Review: Journey in Satchidananda was the fourth solo album by Alice Coltrane and it might be her best-known work. Some of the tunes here were recorded live at the Village Gate while the rest were recorded at her home studio in Dix Hills in New York, and all of them were released in 1971. The album has grown ever more mythical in status and store since then with its transcendental spiritual jazz sounds with layered-up bells, tambourine, tanpura and more into a sound that leans heavily on Coltrane's love of Middle Eastern and North African music and culture. Earthy, bluesy, steeped in musical mantra and utterly absorbing, it's one of the most enthralling records of the era.
Review: The great Alice Coltrane was already widely revered by the time she released her third solo album Ptah, the El Daoud. It was written and recorded in 1970 in the basement of her house in Dix Hills on Long Island, New York and is noted for being the first record she made with horns. They are split between the two channels with Pharoah Sanders on the right bringing his abstract and transcendental sounds and Joe Henderson on the left bringing the intellectual vibe throughout. The post-bop sounds find Coltrane playing piano and harp receptions at the time were warm critically and with fans. The otherworldly sound is drenched in blues and perfect for some mindful meditations.
Review: Last October, acclaimed saxophonist Pharoah Sanders turned 80 years young, and his input on this album is testimony to the fact he has clearly aged like a fine wine. Not that this is to suggest preceding outings were anything less worthy than this collaborative project, which sees Sam Shepherd, the British electronic artist better known to most as Floating Points, write nine spectacular arrangements which are then performed by said brass legend, alongside The London Symphony Orchestra.
The results are spectacular, and wildly far-reaching, albeit firmly rooted in jazz with classical undertones. From the movements that made this final cut, some are whisper quiet and delicate to the point of risking breaking off if you were handling haphazardly. Others are booming loud, musical jumbo jets landing at the end of another great crescendo. Whether hushed or monumental, though, we can feel every note and bar of this masterpiece.
Review: RECOMMENDED
Last October, acclaimed saxophonist Pharoah Sanders turned 80 years young, and his input on this album is testimony to the fact he has clearly aged like a fine wine. Not that this is to suggest preceding outings were anything less worthy than this collaborative project, which sees Sam Shepherd, the British electronic artist better known to most as Floating Points, write nine spectacular arrangements which are then performed by said brass legend, alongside The London Symphony Orchestra.
The results are spectacular, and wildly far-reaching, albeit firmly rooted in jazz with classical undertones. From the movements that made this final cut, some are whisper quiet and delicate to the point of risking breaking off if you were handling haphazardly. Others are booming loud, musical jumbo jets landing at the end of another great crescendo. Whether hushed or monumental, though, we can feel every note and bar of this masterpiece.
Review: Over the years, Sam Shepheard's work as Floating Points has become increasingly ambitious, moving further away from his dancefloor roots and closer to spiritual jazz, new age and neo-classical. Even so, it was still a surprise when Shepheard announced Promises, a 46-minute piece in 10 "movements" featuring the London Symphony Orchestra and legendary saxophonist Pharoah Sanders. It's an undeniably remarkable piece all told; a constantly evolving fusion of neo-classical ambience, spiritual jazz and starry, synthesizer-laden soundscapes notable not only for Sanders' sublime sax-playing and Shepheard's memorable melodic themes, but also the intricate, detailed nature of the musical arrangements. It's a stunningly beautiful and life-affirming piece all told, and one that deserves your full attention.
Review: Back in 1994, legendary tenor saxophonist Pharoah Sanders joined forces with celebrated "gnawa" musician Maleem Mahmoud Ghania and producer Bill Laswell for an album of far-sighted jazz experiments. For some reason "The Trance Of Seven Colors" was never released on vinyl at the time, meaning that this double LP reissue is a genuine first. The set itself still sounds as fresh and otherworldly as it did back in the 1990s, offering a unique and otherworldly fusion of traditional Moroccan instrumentation, vocals and rhythms, freestyle jazz improvisations and cosmic production from the effervescent Laswell. We can't think of many other albums that are quite like it, which is high praise indeed.
Review: Pharoah Sanders' 1970 album is an intense spiritual jazz offering, recorded in New York's A & R Studios. The title, which translates from Arabic as "Deaf Dumb Blind," is a reference to the Sura Bakara from the Qur'an, suggesting a deep, metaphysical exploration of faith and enlightenment. The album blends African musical influences with Sanders' signature improvisational style, offering a bold statement of musical and philosophical depth. The performance is raw and hypnotic, characterised by Sanders' powerful saxophone work, with the music pushing boundaries of both jazz and spiritual exploration.
Review: Pharoah Sanders' Wisdom Through Music stands as a testament to his exploratory spirit in the jazz world, recorded in 1972 and released a year later by Impulse! Featuring a stellar ensemble including flutist James Branch, pianist Joe Bonner, and bassist Cecil McBee, the album brings together some of the most innovative players of the time. The production by Lee Young, brother of the legendary Lester Young, frames Sanders' vision with a spiritual and deeply rhythmic soundscape. The track 'High Life' captures the essence of West African musical tradition, combining ecstatic drumming with vibrant flute work, creating an atmosphere of joyous celebration. 'Love Is Everywhere', a staple of Sanders' live performances, radiates raw emotion and soul, with Sanders leading the charge before allowing Bonner and the rest of the ensemble to take the song to new heights. The album is a powerful snapshot of Sanders' 70s output, showcasing his ability to blend spiritual jazz with global influences, making it a vital piece of his extensive discography.
Review: Elemental Music's latest release brings a long-awaited reissue of Pharoah Sanders' 1973 album Village of the Pharoahs, finally available on vinyl after decades. This record stands as one of Sanders' most groundbreaking works, blending spiritual jazz with free improvisation. The album is a masterclass in musical exploration, featuring a stellar lineup including Joe Bonner, Cecil McBee, and Stanley Clarke. Side-1 launches with the pulsating title track, a three-part suite that immerses listeners in complex rhythms and modal saxophone lines. Side-2 continues with the ethereal 'Mansion Worlds,' before shifting into the balladic 'Memories of Lee Morgan,' and concluding with the lively 'Went Like It Came,' a surprising, foot-tapping closer. Considered one of his best releases by the majority, this listen is ideal for both seasoned jazz lovers and those new to the genre.
Review: Pharoah Sanders recorded Thembi in the winter of 1970-71, amid sessions with Alice Coltrane that would culminate in her seminal Journey In Satchidananda album. The same profound spirituality that imbued Coltrane's masterpiece with an aura of serene majesty also permeates Thembi. One of the standout tracks, 'Astral Traveling,' originated from a serendipitous encounter with a Fender Rhodes electric piano. Upon arriving at the California studio, while his bandmates set up their instruments, Sanders noticed the piano and, driven by curiosity, began experimenting with its sounds. This track, with its ethereal quality and innovative use of the electric piano, captures the exploratory spirit and transcendent quality that define Thembi, making it a cornerstone of Sanders' discography and the blueprint to the serendipitous magic of musical experimentation. Thembi offers something very unique for the time in jazz music.
Review: Even by his standards, Pharoah Sanders' Jewels of Thought is a profound exploration of spiritual jazz that showcases the saxophonist's genius. Released in 1969, the album features two extended tracks, 'Hum-Allah-Hum-Allah-Hum-Allah' and 'Sun in Aquarius,' each a journey through mystical soundscapes. Sanders' saxophone work is both fiery and meditative, weaving through dense, textured layers of percussion, chants, and harp. The album's hypnotic rhythms and transcendent melodies create an immersive listening experience that is both challenging and deeply rewarding. As such this record stands as a testament to Sanders' innovative spirit and his ability to push the boundaries of jazz into new, spiritual realms.
Review: Pharoah's Thembi stands out as one of his most accessible albums. Recorded at The Record Plant, which was renowned for hosting iconic sessions like Hendrix's Electric Ladyland, the LP boasts a lush, atmospheric sound. The studio's history includes a heroic tape rescue during a 1978 fire which preserved invaluable recordings such as this. Lonnie Liston Smith's debut on the Fender Rhodes sparked the track 'Astral Travelling,' into life but was criticised by some at the time as "easy listening" compared to Pharoah's more intense works. Yet, its serene vibe offers a refreshing departure that showcases Pharoah's versatility and the album's enduring appeal.
Harvest Time (Middelheim - LP2: Harvest Time live 1977)
Harvest Time (Willisau)
Review: In the field of spiritual jazz, there are few albums as seminal as Pharoah. Originally released in 1977 and serving as a landmark for the genre as well as Pharoah Sanders himself, it remains a towering work of understated beauty, using negative space and patient pauses as potent as the notes played. Sanders sadly passed on to the next realm in 2022 amidst a wave of renewed appreciation for his work, and Luaka Bop have taken on the task of reissuing this otherworldly classic in fine style. As well as the original album, a second record features two previously unreleased live versions of 'Harvest Time', and the package comes with a 24-page booklet featuring a wealth of additional material to round out the experience of one of the all-time greatest jazz albums.
Review: 'Great Moments With Pharoah Sanders' is a compilation album spanning the best of Pharoah Sanders' work between the period 1983-1990, when the legendary spiritual jazz musician enjoyed the fallout of some of his best work. Despite his struggles to find quality work as a musician despite his high standing by that time, Sanders composed many great works in the period, such as 'Africa', 'Naima' and 'You've Got To Have Freedom' - all of which feature here.
Review: The latest title in Impulse's 180-gram audiophile reissue series is the 1969 Pharoah Sanders classic Karma. The record has been newly mastered by Ryan K. Smith at Sterling Sound from the original analogue tapes and comes in a deluxe gatefold jacket. The album was the tenor sax master's third record for the label and has since taken on the mantle of being a milestone in the spiritual jazz movement. The A-side is taken up by one track that in particular defines that sound, while the flipside builds on the mood with 'Light of Love' and 'Colors.'
Review: Here's something to set the pulse racing of any serious jazz enthusiast: a recently rediscovered recording of a live performance made by the Pharoah Sanders Quartet at the Grand Auditorium at Studio 104, Paris, in 1975. The tenor saxophonist is undoubtedly the star of the show throughout, though the fluidity of the double bass playing, the loose-limbed drumming and the rush-inducing breeziness of the piano parts - especially on "Love Is Here" parts one and two, which reminded us of another Sanders classic "You've Got To Have Freedom" - are all equally as ear-catching. Musically, it's as inspired as you'd expect, nestling somewhere between the great maestro's greatest "astral jazz" recordings and more traditional forms of jazz.
Ntjilo Ntjilo/Bird Song (Lullaby To A Child About A Canary) (4:03)
Farah (5:13)
Review: As recently as this year with his Floating Points collaboration, Pharoah Sanders has proven to be in excellent form. Which is all the more remarkable given the length of his career. Oe of the early highlights was the 1981 classic, Rejoice, which explored a more mellow sound than previous works. The record is rife with superb improvs a la late 50s John Coltrane as well as fine turns from top players including pianists Joe Bonner and John Hicks, bassist Art Davis and drummers Elvin Jones and Billy Higgins. Bobby Hutcherson adds some start vibes work and that helps the album to hold your attention closely throughout.
Review: Although "Africa" is not one of the harder Pharoah Sanders albums to find on vinyl, jazz heads have long complained about the sound quality of the original single-vinyl edition of the 1987 album. It's for this reason that this Tidal Waves Music reissue, which stretches the set across two slabs of wax and adds two previously CD-only tracks ("Heart To Heart" and "Duo"), will simply fly off the shelves. That and the fact that it remains a superb album: a bright, breezy, contemporary jazz masterpiece that sees the legendary saxophonist accompanied by drummer Idris Muhammad, pianist John Hicks and bassist Curtis Lundy. Highlights include the arguably definitive version of Sanders' classic "You've Got To Have Freedom" and a superb update of John Coltrane standard "Naima".
B-STOCK: Records ever so slightly warped with light surface marks/scratches & creasing to corner of outer sleeve, but otherwise in perfect working order
Review: We write this just a few days after the sad passing of Pharoah Sanders, one of the great jazz musicians of his generation. It lends the music an extra air of potency, not that it really needed it. This one is an album that is noted for being the one that reunited Sanders with vocalist Leon Thomas, who in years previous appeared on some of Sanders' most endearing tunes. Many tunes here are defined by the use of Henderson's synthesizer but for opener 'Shukuru' and closing funereal piece 'For Big George'. Both are some of the album's highlights.
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