Devadip Carlos Santana* & Turiya Alice Coltrane* ‎– Illuminations

Label:
Columbia ‎– PC 32900
Format:
Vinyl, LP, Album, Columbia Records Pressing Santa Maria
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

A1 Guru Sri Chinmoy Aphorism
Acoustic Bass – David Holland*Cymbal [Cymbals] – Jack DeJohnetteElectric Piano – Tom CosterFlute – Jules BroussardHarp – Turiya Alice Coltrane*Lead Guitar, Rhythm Guitar, Wind Chimes – Devadip Carlos Santana*Written-By – Guru Sri Chinmoy*
1:10
A2 Angel Of Air
Acoustic Bass – David Holland*Cymbal [Cymbals] – Jack DeJohnetteElectric Piano – Tom CosterFlute – Jules BroussardHarp – Turiya Alice Coltrane*Lead Guitar, Rhythm Guitar, Wind Chimes – Devadip Carlos Santana*Written-By – Devadip Carlos Santana*, Tom Coster
3:37
A3 Angel Of Water
Acoustic Bass – David Holland*Electric Piano – Tom CosterGuitar – Devadip Carlos Santana*Harp – Turiya Alice Coltrane*Soprano Saxophone – Jules BroussardWritten-By – Turiya Alice Coltrane*
6:18
A4 Bliss: The Eternal Now
Guitar – Devadip Carlos Santana*Piano [Acoustic], Harp – Turiya Alice Coltrane*Written-By – Devadip Carlos Santana*, Tom Coster
5:32
B1 Angel Of Sunlight
Acoustic Bass – David Holland*Congas – Armando PerazaDrums – Jack DeJohnetteGuitar, Finger Cymbals, Cymbal [Hand Cymbals] – Devadip Carlos Santana*Organ [Hammond], Finger Cymbals, Cymbal [Hand Cymbals] – Tom CosterOrgan [Wurlitzer] – Turiya Alice Coltrane*Soprano Saxophone – Jules BroussardTabla – Phil FordTambura [Male Tamboura] – Prabuddha Phil BrowneWritten-By – Devadip Carlos Santana*, Tom Coster
14:43
B2 Illuminations
Guitar – Devadip Carlos Santana*Harp – Turiya Alice Coltrane*Piano [Acoustic] – Tom CosterWritten-By – Devadip Carlos Santana*, Tom Coster
4:20

Companies, etc.

Credits

Notes

LP housed in photo sleeve with credits.
Export copies have "CBS" stickers covering the Columbia logo on the back cover and the labels

© 1974 CBS, Inc./℗ 1974 CBS, Inc./Manufactured by Columbia Records/CBS, Inc./51 W. 52 Street, New York, N.Y./® "Columbia," Marcas Reg.

Barcode and Other Identifiers

  • Matrix / Runout (Side A label): AL 32900
  • Matrix / Runout (Side B label): BL 32900
  • Matrix / Runout (Side A runout): P AL 32900-1B /S A2 o
  • Matrix / Runout (Side B runout): P BL 32900-1A S A4 o
  • Matrix / Runout (Side A etched): /S A2
  • Matrix / Runout (Side B etched): S A4
  • Matrix / Runout (Side A stamped): P AL 32900-1B o
  • Matrix / Runout (Side B stamped): P BL 32900-1A o
  • Price Code (On spine): X698

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progfan97402

progfan97402

October 1, 2015
edited over 3 years ago
This is quite a unique album that blew me away. I didn't go expecting an extension of the Santana sound because I realize this was a project outside the scope of the regular Santana releases. By this point, Carlos Santana was deep in Eastern mysticism, being a disciple of guru Sri Chinmoy (John McLaughlin was also a disciple, that's why he collaborated with Mr. Santana the previous year on Love, Devotion and Surrender). Carlos Santana now adopted the Devadip name, and collaborated with someone else inspired by Eastern mysticism, Alice Coltrane (who wasn't a disciple of Chinmoy), widow of John Coltrane. He gets help from some Santana members (including Tom Coster), Billy Cobham, and others. The album starts off with some simple chanting, but what you get after is lot of orchestrated passages with Alice Coltrane giving some nice harp playing (it's to be pointed out, not just by me, that Alice Coltrane was one of the few musicians in jazz to incorporate a harp) and Carlos Santana his trademark guitar playing. Much of this seems more in the Third Stream vein. "Angel of Sunlight" moves away from Third Stream, and into raga-influenced fusion. It is simply unbelievably intense (although it starts off slow with a droning sitar or tamboura, with tabla, before picking up steam), and Billy Cobham plays drums like there's no tomorrow. No wonder Miles Davis hired him to play for him and why he's considered simply one of the greats of fusion drumming. This is just like the most intense moments of Love, Devotion and Surrender, just simply without John McLaughlin's input (since he wasn't on this album, naturally), but like that album, it shows that Carlos Santana can certainly hold his own on guitar. This album has surprisingly little Latin influences, mainly on "Angel of Sunlight" itself, but a lot of the percussion came from tablas, rather than congas and timbales, although the congas do appear as the intensity increases and the sitars (or perhaps tambouras) disappear.

Mainstream Santana fans (who mostly enjoy the band for the hits, be it from the first three albums, or latter-day fans who came to Santana circa 1999 when "Smooth" with Rob Thomas became a huge hit) will probably have a hard time relating to this album. I'm sure even Carlos Santana himself realizes this won't appeal to the average mainstream Santana fan. But for the more adventurous listener, this album is highly recommended!