I have been working my way through the “Another List” thread by @Twang.
Although I have been sceptical of other efforts such as the Bitches Brew in an Indian stylee effort, this album piqued my interest and may be of interest to lovers of World music ,jazzers and fusion. @Kaisfatdad I’m looking at you.
Here is what All Music Guide says about this 1967 album.
At long last, Caribbean saxophonist Joe Harriott’s classic collaboration with Calcutta composer and conductor John Mayer is back in print on this Koch CD reissue of the original Atlantic LP from 1967. In England in the 1960s, Harriott was something of a vanguard wonder on the order of Ornette Coleman. And while the comparisons flew fast and furious and Harriott was denigrated as a result, the two men couldn’t have been more different. For one thing, Harriott was never afraid to swing. This work, written and directed by Mayer, offered the closest ever collaboration and uniting of musics East and West. Based almost entirely in the five-note raga — or tonic scale that Indian classical music emanates from — and Western modalism, the four ragas that make up the suite are a wonder of tonal invention and modal complexity, and a rapprochement to Western harmony. The band Harriott assembled here included his own group — pianist Pat Smythe, bassist Coleridge Goode, and drummer Allan Ganley — as well as trumpeter Kenny Wheeler, flutist Chris Taylor, Diwan Mothar on sitar, Chandrahas Paiganka on tamboura, and Keshan Sathe on tabla, with Mayer playing violin and Harriott on his alto. Of the four pieces, the “Overture” and “Contrasts” are rooted in blues and swing, though they move from one set of ascending and descending notes to the other, always ending on the tonic, and involve more than the five, six, or seven notes of Indian classical music, while the latter two — “Raga Megha” and “Raga Gaud-Saranga” — are out to lunch in the Western musical sensibility and throw all notions of Western harmony out the window. The droning place of the tamboura and the improvising sitar and alto shift the scalar notions around until they reflect one another in interval and mode, creating a rich, mysterious tapestry of sonic inquiry that all but folds the two musics into one another for good. Amazing.