Pharoah Sanders Music

This record, available now on disc, was Pharoah Sanders first recording on the 60' and 70's jazz, giant label, Impulse. Sanders, at the time, was getting recognition at Impulse as Coltrane's second tenor. Enter extraordinary and prolific producer Bob Theile. He approached Sanders about recording a solo project, as a leader for Impulse and the rest is history. He eventually went on after Coltrane's death to record several albums for Impulse thus carrying the musical torch inspired by his mentor. This first effort explores the various styles that Sanders is known for. You will hear avant garde, as on the three part closing track, "Aum, Venus, Capricorn." The spacey title suggets being out there and no doubt the music explores the upper register of the universe via his horn. This particular style might not suit all but if you listen carefully, the "rage" subsides and the sweet melodic horn of Sanders permeates above and beyond the chaos. The song can sound like an exploding nebula at times but eventually the man brings us back down with the rapture of his Coltrane infused horn. Being a protege of Coltrane is clearly eveident. One of the most beautiful tracks is the extended "Upper and lower Egypt" that is pure bliss. The musical theme of world music is surveyed by Sanders before it was a genre. On this track we are given a gentle ride where musical passages slowly unveil his articulation. The taunting and teasing of third world music eventually gives way to Sanders' blowing away mightily and melodically. Hints of " The Creator Has a Master Plan," eventually surfacing on Karma, can be heard on this track. The hypnotic effect is unmistakeable. Sanders music is otherworldy but familiar; it is a paradox, harsh and gentle at different times, for ultimately, a serene effect. No doubt. The world music motif is further surveyed on "Japan." The result is a sparse, intricate journey on a musical rickshaw, where Sanders' vocalice is trying to express his impressions of a visit with Coltrane to Japan. Sanders' is all over the world map and beyond. This is a great introduction to Pharoah Sanders, where all of his early style and techniqie is displayed. Highly recommended for sax lovers(he plays tenor and alto), world music and jazz aficionados.

In late 1966, Pharoah Sanders was still a sideman in Coltrane's final quintet and had made his reputation for his wild and aggressive playing style. This early solo date shows the peaceful, meditative side to Pharoah's music -- a side that he would explore more in-depth after 'Trane's death. The focus of the first track (Upper Egypt & Lower Egypt) is on the rhythm section which provides a haunting soundscape that calls to our deepest ancestral roots as well as the present, and provides a beautiful canvas upon which Pharoah periodically provides some gently lilting flute and piccolo solos -- along with some very melodic sax work. The second piece (Japan) has the feel of an Asian folk melody. The third piece (Aum/Venus/Capricorn Rising) presents more of the fierceness that we Pharoah Sanders fans have grown to know and love, and passages point the way to his later sonic triumphs (e.g., "The Creator Has a Master Plan"). The late guitarist Sonny Sharrock is a treat to hear on this album.

Personally I consider any of his work from the late 1960s and early 1970s to be worth checking out. Tauhid is a good starting point to explore this important creative artist during an era where he was arguably at a creative peak. Unlike some of his subsequent albums, this ain't gonna tear the roof off the sucker, but it makes for some wonderful chill-out music for late at night.

In November of 1966, Pharoah Sanders was at the center of the burgeoning "New Thing"s scene-- blowing tenor next to the godfather of that music, John Coltrane and having just completed his first studio session with trumpeter Don Cherry, Sanders entered the studio for the second time to record an album, this time for Impulse Records. "Tauhid" was the result of that sessions.

Assembling a band of then-unknown guitarist Sonny Sharrock, pianist Dave Burrell, bassist Henry Grimes, drummer Roger Blank and percussionist Nat Bettis, Sanders recorded two lengthy suites (each around 15 minutes) and one brief piece. Both the influence of Coltrane and Cherry can be heard, and while Sanders' vision is not yet fully realized, the path to the future is clear.

"Upper Egypt & Lower Egypt", the suite on the first side, clearly shows the influence of Don Cherry. The first section is a building, bubbling theme, driven by swelling guitar before dropping into an arco bass solo and eventually a piccolo performance (from Sanders) over percussion. This folds into the closing section-- a fantastic, guitar and piano driven riff over which Sanders solos fiercely-- utilizing his overblowing technique to gain the most of his expressiveness before wordlessly singing the theme.

"Japan", a brief interlude, finds Sanders vocalising microtonally over an Eastern-tinged theme. It certainly works nicely enough and has the wisdom to end before it gets irritating.

The closing suite-- three pieces performed in medley, is frantic and explosive-- "Aum" finds Sanders railing away frantically on alto before switching to tenor for the more meditative "Venus", where Sanders growls his theme before the piece moves into a totally free improv with Sanders, Sharrock and Blank all wailing around Burrell's framework. A rather nonlinear pizzicato bass solo moves into the third movement-- "Capricorn Rising"-- a brief theme statement on tenor that finds itself equally meditative.

A final note-- this album seriously needs remastering-- the sound on this release sounds seriously dated. But this flaw aside, this is a fine, if somewhat derivative outing from Sanders.

This album is where I first became familiar with Pharoah's work-besides Coltrane's Ascension. This is important stuff because it is an excellent departure in the spiritualist merge of three different civilizations: Occident, Orient, and African. All are intertwined within the genre of jazz. This is a movement that can be located in the works of other folks who played with Coltrane such as his wife. The music is a powerful statement.

I first heard this record as a child (around 1975) and I was so happy to find it on CD. I can't reccomend it highly enough. The opening track "Upper and Lower Egypt" is just like riding up the Nile. One can hear the quiet, relaxing sounds. Then, as we enter the city, we hear the piano vamp which hypnotizes us throughout the song. Finally we are deep in the city, with Pharoah playing with a soul which has never been heard before!!!! I have to agree with one of the other reviewers: This is great to chill out with after a Phish show. I mean absolutely perfect!

This record, available now on disc, was Pharoah Sanders first recording on the 60' and 70's jazz, giant label, Impulse. Sanders, at the time, was getting recognition at Impulse as Coltrane's second tenor. Enter extraordinary and prolific producer Bob Theile. He approached Sanders about recording a solo project, as a leader for Impulse and the rest is history. He eventually went on after Coltrane's death to record several albums for Impulse thus carrying the musical torch inspired by his mentor. This first effort explores the various styles that Sanders is known for. You will hear avant garde, as on the three part closing track, "Aum, Venus, Capricorn." The spacey title suggets being out there and no doubt the music explores the upper register of the universe via his horn. This particular style might not suit all but if you listen carefully, the "rage" subsides and the sweet melodic horn of Sanders permeates above and beyond the chaos. The song can sound like an exploding nebula at times but eventually the man brings us back down with the rapture of his Coltrane infused horn. Being a protege of Coltrane is clearly eveident. One of the most beautiful tracks is the extended "Upper and lower Egypt" that is pure bliss. The musical theme of world music is surveyed by Sanders before it was a genre. On this track we are given a gentle ride where musical passages slowly unveil his articulation. The taunting and teasing of third world music eventually gives way to Sanders' blowing away mightily and melodically. Hints of " The Creator Has a Master Plan," eventually surfacing on Karma, can be heard on this track. The hypnotic effect is unmistakeable. Sanders music is otherworldy but familiar; it is a paradox, harsh and gentle at different times, for ultimately, a serene effect. No doubt. The world music motif is further surveyed on "Japan." The result is a sparse, intricate journey on a musical rickshaw, where Sanders' vocalice is trying to express his impressions of a visit with Coltrane to Japan. Sanders' is all over the world map and beyond. This is a great introduction to Pharoah Sanders, where all of his early style and techniqie is displayed. Highly recommended for sax lovers(he plays tenor and alto), world music and jazz aficionados.

In late 1966, Pharoah Sanders was still a sideman in Coltrane's final quintet and had made his reputation for his wild and aggressive playing style. This early solo date shows the peaceful, meditative side to Pharoah's music -- a side that he would explore more in-depth after 'Trane's death. The focus of the first track (Upper Egypt & Lower Egypt) is on the rhythm section which provides a haunting soundscape that calls to our deepest ancestral roots as well as the present, and provides a beautiful canvas upon which Pharoah periodically provides some gently lilting flute and piccolo solos -- along with some very melodic sax work. The second piece (Japan) has the feel of an Asian folk melody. The third piece (Aum/Venus/Capricorn Rising) presents more of the fierceness that we Pharoah Sanders fans have grown to know and love, and passages point the way to his later sonic triumphs (e.g., "The Creator Has a Master Plan"). The late guitarist Sonny Sharrock is a treat to hear on this album.

Personally I consider any of his work from the late 1960s and early 1970s to be worth checking out. Tauhid is a good starting point to explore this important creative artist during an era where he was arguably at a creative peak. Unlike some of his subsequent albums, this ain't gonna tear the roof off the sucker, but it makes for some wonderful chill-out music for late at night.

In November of 1966, Pharoah Sanders was at the center of the burgeoning "New Thing"s scene-- blowing tenor next to the godfather of that music, John Coltrane and having just completed his first studio session with trumpeter Don Cherry, Sanders entered the studio for the second time to record an album, this time for Impulse Records. "Tauhid" was the result of that sessions.

Assembling a band of then-unknown guitarist Sonny Sharrock, pianist Dave Burrell, bassist Henry Grimes, drummer Roger Blank and percussionist Nat Bettis, Sanders recorded two lengthy suites (each around 15 minutes) and one brief piece. Both the influence of Coltrane and Cherry can be heard, and while Sanders' vision is not yet fully realized, the path to the future is clear.

"Upper Egypt & Lower Egypt", the suite on the first side, clearly shows the influence of Don Cherry. The first section is a building, bubbling theme, driven by swelling guitar before dropping into an arco bass solo and eventually a piccolo performance (from Sanders) over percussion. This folds into the closing section-- a fantastic, guitar and piano driven riff over which Sanders solos fiercely-- utilizing his overblowing technique to gain the most of his expressiveness before wordlessly singing the theme.

"Japan", a brief interlude, finds Sanders vocalising microtonally over an Eastern-tinged theme. It certainly works nicely enough and has the wisdom to end before it gets irritating.

The closing suite-- three pieces performed in medley, is frantic and explosive-- "Aum" finds Sanders railing away frantically on alto before switching to tenor for the more meditative "Venus", where Sanders growls his theme before the piece moves into a totally free improv with Sanders, Sharrock and Blank all wailing around Burrell's framework. A rather nonlinear pizzicato bass solo moves into the third movement-- "Capricorn Rising"-- a brief theme statement on tenor that finds itself equally meditative.

A final note-- this album seriously needs remastering-- the sound on this release sounds seriously dated. But this flaw aside, this is a fine, if somewhat derivative outing from Sanders.

This album is where I first became familiar with Pharoah's work-besides Coltrane's Ascension. This is important stuff because it is an excellent departure in the spiritualist merge of three different civilizations: Occident, Orient, and African. All are intertwined within the genre of jazz. This is a movement that can be located in the works of other folks who played with Coltrane such as his wife. The music is a powerful statement.

I first heard this record as a child (around 1975) and I was so happy to find it on CD. I can't reccomend it highly enough. The opening track "Upper and Lower Egypt" is just like riding up the Nile. One can hear the quiet, relaxing sounds. Then, as we enter the city, we hear the piano vamp which hypnotizes us throughout the song. Finally we are deep in the city, with Pharoah playing with a soul which has never been heard before!!!! I have to agree with one of the other reviewers: This is great to chill out with after a Phish show. I mean absolutely perfect!

I think this album is a perfect encapsulation of what I think of as psychedelic jazz. It's demanding music. This is not an album where all the tracks sound the same. If you listen to this album all the way through, you will find yourself in startling different emotional landscapes. Very few jazz artists visit the emotions that Pharoah expresses through his music. This is a spiritual music.

When I listen to this album, I think of African sections of New York City in 1971, a hot summer day, sticky. In the background you hear this magical music that soothes the heart in one moment, and then rips it out the next. You think, "What is that music?" That's Thembi.

The second track , Red, Black, and Green, requires patience from the listener. I really like this track, but I must admit that I only listen to it once or twice a year. Most of the other tracks I listen to regularly.

If you are looking for another spiritual jazz album, check out Pharoah's "Journey to the One". "Thembi" and "Journey to the One" are classic jazz albums created by a heavy dude.

Unfortunatly I cannot make a good comment on the CD as I never recieved the CD from the seller Haller's Reef. They never returned my emails, nor my money. This has been reported to Amazon.

This one has been working some magic on me lately. The opening track, "Astral Traveling," is mellowness personified--if you buy mp3s, it's the one to get, in my opinion. The other tracks are also worth hearing, though. "Red, Black and Green" is an interesting juxtaposition of "free" blowing over ruminative, rubato ensemble playing. Sanders' caterwauling might send the casual listener running for the hills, but I think it fits the context appropriately. "Thembi" is a vamp repeated for the entire song, but it's a good vamp with some interesting blowing over the top. "Love" is a fascinating solo for bassist Cecil McBee, who makes his instrument sing and speak in ways I'd never heard before. "Morning Prayer" is based off of another bass vamp but goes on longer than "Thembi." It sounds nice and continues the "mellow" thread running throughout most of the album. "Bailophone Dance" is an interesting piece that features mostly percussion and some yelping in the background.

There are some interesting moods on this album. Probably not essential, but I think it's worth picking up if you'd like more Pharoah Sanders in your collection.

I heard Thembi, the title cut, on the local jazz station. I like it. I read the review here, fantastic. That led me to buy this CD. What a huge mistake. I like the title cut. The other cuts are unintelligible garbgage. I am being nice. I encourage you to listen to the sample tracks before you buy this CD. What nonsense these other cuts are; something from the experimental era that didn't work. Sorry, it is the truth. I don't know what the other reviewers are hearing, it is not great jazz. It's not that the players are not great jazz musicians, it is just that they are not enjoyable to listen to unless you like this kind of [...]".

One of the best examples of the new jazz period of the late sixties and early seventies.

I think this album is a perfect encapsulation of what I think of as psychedelic jazz. It's demanding music. This is not an album where all the tracks sound the same. If you listen to this album all the way through, you will find yourself in startling different emotional landscapes. Very few jazz artists visit the emotions that Pharoah expresses through his music. This is a spiritual music.

When I listen to this album, I think of African sections of New York City in 1971, a hot summer day, sticky. In the background you hear this magical music that soothes the heart in one moment, and then rips it out the next. You think, "What is that music?" That's Thembi.

The second track , Red, Black, and Green, requires patience from the listener. I really like this track, but I must admit that I only listen to it once or twice a year. Most of the other tracks I listen to regularly.

If you are looking for another spiritual jazz album, check out Pharoah's "Journey to the One". "Thembi" and "Journey to the One" are classic jazz albums created by a heavy dude.

Unfortunatly I cannot make a good comment on the CD as I never recieved the CD from the seller Haller's Reef. They never returned my emails, nor my money. This has been reported to Amazon.

This one has been working some magic on me lately. The opening track, "Astral Traveling," is mellowness personified--if you buy mp3s, it's the one to get, in my opinion. The other tracks are also worth hearing, though. "Red, Black and Green" is an interesting juxtaposition of "free" blowing over ruminative, rubato ensemble playing. Sanders' caterwauling might send the casual listener running for the hills, but I think it fits the context appropriately. "Thembi" is a vamp repeated for the entire song, but it's a good vamp with some interesting blowing over the top. "Love" is a fascinating solo for bassist Cecil McBee, who makes his instrument sing and speak in ways I'd never heard before. "Morning Prayer" is based off of another bass vamp but goes on longer than "Thembi." It sounds nice and continues the "mellow" thread running throughout most of the album. "Bailophone Dance" is an interesting piece that features mostly percussion and some yelping in the background.

There are some interesting moods on this album. Probably not essential, but I think it's worth picking up if you'd like more Pharoah Sanders in your collection.

I heard Thembi, the title cut, on the local jazz station. I like it. I read the review here, fantastic. That led me to buy this CD. What a huge mistake. I like the title cut. The other cuts are unintelligible garbgage. I am being nice. I encourage you to listen to the sample tracks before you buy this CD. What nonsense these other cuts are; something from the experimental era that didn't work. Sorry, it is the truth. I don't know what the other reviewers are hearing, it is not great jazz. It's not that the players are not great jazz musicians, it is just that they are not enjoyable to listen to unless you like this kind of [...]".

One of the best examples of the new jazz period of the late sixties and early seventies.

I think this album is a perfect encapsulation of what I think of as psychedelic jazz. It's demanding music. This is not an album where all the tracks sound the same. If you listen to this album all the way through, you will find yourself in startling different emotional landscapes. Very few jazz artists visit the emotions that Pharoah expresses through his music. This is a spiritual music.

When I listen to this album, I think of African sections of New York City in 1971, a hot summer day, sticky. In the background you hear this magical music that soothes the heart in one moment, and then rips it out the next. You think, "What is that music?" That's Thembi.

The second track , Red, Black, and Green, requires patience from the listener. I really like this track, but I must admit that I only listen to it once or twice a year. Most of the other tracks I listen to regularly.

If you are looking for another spiritual jazz album, check out Pharoah's "Journey to the One". "Thembi" and "Journey to the One" are classic jazz albums created by a heavy dude.

Unfortunatly I cannot make a good comment on the CD as I never recieved the CD from the seller Haller's Reef. They never returned my emails, nor my money. This has been reported to Amazon.

This one has been working some magic on me lately. The opening track, "Astral Traveling," is mellowness personified--if you buy mp3s, it's the one to get, in my opinion. The other tracks are also worth hearing, though. "Red, Black and Green" is an interesting juxtaposition of "free" blowing over ruminative, rubato ensemble playing. Sanders' caterwauling might send the casual listener running for the hills, but I think it fits the context appropriately. "Thembi" is a vamp repeated for the entire song, but it's a good vamp with some interesting blowing over the top. "Love" is a fascinating solo for bassist Cecil McBee, who makes his instrument sing and speak in ways I'd never heard before. "Morning Prayer" is based off of another bass vamp but goes on longer than "Thembi." It sounds nice and continues the "mellow" thread running throughout most of the album. "Bailophone Dance" is an interesting piece that features mostly percussion and some yelping in the background.

There are some interesting moods on this album. Probably not essential, but I think it's worth picking up if you'd like more Pharoah Sanders in your collection.

I heard Thembi, the title cut, on the local jazz station. I like it. I read the review here, fantastic. That led me to buy this CD. What a huge mistake. I like the title cut. The other cuts are unintelligible garbgage. I am being nice. I encourage you to listen to the sample tracks before you buy this CD. What nonsense these other cuts are; something from the experimental era that didn't work. Sorry, it is the truth. I don't know what the other reviewers are hearing, it is not great jazz. It's not that the players are not great jazz musicians, it is just that they are not enjoyable to listen to unless you like this kind of [...]".

One of the best examples of the new jazz period of the late sixties and early seventies.

Although it might seem surprising, jazz and Arabic music have quite a bit in common. In particular, both emphasis a strong tradition of improvisation. Perhaps that is why this CD works so well... a collaboration between Pharaoh Sanders on saxophone and the intense driving beats and rhythms of Morocco's Gnawa Sufi brotherhood. As others have noted, the result is a strange spiritual experience, but it works. It takes a certain amount of talent and sensitivity to be able to pull something like this off, but the musicians managed to do so on this album, and quite successfully I might add. Listening to it, one can easily be overwhelmed by the sheer powerful of this music - it is beautiful, devotional and innovative all at the same time. It is especially interesting to see how both traditions manage to complement each other without either overwhelming the other. All in all, a very well done effort. Perhaps those interested in this CD will also do further exploration of Sufi music, of which there are no shortage of commercially available recordings on the market today.

This is more than music...it's a ritual, a healing event. And this is some of the fiercest and most inspired blowing that Pharoah has done in a long time...reminicent of the old days actually.

This disc reproduces a meeting between Sanders and the master Gnawa musician Maleem Mahmoud Ghania. Gnawa people are Morrocan descendents of black African slaves, who have maintained a spiritual and musical tradition that is an amalgam of Sufi mysticism and elements of West African spirit religion. The music is haunting. It is a vocal music, driven by an instrument called the guimbri...a bass lute with gut stings and a head made out of camel hide. The musician plucks the strings and slaps the head to create a sound somewhere between a bass guitar and a drum. The rest of the ensemble consists of a responding chorus who accompany the music with hand claps and Krkaba, loudly resounding hand cymbals. The music is equal parts Sufi ceremonial music and West African drum ritual. On it's own the music is compelling.

But over top of this on many of the tracks on the album, Pharoah Sanders let's loose on some of the most firey, spirit filled improvisation that he's done since the late 60s. Not all of this is out...some is quite beautiful and very melodic. His ballad Peace in Essaouira is deeply moving. But even when he maintains tonal structures and specific pitches in his improvising, there is a spirit here which is bracing. And when he goes out....watch out! It's a true meeting of the two groups, not a gimmick.

This is an album that will give you energy and literally raise the spirits. I find that I can't keep still while listening to it. It is true trance music.

Truely a transcendental, wonderful, real emoting soundscape. I agree with all that was said by Chris, this is a great recording, a must have. Very spiritual with calming, even healing qualities. I have yet to find another recording that compares, the closest thing I uncovered was a Sub Rosa release Moroccan Trance Music SUFI (recommended!)