.COM
One-Word Mailing List
Rolling Stone
Legacy Recordings
Newsweek Web
Hear/Say
Screw School



============================================


From kstitzel@attbi.com Wed May 15 20:17:21 2002
Date: Wed, 15 May 2002 00:16:50 -0600
From: Ken Stitzel
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP#4, Breezin', Rauch


Dear OneWorders,

Thanks for the kind words about my post. I must also thank you for your
writings. You have not only given me insight into the album, but also
insight into myself as this experience has become a flashback into an
earlier era of my life.

Previously, I had been inspired by music but often in a rather negative way.
Jethro Tull was about as progressive as my listening got before I heard LDS.
I was sometimes inspired by the music, but more by the way that Ian
Anderson's lyrics and compositions so accurately mirrored my own cynical
feelings about life and death.

LDS pulled me in the other direction, a new experience for me. I don't think
I had ever known music outside a church that could lift me up and inspire me
in a positive way. I came to know much more of this kind of music thanks to
John and Herbie Hancock and Chick Corea and many others. And in this
positive tide of the fusion wave, John was certainly a prime mover. If he is
a minister through his music, then I heard his message beginning with his
sermon on LDS. This music was one of precious few flashes of hope across an
often dark horizon.

Anyway, I listened to LDS yet again today and could really hear the
"Breezin'" quote in LUGITHOTL. I've missed it, yea these many long years. I
guess it didn't sound enough like George Benson! Makes sense that Carlos was
quoting, though. He apparently liked to quote a lot in this era, witness his
extended quote of "My Favorite Things" on one of the McLaughlin/Santana
bootlegs.

Also, thanks in a sad way for telling me what happened to the late Doug
Rauch. The last time I saw him was in Denver with the Billy Cobham/George
Duke band that also featured a young John Schofield on guitar during the
"Funky Thide of Sings" tour. Doug looked red-eyed and drunk, and I felt
oddly afraid for him. Damn.

Namaste and thanks, OW!

Ken Stitzel
Fort Collins, Colorado, USA
Earth, Sol system, Orion Arm, Milky Way, Local Group, etc.


----- Original Message -----
From: "Alan Maguire"
To:
Sent: Tuesday, May 14, 2002 9:56 AM
Subject: RE: [OW] JMMP#4 LDS- Two day notice


>
>
>
> >It is obvious from the number of responses, that fewer of us own this
> album.
> >Shame on you poseurs! In a way, JMMP separates the men from the boys,
>
> Well, I cant take that lying down.
>
> I've never really resolved how I feel about LDS. I didnt know it existed
> till I found it in the local record shop. After the first listen I felt
> distinctly nonplussed. I'd been listening to IMF and BoF constantly and
had
> been hoping for more tight arrangements and ensemble work. So, the
> open-ended jamming of tracks like A Love Supreme seemed a bit of a let
down.
> Having listened to the album a couple more times made a few things more
> clear to me: the acoustic tracks are really beautiful and most of all, The
> Life Divine is an utterly amazing peice of music and it contains one of my
> very favourite JM solos. In fact, I never even think about this album as a
> collection of tunes or anything, I just think of it as the place in my cd
> collection where "that solo" resides. Its a truly spiritual experience for
> me. Listening to it is a distinctly new experience every time. Actually,
it
> was this peice that made the link between music and spirituality seem a
> necessary and joyful one, rather then a pointless distraction, or some
kind
> of marketing gimmick.
>
> I agree with the previous OWer who compared this album to Devotion. They
> share a similar kind of sound: guys jamming in a rehearsal room. But I
think
> its also instructive to compare LDS with JMs previous twin guitar summit:
> Spaces. They're diffrent albums obviously, as different as Coryell is from
> Santana as a guitarist. But both albums were probably made under tight
time
> and financial constraints, and yet Spaces is to my ears a much more
balanced
> and satisfying peice of work. So whenever I listen to LDS I still cant
help
> feeling that it could have been better, more focussed, more coherent.....
> Apart from the Life Divine of course.
>
>
> Al.
>


============================================


From sandyfreeze_ow@yahoo.ca Wed May 15 20:17:21 2002
Date: Wed, 15 May 2002 09:54:55 -0400 (EDT)
From: Sandy Freeze
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] Let us go breezin', freezin '...surf Szabo?


HellOW, Marco. Chronology: LDS came before Breezin' .whatever quote
your're talkng about.
Can I get back to JMMP#4?...
plucking 'uagh', Sandy

--- Sound Advice wrote:
>
> Is anyone listening out there ?
>
> The quote is from 'Valdez in the Country' off the breezin' album and
> Carlos
> udsed it extensively in live performance (he quotes it on the solo in
> Samba
> Pa Ti from Lotus for one).
>
> Marco
>
>
> > From: Sandy Freeze
> > Reply-To: one-word@cs.cardiff.ac.uk
> > Date: Tue, 14 May 2002 10:43:07 -0400 (EDT)
> > To: one-word@cs.cardiff.ac.uk
> > Subject: [OW] Let us go breezin', freezin '...surf Szabo?
> >
> >
> > HellOW, and OW-allies. (My LD&S JMMP review is currently off in
> > Daft Draft land.)
> > I was trying to put my Dad's garage door back on TRACK, and unfray
> a
> > pulley wire as well, when the JMMP did roll through my thought
> > process. Is "Let Us..." a particularly well known American folk
> /gospel
> >
> > Anthem? I don't think I ever sang it in my United Church Of Canada
> > Junior Choir phase, back in the day (think Methodist + ...)
> > http://www.uccan.org/ucc/history.htm.
> > I second the question: an old 70's "hit song" book ever reminds me
> > that Bobby Womack wrote "Breezin" , so the little pre-sageous
> 'melodic
> > strain' that Carlos plays somewhere along there on "Let Us Go Into
> The
> >
> > HOWse of The Lord" can make anybody with a copy of LD&S and the
> later-
> > recorded LP Breezin', sit up. (although ,I think this might just
> be
> > as old as a "Royal Teagarden Blues" line, too...)
> > E|----------------|-----------|
> > B|------------K7k8|K10++++....|
> > G|------k6K7k9----|-----------|
> > D|;-k7K9----------|-----------|
> > E|,---,---,---,---|-----------|
> >
> >
> > Let us surf...
> > http://www.bobbywomack.com/ ( dead link...?)
> > http://www.angelfire.com/music2/BobbyWomack .....fan site
> > http://www.angelfire.com/music2/BobbyWomack/songlist1.html
> > ..//."Breezin"...not on list...
> > http://www.angelfire.com/music2/BobbyWomack/goldmine1.html
> > ....// but recorded by |Gabor Szabo|, a personal fount for Santana,
> > (Gyspy Queen...) so?
> > (Yikes! Gabor Szabo seems to be a very common name...)
> > http://www.dougpayne.com/highcon.htm | BREEZIN'/HIGH
> CONTRAST/1971|
> > Note: Phil Upchurch.. sits out this tune!
> > http://www.narr8.com/GSzabo.html
> > http://www.rockmine.music.co.uk/Archive/Gallery/Fill67/fi69.html
> > http://www.georgebenson.com/
> > So , did Womack ever record the song ?
> > As far as that goes, Phil Upchurch is the groovemaster there too ,
> on
> > GB's rythym section , isn't he?
> > http://www.philupchurch.com/
> > As the late Jimmy Durante used to say :
> > "Ev-ery-bod-y wants to get into the act!"
> > FREEZIN' ? my OWn 24 year-old take...
> > ____:-) vamp, fill up church?________________________
> > E|,------,-------,----,-------|,----,------Z5+"""++|E
> > B|Z7+++++++++++++Z7++""+++++++|Z7++++++++++Z3+"""++|B
> > G|Z7+++++++++++++Z7++""+++++++|Z7++++++++++Z4+"""++|G
> > D|Z7+++++++++++++Z7++""+++++++|Z5++++++++K5Z5+"""++|D
> > A|Z5------K5k2K9+---------K7h9|Z7++++K7k9--Z0+"""++|A
> > E|-----K5--------Z7++""+++++++|---k7-------,---,---|E
> > ~`___________________________________________________`~
> > \\r
> > SAND'sTones...
> > ~` Opening "Breezin'" Melody octave dOWN, plus Bass...
> > E|,------,-------,-----,------|,----,---,----,----|E
> > B|a5+""+""+"+"+++r5+-r3++++---|r7""""""-r5--"+++++|B
> > G|m6+""+""+"+"+++a7+-a4++++---|a7""""""-a7--"+++++|G
> > D|K0------K0--K4+m7--m4++++---|m5""""""5m7--"+++++|D
> > A|^----k0---k7---^---K2++-K2--|-----K7k9--Z0+"""--|A
> > E|---------------K7++---k2--k1|K0-k7------,---,-k7|E
> > ~`
> > So we've got Santana, quoting Szabo, from a Bobby Womack tune in
> the
> > middle of some traditional tune that I've never heard of otherwise.
> > here's the Pharoah Saunders LP with "Let Us..."
> > http://www.musthear.com/reviews/deafdumbblind.html
> > Edwin Hawkins:
> >
>
http://www.buddharecords.com/noflash/newindex.html?pages/comps/edwinhawkins.ht
> > ml
> >
> > And , of course, me, the apostate, trying to do my OWn K/r)a)m) tab
> on
> > a bit of self-flattery.
> > That help? I did get the door back on track.
> > Plucking off, Sandy Freeze
> >
> > --- Ken Stitzel wrote:
> >>
> >> Dear One-Word,
> >>
> >> Not a bad review from allmusic.com. (Don't know about the part
> about
> >> LUGITHOTL being based on "Breezin'", when the source is listed as
> >> "traditional." Probably Breezin is based on the same traditional
> hymn
> >> if
> >> anything, though I don't know which hymn it is. Can anyone
> comment?):
> >>
> >
> >
> >
> > =====
> >
> > ~` PosI PosII PosIV picK and Roll
> > E|r1++.\..r3++.\..r5++.\..|E
> > B|a1++..\.a3++..\.a5++..\.|B Sandy Freeze
> > G|m0++...\m2++...\m4++...\|G
> > D|----Z3++----Z5++----Z7++|D K\/k___r)a)m)
> > A|----Z3++----Z5++----Z7++|A
> > E|----Z3++----Z5++----Z7++|E
> > http://www.geocities.com/guitalife
> >
> >
> >
>


============================================


From rcubed88@hotmail.com Wed May 15 20:17:21 2002
Date: Thu, 16 May 2002 00:37:31 +1000
From: Robert Robinson
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] JMMP#4 LDS- Two day notice


I first heard Let Us Go........ on AM radio in 1973 I almost fell off my
chair. I already owned Devotion, Inner mounting Flame and Abraxis, and
Caravaserai i think.

Anyway, I just had to have LDS. I always bought LPs from the country of
origin where possible to ensure the pressings were from the original master
disc, e.g. reprise pressing of Electric Ladyland made the English/Australian
Polydor version sound like a cassette tape (I later read the English master
came a tape of the US master - shheesh no wonder). But i digess.

When my import copy arrived at the shop (The Record Plant - Imperial Arcade,
Pitt Street, Sydney) I have discovered it was a quadraphonic version). Still
it sounded just great in stereo in my first system - a JVC with 20 watt
speakers.

My impression of the cover was pretty similar to Dr Kingsley....."both
cool and cheesy at the same time." Cool 'cause two of my guitar idols
(apart from Hendrix, Page, Zappa, Beck, Clapton and Akkerman) were jamming
on the same record!! Wow. Cheesy 'cause Carlos looked kinda pathetic with
hair cut short and that pose of his with hands clasped tight in front for
his Master to sea. John had a nifty white jacket while Carlos only had a
jumper (sweater) like he was playing tennis or cricket. This whole
religious/Guru thing both attracted and repelled me, probably due to Chinmoy
sitting on his throne.

Naturally, I loved Let Us Go.... the most initially, followed by Naima, then
Meditation, A Love Supreme. My impression then was A Life Divine seemed to
be a poor echo of A Love Supreme and the weekest track.

I found both Naima and Meditation beautiful beyond words, so calming and
peaceful. Later found Hope and 2 Sisters from Shakti; Guardian Angel and
When Blue Turns Gold had the same effect on me.

Unfortunately, my vinyl LDS has been loved to death. Naima is noticebly
crackly. My old Columbia Jazz Masters CD sound flat and drab in comparison
though.

Is there a good version on CD? I acccidently picked up a Mastersound
Natural Elements for about $7.50 U.S. last year. Sound is awesome.

LDS is great LP. I once did the Laswell in my own way and put LDS, Flame
Sky and Friendship on the one JM/Santana tape. Hmm, might do that with CD
burner this time.

I hope Columbia release a remixed and complete Welcome if Laswell does his
usual 2fer. I still prefer the former.

Best
RoB

>From: DKingsley@aol.com
>Reply-To: one-word@cs.cardiff.ac.uk
>To: one-word@cs.cardiff.ac.uk
>Subject: Re: [OW] JMMP#4 LDS- Two day notice
>Date: Tue, 14 May 2002 13:37:13 EDT
>
>
>i always got goosebumps from this album too. i was an impressionable
>teenager
>when i first got a copy and was knocked out by the distorted sound and
>passionate playing.
>
>the chaotic opening of "love supreme", the rubato "naima" and "let us
>go..."
>-- how could my 16-year-old ears resist? and then that cover... it was both
>cool and cheesy at the same time. in fact, i think the cover (and possibly
>title) is what kept many people from buying the album. who's that smiling
>guy
>in orange? (sidenote: carlos in clogs inspired me to wear them -- god, what
>a
>geek i was)
>
>coincidentally, i have just picked up a bootleg of outtakes from the LDS
>sessions and am in the grand process of comparing between that, the
>columbia
>cd reissue, and the laswell remix. the columbia cd reissue was done during
>the first wave of transfers in the late '80s and totally sounds like shit;
>but i was amazed at the sonic restoration that laswell produced. it sounds
>like he had little to work with, there are many snippets from santana's
>lotus
>and other sound sources thrown in as transitional material. overall, i
>commend him.
>
>there isn't much additional material from the LDS sessions on the bootleg.
>even though the released album sounded footloose and almost improvised to
>me,
>the few alternate takes have great similarity of structure. the musicians
>were obviously not as loose as i thought they were.
>
>in the words of garth trinidad, "peace and blessings"
>m
>
>In a message dated 5/14/02 12:31:16 PM, pandeyrajiv@yahoo.com writes:
>
><< Bottmline, till this posting, I used to always feel
>that LDS was one of those overlooked albums on this
>list and I wondered why...It has always been one of
>those albums where some passges give me the
>goosebumps...
>
>
>
>PS: May be this discussion should have also included
>the impressions of folks on the Laswell remix of the
>album... >>
>
>


============================================


From slbr03460_2@blueyonder.co.uk Wed May 15 20:17:21 2002
Date: Wed, 15 May 2002 15:43:21 +0000
From: Sound Advice
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] Let us go breezin', freezin '...surf Szabo?


Yes, Mr Freeeeze you're right.

'Valdez in the Country' is one o' dem cottin' pickin' ol' time songs,
possibly originally a spanish folk song, since it's come the Mexican way (if
ya get my meanin').

My Chrypto-phrenology not being what it was,
I bow to your superior mumbo jumbo

Mr Unreliable

Min of Dis-Inf (Retired)


Mark Anderson


> From: Sandy Freeze
> Reply-To: one-word@cs.cardiff.ac.uk
> Date: Wed, 15 May 2002 09:54:55 -0400 (EDT)
> To: one-word@cs.cardiff.ac.uk
> Subject: Re: [OW] Let us go breezin', freezin '...surf Szabo?
>
>
> HellOW, Marco. Chronology: LDS came before Breezin' .whatever quote
> your're talkng about.
> Can I get back to JMMP#4?...
> plucking 'uagh', Sandy
>
> --- Sound Advice wrote:
>>
>> Is anyone listening out there ?
>>
>> The quote is from 'Valdez in the Country' off the breezin' album and
>> Carlos
>> udsed it extensively in live performance (he quotes it on the solo in
>> Samba
>> Pa Ti from Lotus for one).
>>
>> Marco
>>
>>
>>> From: Sandy Freeze
>>> Reply-To: one-word@cs.cardiff.ac.uk
>>> Date: Tue, 14 May 2002 10:43:07 -0400 (EDT)
>>> To: one-word@cs.cardiff.ac.uk
>>> Subject: [OW] Let us go breezin', freezin '...surf Szabo?
>>>
>>>
>>> HellOW, and OW-allies. (My LD&S JMMP review is currently off in
>>> Daft Draft land.)
>>> I was trying to put my Dad's garage door back on TRACK, and unfray
>> a
>>> pulley wire as well, when the JMMP did roll through my thought
>>> process. Is "Let Us..." a particularly well known American folk
>> /gospel
>>>
>>> Anthem? I don't think I ever sang it in my United Church Of Canada
>>> Junior Choir phase, back in the day (think Methodist + ...)
>>> http://www.uccan.org/ucc/history.htm.
>>> I second the question: an old 70's "hit song" book ever reminds me
>>> that Bobby Womack wrote "Breezin" , so the little pre-sageous
>> 'melodic
>>> strain' that Carlos plays somewhere along there on "Let Us Go Into
>> The
>>>
>>> HOWse of The Lord" can make anybody with a copy of LD&S and the
>> later-
>>> recorded LP Breezin', sit up. (although ,I think this might just
>> be
>>> as old as a "Royal Teagarden Blues" line, too...)
>>> E|----------------|-----------|
>>> B|------------K7k8|K10++++....|
>>> G|------k6K7k9----|-----------|
>>> D|;-k7K9----------|-----------|
>>> E|,---,---,---,---|-----------|
>>>
>>>
>>> Let us surf...
>>> http://www.bobbywomack.com/ ( dead link...?)
>>> http://www.angelfire.com/music2/BobbyWomack .....fan site
>>> http://www.angelfire.com/music2/BobbyWomack/songlist1.html
>>> ..//."Breezin"...not on list...
>>> http://www.angelfire.com/music2/BobbyWomack/goldmine1.html
>>> ....// but recorded by |Gabor Szabo|, a personal fount for Santana,
>>> (Gyspy Queen...) so?
>>> (Yikes! Gabor Szabo seems to be a very common name...)
>>> http://www.dougpayne.com/highcon.htm | BREEZIN'/HIGH
>> CONTRAST/1971|
>>> Note: Phil Upchurch.. sits out this tune!
>>> http://www.narr8.com/GSzabo.html
>>> http://www.rockmine.music.co.uk/Archive/Gallery/Fill67/fi69.html
>>> http://www.georgebenson.com/
>>> So , did Womack ever record the song ?
>>> As far as that goes, Phil Upchurch is the groovemaster there too ,
>> on
>>> GB's rythym section , isn't he?
>>> http://www.philupchurch.com/
>>> As the late Jimmy Durante used to say :
>>> "Ev-ery-bod-y wants to get into the act!"
>>> FREEZIN' ? my OWn 24 year-old take...
>>> ____:-) vamp, fill up church?________________________
>>> E|,------,-------,----,-------|,----,------Z5+"""++|E
>>> B|Z7+++++++++++++Z7++""+++++++|Z7++++++++++Z3+"""++|B
>>> G|Z7+++++++++++++Z7++""+++++++|Z7++++++++++Z4+"""++|G
>>> D|Z7+++++++++++++Z7++""+++++++|Z5++++++++K5Z5+"""++|D
>>> A|Z5------K5k2K9+---------K7h9|Z7++++K7k9--Z0+"""++|A
>>> E|-----K5--------Z7++""+++++++|---k7-------,---,---|E
>>> ~`___________________________________________________`~
>>> \\r
>>> SAND'sTones...
>>> ~` Opening "Breezin'" Melody octave dOWN, plus Bass...
>>> E|,------,-------,-----,------|,----,---,----,----|E
>>> B|a5+""+""+"+"+++r5+-r3++++---|r7""""""-r5--"+++++|B
>>> G|m6+""+""+"+"+++a7+-a4++++---|a7""""""-a7--"+++++|G
>>> D|K0------K0--K4+m7--m4++++---|m5""""""5m7--"+++++|D
>>> A|^----k0---k7---^---K2++-K2--|-----K7k9--Z0+"""--|A
>>> E|---------------K7++---k2--k1|K0-k7------,---,-k7|E
>>> ~`
>>> So we've got Santana, quoting Szabo, from a Bobby Womack tune in
>> the
>>> middle of some traditional tune that I've never heard of otherwise.
>>> here's the Pharoah Saunders LP with "Let Us..."
>>> http://www.musthear.com/reviews/deafdumbblind.html
>>> Edwin Hawkins:
>>>
>>
> http://www.buddharecords.com/noflash/newindex.html?pages/comps/edwinhawkins.ht
>>> ml
>>>
>>> And , of course, me, the apostate, trying to do my OWn K/r)a)m) tab
>> on
>>> a bit of self-flattery.
>>> That help? I did get the door back on track.
>>> Plucking off, Sandy Freeze
>>>
>>> --- Ken Stitzel wrote:
>>>>
>>>> Dear One-Word,
>>>>
>>>> Not a bad review from allmusic.com. (Don't know about the part
>> about
>>>> LUGITHOTL being based on "Breezin'", when the source is listed as
>>>> "traditional." Probably Breezin is based on the same traditional
>> hymn
>>>> if
>>>> anything, though I don't know which hymn it is. Can anyone
>> comment?):
>>>>
>>>
>>>
>>>
>>> =====
>>>
>>> ~` PosI PosII PosIV picK and Roll
>>> E|r1++.\..r3++.\..r5++.\..|E
>>> B|a1++..\.a3++..\.a5++..\.|B Sandy Freeze
>>> G|m0++...\m2++...\m4++...\|G
>>> D|----Z3++----Z5++----Z7++|D K\/k___r)a)m)
>>> A|----Z3++----Z5++----Z7++|A
>>> E|----Z3++----Z5++----Z7++|E
>>> http://www.geocities.com/guitalife
>>>
>>>
>>>
>>


============================================


From rcubed88@hotmail.com Wed May 15 20:17:21 2002
Date: Thu, 16 May 2002 00:56:32 +1000
From: Robert Robinson
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: Re: [OW] Let us go breezin', freezin '...surf Szabo?


Hi Marco and Sandy

That's what I always thought.

A track on Caravanserai sounds very similar to Breezin' which came later.

RoB
BTW Just did 2 weeks of jury duty. What a nightmare!!

>From: Sandy Freeze
>Reply-To: one-word@cs.cardiff.ac.uk
>To: one-word@cs.cardiff.ac.uk
>Subject: Re: [OW] Let us go breezin', freezin '...surf Szabo?
>Date: Wed, 15 May 2002 09:54:55 -0400 (EDT)
>
>
>HellOW, Marco. Chronology: LDS came before Breezin' .whatever quote
>your're talkng about.
> Can I get back to JMMP#4?...
> plucking 'uagh', Sandy
>
>--- Sound Advice wrote:
> >
> > Is anyone listening out there ?
> >
> > The quote is from 'Valdez in the Country' off the breezin' album and
> > Carlos
> > udsed it extensively in live performance (he quotes it on the solo in
> > Samba
> > Pa Ti from Lotus for one).
> >
> > Marco
> >
> >
> > > From: Sandy Freeze
> > > Reply-To: one-word@cs.cardiff.ac.uk
> > > Date: Tue, 14 May 2002 10:43:07 -0400 (EDT)
> > > To: one-word@cs.cardiff.ac.uk
> > > Subject: [OW] Let us go breezin', freezin '...surf Szabo?
> > >
> > >
> > > HellOW, and OW-allies. (My LD&S JMMP review is currently off in
> > > Daft Draft land.)
> > > I was trying to put my Dad's garage door back on TRACK, and unfray
> > a
> > > pulley wire as well, when the JMMP did roll through my thought
> > > process. Is "Let Us..." a particularly well known American folk
> > /gospel
> > >
> > > Anthem? I don't think I ever sang it in my United Church Of Canada
> > > Junior Choir phase, back in the day (think Methodist + ...)
> > > http://www.uccan.org/ucc/history.htm.
> > > I second the question: an old 70's "hit song" book ever reminds me
> > > that Bobby Womack wrote "Breezin" , so the little pre-sageous
> > 'melodic
> > > strain' that Carlos plays somewhere along there on "Let Us Go Into
> > The
> > >
> > > HOWse of The Lord" can make anybody with a copy of LD&S and the
> > later-
> > > recorded LP Breezin', sit up. (although ,I think this might just
> > be
> > > as old as a "Royal Teagarden Blues" line, too...)
> > > E|----------------|-----------|
> > > B|------------K7k8|K10++++....|
> > > G|------k6K7k9----|-----------|
> > > D|;-k7K9----------|-----------|
> > > E|,---,---,---,---|-----------|
> > >
> > >
> > > Let us surf...
> > > http://www.bobbywomack.com/ ( dead link...?)
> > > http://www.angelfire.com/music2/BobbyWomack .....fan site
> > > http://www.angelfire.com/music2/BobbyWomack/songlist1.html
> > > ..//."Breezin"...not on list...
> > > http://www.angelfire.com/music2/BobbyWomack/goldmine1.html
> > > ....// but recorded by |Gabor Szabo|, a personal fount for Santana,
> > > (Gyspy Queen...) so?
> > > (Yikes! Gabor Szabo seems to be a very common name...)
> > > http://www.dougpayne.com/highcon.htm | BREEZIN'/HIGH
> > CONTRAST/1971|
> > > Note: Phil Upchurch.. sits out this tune!
> > > http://www.narr8.com/GSzabo.html
> > > http://www.rockmine.music.co.uk/Archive/Gallery/Fill67/fi69.html
> > > http://www.georgebenson.com/
> > > So , did Womack ever record the song ?
> > > As far as that goes, Phil Upchurch is the groovemaster there too ,
> > on
> > > GB's rythym section , isn't he?
> > > http://www.philupchurch.com/
> > > As the late Jimmy Durante used to say :
> > > "Ev-ery-bod-y wants to get into the act!"
> > > FREEZIN' ? my OWn 24 year-old take...
> > > ____:-) vamp, fill up church?________________________
> > > E|,------,-------,----,-------|,----,------Z5+"""++|E
> > > B|Z7+++++++++++++Z7++""+++++++|Z7++++++++++Z3+"""++|B
> > > G|Z7+++++++++++++Z7++""+++++++|Z7++++++++++Z4+"""++|G
> > > D|Z7+++++++++++++Z7++""+++++++|Z5++++++++K5Z5+"""++|D
> > > A|Z5------K5k2K9+---------K7h9|Z7++++K7k9--Z0+"""++|A
> > > E|-----K5--------Z7++""+++++++|---k7-------,---,---|E
> > > ~`___________________________________________________`~
> > > \\r
> > > SAND'sTones...
> > > ~` Opening "Breezin'" Melody octave dOWN, plus Bass...
> > > E|,------,-------,-----,------|,----,---,----,----|E
> > > B|a5+""+""+"+"+++r5+-r3++++---|r7""""""-r5--"+++++|B
> > > G|m6+""+""+"+"+++a7+-a4++++---|a7""""""-a7--"+++++|G
> > > D|K0------K0--K4+m7--m4++++---|m5""""""5m7--"+++++|D
> > > A|^----k0---k7---^---K2++-K2--|-----K7k9--Z0+"""--|A
> > > E|---------------K7++---k2--k1|K0-k7------,---,-k7|E
> > > ~`
> > > So we've got Santana, quoting Szabo, from a Bobby Womack tune in
> > the
> > > middle of some traditional tune that I've never heard of otherwise.
> > > here's the Pharoah Saunders LP with "Let Us..."
> > > http://www.musthear.com/reviews/deafdumbblind.html
> > > Edwin Hawkins:
> > >
> >
>http://www.buddharecords.com/noflash/newindex.html?pages/comps/edwinhawkins.ht
> > > ml
> > >
> > > And , of course, me, the apostate, trying to do my OWn K/r)a)m) tab
> > on
> > > a bit of self-flattery.
> > > That help? I did get the door back on track.
> > > Plucking off, Sandy Freeze
> > >
> > > --- Ken Stitzel wrote:
> > >>
> > >> Dear One-Word,
> > >>
> > >> Not a bad review from allmusic.com. (Don't know about the part
> > about
> > >> LUGITHOTL being based on "Breezin'", when the source is listed as
> > >> "traditional." Probably Breezin is based on the same traditional
> > hymn
> > >> if
> > >> anything, though I don't know which hymn it is. Can anyone
> > comment?):
> > >>
> > >
> > >
> > >
> > > =====
> > >
> > > ~` PosI PosII PosIV picK and Roll
> > > E|r1++.\..r3++.\..r5++.\..|E
> > > B|a1++..\.a3++..\.a5++..\.|B Sandy Freeze
> > > G|m0++...\m2++...\m4++...\|G
> > > D|----Z3++----Z5++----Z7++|D K\/k___r)a)m)
> > > A|----Z3++----Z5++----Z7++|A
> > > E|----Z3++----Z5++----Z7++|E
> > > http://www.geocities.com/guitalife
> > >
> > >


============================================


From sandyfreeze_ow@yahoo.ca Wed May 15 20:17:21 2002
Date: Wed, 15 May 2002 12:15:02 -0400 (EDT)
From: Sandy Freeze
Reply-To: one-word@cs.cardiff.ac.uk
To: one-word@cs.cardiff.ac.uk
Subject: [OW] Draft 12:JMMP # 4 - Love, Devotion and Surrender


HellOW, Walter , OW-allies and local yokels . NOW we're getting
somewhere! (a day late but...)
If "Live at RFH" didn't turn my crank it's probably just those
pauseful gentle Mediterranean breezes that passed for music, and so on,

wafting up the Thames, and elsewhere. John's EURO_REDUX period (I've
got issues...)
"LOVE DEVOTION , AND SURRENDER" reminds me of those wacky days in the
1970's when my fledgling John McLaughlin "Jones" led me to buy it at
(I think) "Manchester, Robertson, and Allison's", the longtime
centerpiece of retail here in Saint John , New Bruswick, Canada, soon
to be defunct, and supplanted by a hotel/shopping complex. PROGRESS has

its headquarters somewhere else, I guess.
I was 18 just out of High School, in the summer of 1973, weaning on
"Birds Of Fire". Elsewise, life sucked , as the kids say. But I was
right gobsmacked, knocked for a loop by LD&S. There I am sitting with
my Dad'd old flattop guitar, waiting to mimic and absorb, and this
mercurial sound breaks loose in the speakers of the stereo I got for my
grad'yee'ate'un'. You'd think I'd know better. WOW!
In context: see
http://www.geocities.com/guitalife/bioguita/yonder02.html

(Listing , quick thanks for John McCullagh's discography
http://fweb.midi.co.jp/~jazznoise/jm/index.html )

01.A Love Supreme
02.Naima
03.The Life Divine
04.Let Us Go Into The House Of The Lord
05.Meditation

The Coltrane piece "A Love Supreme" might have been a second exposure
for me, since I know OWr library had the 'Trane "LS" LP for
years. But that motific intro, modulated to a "guitar key" after the
turbulent give and take between Devadip y Mahavishnu, Ayee Ca-rhumba!
SWAT TEAM is here...
Heaven come, a' leavin'.
Larry Young /Kahlid Yasin is the allround quiet treat of the album.
His lines are a balm for the synapeses seared by John and Carlos'
sunward flights.
~` `~ McLaughlin's little comp biscuit here:
E|----|K2----k0++++----|E
B|--k2|----K0++++++--k2|B
G|----|--k2++++++++----|G
D|----|----------------|D
A|----|----------------|A
E|,---|,---,---,---,---|E
~` `~
= "DOUG RAUCH BASS
G|----|----------------|-----------(4)--|G
D|----|----------------|----------------|D
A|----|0+-----2+-------|0+-----2+-------|A
E|--2+|----1/2+------2+|----1/2+------2+|E
= "
I met a bassist, years later ( Doug B., for the locals) who nailed
the ..F#- B... vamp, playing it, er, uh, faithfully, in a local music
store. All of the stuff Doug Rauch was providing on the LP became the
backbone of the grooves. It was all enough to make me take stock
of my own need to play the guitar. McLaughlin was phrasing and playing
sequences that I am still reluctant to hear with a guitar in my OWn
two hands .
http://www.italway.it/morrone/Naima.htm
"Naima" ,the other Trane piece, is part of the guitar duo thread of
McLaughlin's career. What surprised me was Carlos' reflective
acoustic lead line, since he was so identified with screaming electric
sorties. John's OWn deep accompaniment just added to my amazement of
the command of the guitar, not the least because of the pedal
sonorities of Coltrane's ode to a former wife. That last chord
McLaughlin plucks? The very epitome of the forlorn spirit.
They play it in G Major , unlike
http://www.italway.it/morrone/Naima.htm (AbMajor)
McLaughlin: Dropped `D'* ?:
E|----------------|E ~D A D G B E~
B|----k4++++++++++|B |x - - - - x| x= tacet
G|--K3++++++++++++|G 3rdFret | - - 1 - |
D|Z7++++++++++++++|D | - - 2 |
A|Z5++++++++++++++|A | 3 - |
D|,---,---,---,---|D* | - |
fin...NAIMA _____________ | 4 |

"A Life Divine" has it's OWn particular attraction for the rumbling
drive of the drums lays the gauntlet down for the 12/8ish vibe.
I have derived a more warped version of McLaughlin's "hurdy-gurdy"
chord walk-dOWn , over the triplet triple threat of Doug Rauch's double
stop inversion and it goes something like this:
http://www.geocities.com/guitalife/jwc/lifediv.html
The "You Know You KnOW, \/Guardian Angels" chordal approach is in the

descendant vector here. 'B' is the only open germane string allowed.
But here I'll reduce for the flatpick impaired mortals, we are.
_4TIMES__ |Each bar two times apiece..... and so on,
E|-r11++|4\ |-r11+-||-r09++|-r09++|-r07++|-r07++|-r06++|E
B|--a00+|T| |--a00-||--a00+|--a00+|--a00+|--a00+|--a00+|B
G|---m11|I| |---m09||---mo9|---m08|---m08|---m06|---m06|G
D|-k09++|M| |-k08++||-k08++|-k06+-|-k06++|-k04++|-k04++|D
A|......|E|............................................|A
E|,---;-|S|............................................|E

The irritating three note arpeggios he plays later gave me all the
clues for the whole tonality, of the open `B' string and such.
E|----K4----K2|E
B|--k0++--k0++|B
G|K3++++K3++++|G
D|,---;-,---;-|D
A|------------|A
E|------------|E

The extended Rockish vamp from Eb Minor to Ab Minor seems parallel to
LOVE SUPREME , alrighty (Almighty?) , but I suspect McLaughlin was
tweaking Carlos away from 4 other open string tonalites (EADG...).

Maybe "Let Us Go Into The House O The Lord" has the second most
ponderous title I've seen, besides Shakti's 'What Need Have I For tbis
, What Need Have I For That, I Am Dancing At The Feet Of the
Lord"... but lighten up, they did. You might say it's loose.

Meditation: There's a chord voicing that I like to call the Tal Farlow.
McLaughlin plays piano here , the "Tal" comes in after the Bm7
sure enough ...sort of [GMajor 7/9/B] in this sense, or Bm-6-7?

~``~
E|Z2++++++++++++++|Z2++++++++++++++|E
B|Z3++++++++++++++|Z3++++++++++++++|B
G|Z2++++++++++++++|Z2++++++++++++++|G
D|Z4++++++++++++++|Z5++++++++++++++|D
A|Z2++++++++++++++|Z2++++++++++++++|A
E|,---,---,---,---|,---,---,---,---|E
~``~
So I guess I get something from Love Devotion and Surrender ,yeah!
[Sidebar:
I had gone from "Caravanserai" to "Birds Of Fire", in fact, in the
last 3 months of school. So I had a two points of reference for this
music: Carlos Santana, and Mahavishnu John McLaughlin.
The highly (no pun) engaging Caravanserai actually served as a
God-send
as I was in charge of finding the sound of crickets, etc, for a class
project in Communications. Rocky B. (and my local pals know him
well)resident Frank Zappa non-Italian doppleganger, and Tom H. the
4-5-year-plan man, and I the skinny, unexpressive one (hard to
believe...) had
to come up with an audio visual masterpiece, that was little more than
splashing paint in front of a lapsed time camera, for that BIRTH/END OF

THE UNIVERSE effect,with rocky's uh, piano meanderings.. Concealing my
guitarist talents (HA!) I ended up running around looking for anyone
with a tape of cricket sounds as opposed to going outside in the
spring air and recording it myself. Mom picked up Caravanserai, on a
trip, I think. I put the LP on and VOILA!, the cricket (?) sounds! I
took it to school for adding to the project. Passed the (pilot) course.

But the MUSIC! Fierce. Soon, Mom took another shopping trip, and I got
M.O.'s "BOF" on the eve of the last of my exams, French. I tapped my
foot in 7/8 to HOPE, quand je l'ecrit, mais c'est une autre LP JMMP
review.]
Absolutely Dhoti , Sandy Freeze

=====

~` PosI PosII PosIV picK and Roll
E|r1++.\..r3++.\..r5++.\..|E
B|a1++..\.a3++..\.a5++..\.|B Sandy Freeze
G|m0++...\m2++...\m4++...\|G
D|----Z3++----Z5++----Z7++|D K\/k___r)a)m)
A|----Z3++----Z5++----Z7++|A
E|----Z3++----Z5++----Z7++|E
http://www.geocities.com/guitalife



============================================


From rasibley@concentric.net Wed May 15 20:17:21 2002
Date: Wed, 15 May 2002 13:17:25 +0900
From: Rod Sibley
Reply-To: one-word@cs.cf.ac.uk
To: one-word@cs.cf.ac.uk
Subject: [OW] Late JMMP #4: Love Devotion Surrender


Hello to All,

Sorry for throwing off the schedule. I've *finally* started to get that
rattle out of my chest. I'm feeling better to the point of actually wanting
to *do* something ;-). And other than resuming reading Nick's "Chop Shop"
web pages (do stop by for a visit!), what better way to get back into the
swing of things than to stir up trouble with my JMMP comments ;-)?

When I started writing this, I wanted to include more personal
rememberances from '73. But the draft quickly became a treatise on how
"BOF" changed my life; so I had to start over. And the only other
"LDS"-related story was how at age 14 I couldn't get a ride to Ann Arbor,
Michigan to see the JMcL/Santana concert. A story that I've mentioned a few
times before and really not worth repeating again. But one thing that I can
carry over in writing about "LDS" is the fact that I used this recording to
try and convert friends of mine that thought that the MO stuff was too
_____________ (use the adjective of your choice). Carlos' playing was
"normal" enough in the JMcL feast for people to digest. It was the sugar to
make the medicine go down.

I was surprised when this record came out. I had no advance knowledge of
Carlos' life change. Musically, "Caravansari" (though good) was just
another Santana record; and I never listened to the second side after the
first time. So seeing "LDS" in the record store and seeing Carlos with
short hair was a bit of a shock. I was excited that John and Carlos were
playing together, and that there was a new JMcL record out. Since I was in
the peak of McLaughlin-phoria during the early summer of '73, I knew that
Carlos was playing on *John's* record, and not the other way around. I was
totally ignorant of the commercial aspects that were at play.

For me, "LDS" is one of the few "meeting of Stars" recordings that
works. I can't tell you the number of records I've bought where marquee
name players get together and put out a bunch of crap. "LDS" delivers the
goods. One of the reasons that "LDS" works is because Carlos is out of his
element. I wouldn't go so far as to say that he's a fish out of water, but
sometimes Carlos treads water rather than swims. This isn't a criticism or
a bad thing. Because what Carlos can't handle on a technical level he
compensates for on an emotional level. His emotions come through, and
provides a sort of reference point that people can relate to. This is in
contrast with what I consider John's overt spirituality. Both of these
aspects combined are what makes the music on "LDS" like being at a rock
concert and a revival meeting at the same time ;-).

Back in '73, John's music hit me on a spiritual level. Why? I couldn't
tell you. And for some reason, I always took that approach when
evangelisizing his music to my friends. It was the difficult road to take,
but I felt enough of a sense of urgency that I HAD to get them to listen to
the music on the "right frequency". Their ears weren't enough, I wanted
them to "connect". I'd have better luck trying to sell ice machines to
Eskimos. But when "LDS" came out, their familiarity with Santana's "hits"
allowed me to get my foot in the door with some people. And from there I
was able to try and steer things to another level.

It's funny looking back how John's music was the only "religion" that I
ever committed to. What's also interesting is that even when Carlos became
a disciple, his music never stirred the same Fire that John's had. I never
got the same spiritual connection. John had a vision with his music, and I
got swept away by it. It just didn't happen with Santana's "Devadip"-era
recordings, as good as they were.

On to the tunes:

'A Love Supreme': For those that don't already know: John Coltrane's "A
Love Supreme" recording is a four part suite. The version of 'ALS' on "LDS"
is Part 1 of the suite, titled 'Acknowledgement'. The "LDS" version
captures the spirit of the original: "a humble offering to Him" (J.C.). In
fact, I think it ups the ante a notch. The dialogues between the two
guitarists express what mere words cannot. I don't know of anyone that has
listened to this and has not been moved by it in some way.

'Namia': For those that didn't already know: Namia was the name of
Coltrane's first wife. And the original is on Coltrane's "Giant Steps"
recording. Starting off a recording with the impact of two electric guitars
on 'ALS', and then dropping the dynamics down to a whisper with two
acoustic guitars gives this version a calming effect; as well as a
meditative one. I like the Laswell remix version better. It has John spread
across left/right and Carlos in the center of the stereo field. This
enhances the track 'cause it takes you out of the habit [well, my habit, at
least] of listening to one guitar over the other on "LDS".

'The Life Divine': This is "The Shit". The opening drum pattern is one of
the baddest Cobham beats ever committed to tape. Combine that with JMcL's
Arpeggio's From Hell intro, and you have one *killer* track. It stomps you
in the face and works its way down. You want to plunder a village or eat
raw meat (with a Heineken) after listening to this. When I first heard this
song, I must have listened to it seven times straight; minimum. As
mentioned before, Johnny blew his solo the first go round and had to
overdub a second one; and he nailed that fucker shut. Woooooooo BABY!!!!
Mix this track with 'Flame/Sky' and you'll have a Can of Whumpass. Did I
mention that this is my favorite track on "LDS"?

'Let Us...Yadda Yadda': After John's opening salvo, I fast forward to the
next track. This is very repetitve, I lose interest when it wanders in the
middle; and doesn't do a thing for me.

'Meditation': This is like a Prayer. Simply Beautiful.

Overall, I like "LDS". It takes me back to some very nice places in Time
whenever I listen to it. Missing the concert *still* haunts me, though ;-).

In closing, I would like to suggest to the casual listeners on the List
that if you like "LDS", use it as a stepping stone to "get into" Coltrane.
Get "A Love Supreme"; it won't break you, and after "LDS" it won't seem
nearly as intimidating as you thought it might. "LDS" opens the door for
you, all ya gotta do is walk through it.

atb,

r



============================================


From pandeyrajiv@yahoo.com Wed May 15 20:17:21 2002
Date: Wed, 15 May 2002 11:38:39 -0700 (PDT)
From: Rajiv Pandey
Reply-To: one-word@cs.cf.ac.uk
To: one-word@cs.cf.ac.uk
Subject: Re: [OW] Late JMMP #4: Love Devotion Surrender


> Sorry for throwing off the schedule. I've
> *finally* started to get that
> rattle out of my chest. I'm feeling better to the


Rod, Thanks for that review, as always the flow of the
writing makes it a real pleasure to read...

However, a comment you made caught my eye....
> In closing, I would like to suggest to the casual
> listeners on the List
> that if you like "LDS", use it as a stepping stone
> to "get into" Coltrane.
> Get "A Love Supreme"; it won't break you, and after
> "LDS" it won't seem
> nearly as intimidating as you thought it might.
> "LDS" opens the door for
> you, all ya gotta do is walk through it.
You know, I have heard so much about how amazing
COltrane's Love Supreme album is and to be honest, I
have tried and tried, I still don't "GET" it...Its
like some of my friends say, the first time they heard
Coltrane play(not LS), they felt like they were hit by
something profound, it was that powerful a feeling. I
have not felt that yet...It could be for various
reasons, but I was wondering what recommendations you
can give to "step" up to Coltrane and try and "get"
his music, esp. LS...

The door just ain't opening for me to be able to walk
through it...

Just an honest confession...

Rajiv


============================================


From rasibley@concentric.net Wed May 15 20:17:21 2002
Date: Wed, 15 May 2002 15:09:29 +0900
From: Rod Sibley
Reply-To: one-word@cs.cf.ac.uk
To: one-word@cs.cf.ac.uk
Subject: Re: [OW] Late JMMP #4: Love Devotion Surrender


Hi Y'all,

Brother Rajiv wrote:

>It could be for various reasons, but I was wondering what recommendations you
>can give to "step" up to Coltrane and try and "get" his music, esp. LS...

I don't know whether I "get it", but I relate to it. Take the poem "A
Love Supreme" that comes in the liner, and read along as Coltrane vocalizes
the words on his sax on the fourth part of the suite, 'Psalm'. When
listening to Coltrane pray on this track, focus on *his* conviction and
surrender. I think people recognize that Coltrane's baring himself open
requires a great deal of strength from within. And in turn, people draw
strength from this themselves.

I also just like Elvin's drumming ;-).

atb,

r




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