you get that cymbal and tom introduction that sounds like some ancient dynastic king or emporer entering some kind of ceremonial situation.
the quartal chord voicings sound very oriental to me (i don't actually know if chinese music uses such voicings). so it's all a bit ming dynsty, but not in a camp or theatrical way. its very pure. very emotional. images of fields and all that. expansive horizons.
the pedal point on the bass (that droning bong of the bass and the piano at the begning of every bar) is meditative like a musical mantra. its a sedative.
i always compare mccoy tyner to poseidon. there's something very tidal about his playing. chords sound like splashing waves against a ship.
the sax sounds like its in the dorian mode. things like scarborrough fair and greensleeves and celtic music generally are our first experiences with that mode, so its lending a lot of ancient, old timey connotations. its got that epic quality to it.
there's that horrible bluesy turnaround that sounds all hokey. not keen on that.
mccoy tyner's left handed, so is known for his really powerfull bass parts of his piano. you can hear that in his solo. majestic. muscular. again, it's poseidon. evlin jones' crash cymbals sounds like the froth and spittle of crashing waves in your face. its like a boat being furiously tugged from side to side in a storm.
wayne's solo is gorgeous. so yearning. those long notes moaning. calling out. weeping. his tone's really pure and child like too. none of the sonny rollins/joe henderson throaty growl.
this isn't the best track to show off the genius of elvin jones, but you do get to hear some of his stumbliness. his jaggendess, like droid was talking about with gza. those snares that trip you up. occasional flicks of his great triplets he does: ska ta ta, ska ta ta.
wow that wayne motif right at the end is magnificent. a real triumphant rise of the army. the sun emerging after a bloody night's war. and they fade out on it so that it feels like it goes on forver. that moment suspend for eternity.