As sunsets go, tonight’s was pretty impressive. Since I was at work until about quarter of eight, tying up a lot of loose ends, I briefly debated a detour over to Portland’s Western Prom to watch the sun go down, but I know I’m big enough a tool that I would have just taken 58 pictures of it with my iPhone just to get the right capture for Instagram. Plus, this week is a busy one, so any time I can grab at home, away from everything and everyone, will be fully taken advantage of.
That said, before the colors of the evening’s sunset truly exploded in the skies west of Portland, I bounced around my collection looking for an album to play when I settled upon Santana’s “Caravanserai.” If I had to name a favorite Santana album, I’d probably start to tell you the self-titled debut, before pulling back on that thought and submitting 1972’s
“Caravanserai.” This was the Santana Band’s fourth album, and an album that had one foot in two different group eras: this would be the last to feature both guitarist Neal Schon and organist/lead singer Gregg Rolie for 44 years, and the first to really start to explore jazz/fusion textures. This album would act as a gateway for me for the sprawling, decidedly non-commercial Santana releases to follow, like “Welcome,” “Love Devotion Surrender” and “Borboletta.”
I could have picked a number of tracks for today’s DDT, as the first four songs basically act as the album’s opening suite. “Waves Within,” with its cascades of Hammond, was the track that accompanied the moment when the burnt orange sun aligned with my path of travel, surrounded by dark purple and bluish clouds. The scene matched the music perfectly, in ways I can’t explain. I wish I had been in a position to grab a photo, but there will be plenty more spectacular sunsets as summer approaches.
I then remembered I could just substitute the album cover of “Caravanserai” for the evening’s sunset, and I wouldn’t be too far off. Except for the camels, of course.