![]() The blandest aspects are the smooth jazz-pop casts of some of the melodies and arrangements, as well as the occasional hokeyness of some of the more dramatic-cinematic passages. It's a hard album to describe and evaluate, because in some respects it's so ordinary and bland, and in others rather far-out. ![]() In other respects it was ahead of its time, particularly in the genre-blending of the arrangements, which mixed fusion-like jazz with Latin-flavored production, Krause's own synthesizer shadings, film score-like ambience, and some of the placid traits that would come to be associated with new age music. In some respects - particularly the mellow jazz-pop melodies on much of the material - it was of its time. Then the record wasn't released for another four years. Then Beaver died of a brain hemorrhage in January 1975, leaving Krause to record it for Takoma as a solo artist, albeit with the help of numerous side players (including a young Mark Isham, who plays flügelhorn on "Heights of Machu Picchu") and arrangers. Originally, this was planned as a collaborative project between Krause and his musical partner, Paul Beaver, for Columbia, but that deal collapsed when CBS executive Clive Davis was fired. ![]() Considering the fraught circumstances in which this album was recorded, it's a miracle it sounds as serene as it does.
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