The wood-paneled walls of his apartment seemed to stretch, turning into the towering redwoods of a Pacific Northwest that never existed. This wasn't the past, and it wasn't the future. It was the "Another Present" the title promised.
So, set your DAC to 24/96, cue up “The Silence of a Candle,” and listen closely. The mammoth is stirring. The tide is coming in. And for the first time in 50 years, you’ll hear it the way the artists intended.
Music of Another Present Era averages brief, highly focused tracks that prevent the music from drifting into aimless, self-indulgent jamming.
– An expansive masterpiece blending an Indian raga foundation with Western classical woodwinds, featuring Walcott's haunting esraj. Oregon Music of Another Present Era 1972 FLAC
Paul McCandless: McCandless’s reeds and wind instruments (oboe, English horn, soprano sax, clarinet) provide lyrical color and often function like a soloist in chamber repertoire. His tone is predominantly lyrical and pastoral, adding an almost orchestral breadth to the small ensemble.
Paul McCandless’s oboe and English horn have a woody, piercing clarity that reveals his breath control.
"Sail" showcases the profound chemistry between Glen Moore’s woody, expressive double bass counterpoint and Towner’s classical guitar phrasing. It feels like an intimate conversation between two master musicians who can anticipate each other's every move. "Raven's Wood" and "Eastern Song" The wood-paneled walls of his apartment seemed to
The answer lies in the album’s production philosophy. Music of Another Present Era was mixed to exploit the full dynamic range of vinyl—a medium with a theoretical signal-to-noise ratio far below digital, but with a continuous, non-quantized waveform. When this album was first transferred to CD in the 1980s, engineers did a decent job, but early digital transfers were often plagued by jitter and harshness.
The opening track, "North Star," establishes the album's democratic and serene atmosphere. As one review notes, when Glen Moore begins his bass solo, "it doesn’t reach for transcendence, instead his fluttering notes have a relaxed mischief to them". The up-tempo "Sail" showcases the group's more energetic side, driven by Walcott's sprinting tablas and Towner's frenetic 12-string guitar. The short, poignant "Children of God" and the meditative "The Silence of a Candle" reveal the group's ability to create profound meaning in minimalist spaces. Perhaps the most representative track is "At the Hawk’s Well," which Spectrum Culture describes as the album’s best, a piece where "the piano slowly spiraling downwards like leaves" evokes a distinct and powerful autumnal feeling.
In high-resolution FLAC, the separation between instruments is clearer, allowing the listener to fully appreciate the complex interplay between the musicians. The subtle nuances of acoustic performance are preserved. So, set your DAC to 24/96, cue up
While there are obvious nods to Indian classical music through Collin Walcott's tabla and sitar, the integration goes far beyond surface-level exoticism. It was this perfect balance of Eastern and Western, ancient and future, that set a new standard for transculturalism in jazz. The album is often cited as a forerunner to the world music explosion that would flower over a decade later.
The album features 14 tracks, many written by guitarist Ralph Towner.
The compositions are concise, with 14 tracks averaging about three minutes each, a structure that avoids the repetitive "bloat" often found in 1970s fusion. Tracklist Analysis
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This track highlights the exquisite interplay between Paul McCandless’s oboe and Collin Walcott’s tabla. The microtonal inflections of the woodwinds against the pitched hand drums bridge the gap between Western classical and Eastern classical traditions. 3. Requiem / Moorea