Pharoah Sanders Music

Not only is the CD great if you get the DVD you can see two the compositions perfomed to see the intensity of the performers including Pharoah blowing so hard saliva comes out the horn.

Pharoah is one of the great successors of John Coltrane in the tradition of deeply spiritual African American jazz. Seeing this quartet numerous times around the time of this recording was an overwhelmingly joyous and uplifting experience. Waves and waves of ecstasy, happiness, bliss. I always regretted being too young to see "The Master" - John Coltrane play live (he died when I was a child) but, Pharoah continues that legacy beautifully. Go See Him Live if you ever get the chance!!!! You will not regret it!

I used to own this fantastic album on vinyl. As others have said, the first track alone justifies the purchase of this release.

Blazing, intense and drenched in spiritual soulfulness....highly recommended to fans of John Coltrane....

The first track on this album is worth the price of the album... Don't miss out...

Damn! This recording changed my life.

Bought it on Teresa Records vinyl years ago.

The keyboard action by John Hicks is simply amazing. I have never heard another session like it!

Idris on drums, what can I say.

"You've got to have freedom" will captivate you with energy, and you will listen until you wear it out! One of the best; ever!

Take some quality time with this one! Even a deaf, dumb, and blind man will get into this!

CCW

The East, an historic Cultural institution in Brooklyn NY, where Pharoah appeared frequently and the place where this concert was recorded was my main reson for purchasing it. I was disappointed that the notes were in Japanese, if those were liner notes. I may have the original LP but my collection is in storage. I was probably there the night of the concert as I was a part of the East family however that was decades ago. If anyone has the liner notes please contact me. Of course I'm glad to have the cd anyway as it takes me back to a time and place that hold precious memories. Toni, ctb1939@yahoo.com

When I was a disc jockey in Philadephia in the late seventies, a spin of Pharoah Sanders would inevitably elicit phone calls which included an involuntary "Yeah!" somewhere in the midst of the call. Very few artists always made the phones ring but Pharoah Sanders was one of them.

"Live At The East" features some of Sander's most incantatory yet least frenetic playing, and on "Healing Song," co-composer Joe Bonner demonstrates why he was Sander's favored pianist during this period
(check out his "Impressions of Copenhagen" for a view of the greater range of his talents.) "Memories Of J.W. Coltrane" is a gentle paean for Sander's mentor and colleague.

The most fiery track, finally in one segment and beautifully rendered in this Japanese pressed CD, is "Lumkili," a distinctive contribution to Sanders's Afro-jazz collection. Featured are the duo of Stanley Clarke (left channel) and Cecil McBee (right channel,) both on acoustic bass (Clarke's playing is especially impressive in this context,) with Joe Bonner playing harmonium and the others chanting and playing "little percussion" like the Art Ensemble of Chicago.

The contributions of Pharoah Sanders are memorable; the playing of all assembled and particularly Stanley Clarke and Cecil McBee is often astounding; the Impulse! CD of "Live At The East" is priceless.

A nearly lost gem that was briefly available in Japan, "Live at the East" is one of the most consistently and astonishingly brilliant albums Pharoah Sanders has ever put out. This is somewhat surprising as Sanders was without both pianist Lonnie Liston Smith and vocalist Leon Thomas, both of whom contributed heavily to his previous albums and their success. In their place, Sanders had a pianist and a percussionist who would be part of his music for the next several years-- Joe Bonner and Lawrence Killian. In addition, a pair of musicians who would go on to enormous careers in other forms of music-- bassist Stanley Clarke and drummer Norman Connors, appear here. The result is nothing short of astounding.

The three pieces have the same vibe that most of Sanders' early work does-- that spiritually informed free jazz sound. But with Clarke and bassist Cecil McBee, the pieces virtually all end up as features for the bass-- it's stunning to hear just how advanced Clarke, known for his electric bass skills, is on the upright. Opener (and lengthiest track) "Healing Song" is probably the most like Sanders' early work, with the leader stating the theme passionately before moving into an extended improv that included a fantastic bass duet. "Lumkili" revolves around drones, ringing percussion, and moaned vocals, and really serves as a framing for an extended bass dialog. "Memories of J.W. Coltrane" seems to point towards the far future-- a fairly conventional theme statement over a framing piano line again with just unnervingly brilliant basswork and really gives Sanders a chance to show how stunning his reed playing is.

This Japanese reissue is packaged in a mini-LP sleeve and just sounds fantrastic-- the remastering done renders the recording crisp and well balanced, with detail of the neverending jawdropping bass work being clear. The liner notes are, unfortunately, only in Japanese.

Long story short, for fans of Sanders, this one is well worth both the effort to find and the investment. If you're curious about Sanders, start with "Karma", that's his best known, but this one is essential for fans.

Track #1 "The Healing Song" is by far Pharoah's best. EVER. The melody is hypnotic, the energy is overwhelming. Better even than "Creator", which to his fans is blasphemous. Check out the bass work of Cecil McBee
and a very young Stanley Clarke. EXCELLENT! Must buy for all fans of this
genre.

It has been a long wait, but finally this outstanding music is on cd. Healing Song is the definitive song from Pharoah's association with Impulse. Forget about The Creator Has A Master Plan, this song is the essence of what Pharoah was about. The title is apt, as the twenty plus minute track is a whirling dirvish of percussion, acoustic bass, chanting and Pharoah dealing his circular breathing deluxe over, under and with a beautiful and "healing" melody. This track has stayed constantly in my head for the past 26 years, ever since I first discovered the original lp in a cutout bin during my college days. The rest of the music is good, but the title track is indeed like a religious experience. If you have enjoyed any of Pharoah's offerings, you really need to check out this one and be HEALED!!!

The East, an historic Cultural institution in Brooklyn NY, where Pharoah appeared frequently and the place where this concert was recorded was my main reson for purchasing it. I was disappointed that the notes were in Japanese, if those were liner notes. I may have the original LP but my collection is in storage. I was probably there the night of the concert as I was a part of the East family however that was decades ago. If anyone has the liner notes please contact me. Of course I'm glad to have the cd anyway as it takes me back to a time and place that hold precious memories. Toni, ctb1939@yahoo.com

When I was a disc jockey in Philadephia in the late seventies, a spin of Pharoah Sanders would inevitably elicit phone calls which included an involuntary "Yeah!" somewhere in the midst of the call. Very few artists always made the phones ring but Pharoah Sanders was one of them.

"Live At The East" features some of Sander's most incantatory yet least frenetic playing, and on "Healing Song," co-composer Joe Bonner demonstrates why he was Sander's favored pianist during this period
(check out his "Impressions of Copenhagen" for a view of the greater range of his talents.) "Memories Of J.W. Coltrane" is a gentle paean for Sander's mentor and colleague.

The most fiery track, finally in one segment and beautifully rendered in this Japanese pressed CD, is "Lumkili," a distinctive contribution to Sanders's Afro-jazz collection. Featured are the duo of Stanley Clarke (left channel) and Cecil McBee (right channel,) both on acoustic bass (Clarke's playing is especially impressive in this context,) with Joe Bonner playing harmonium and the others chanting and playing "little percussion" like the Art Ensemble of Chicago.

The contributions of Pharoah Sanders are memorable; the playing of all assembled and particularly Stanley Clarke and Cecil McBee is often astounding; the Impulse! CD of "Live At The East" is priceless.

A nearly lost gem that was briefly available in Japan, "Live at the East" is one of the most consistently and astonishingly brilliant albums Pharoah Sanders has ever put out. This is somewhat surprising as Sanders was without both pianist Lonnie Liston Smith and vocalist Leon Thomas, both of whom contributed heavily to his previous albums and their success. In their place, Sanders had a pianist and a percussionist who would be part of his music for the next several years-- Joe Bonner and Lawrence Killian. In addition, a pair of musicians who would go on to enormous careers in other forms of music-- bassist Stanley Clarke and drummer Norman Connors, appear here. The result is nothing short of astounding.

The three pieces have the same vibe that most of Sanders' early work does-- that spiritually informed free jazz sound. But with Clarke and bassist Cecil McBee, the pieces virtually all end up as features for the bass-- it's stunning to hear just how advanced Clarke, known for his electric bass skills, is on the upright. Opener (and lengthiest track) "Healing Song" is probably the most like Sanders' early work, with the leader stating the theme passionately before moving into an extended improv that included a fantastic bass duet. "Lumkili" revolves around drones, ringing percussion, and moaned vocals, and really serves as a framing for an extended bass dialog. "Memories of J.W. Coltrane" seems to point towards the far future-- a fairly conventional theme statement over a framing piano line again with just unnervingly brilliant basswork and really gives Sanders a chance to show how stunning his reed playing is.

This Japanese reissue is packaged in a mini-LP sleeve and just sounds fantrastic-- the remastering done renders the recording crisp and well balanced, with detail of the neverending jawdropping bass work being clear. The liner notes are, unfortunately, only in Japanese.

Long story short, for fans of Sanders, this one is well worth both the effort to find and the investment. If you're curious about Sanders, start with "Karma", that's his best known, but this one is essential for fans.

Track #1 "The Healing Song" is by far Pharoah's best. EVER. The melody is hypnotic, the energy is overwhelming. Better even than "Creator", which to his fans is blasphemous. Check out the bass work of Cecil McBee
and a very young Stanley Clarke. EXCELLENT! Must buy for all fans of this
genre.

It has been a long wait, but finally this outstanding music is on cd. Healing Song is the definitive song from Pharoah's association with Impulse. Forget about The Creator Has A Master Plan, this song is the essence of what Pharoah was about. The title is apt, as the twenty plus minute track is a whirling dirvish of percussion, acoustic bass, chanting and Pharoah dealing his circular breathing deluxe over, under and with a beautiful and "healing" melody. This track has stayed constantly in my head for the past 26 years, ever since I first discovered the original lp in a cutout bin during my college days. The rest of the music is good, but the title track is indeed like a religious experience. If you have enjoyed any of Pharoah's offerings, you really need to check out this one and be HEALED!!!

Just two songs here more deeply and profoundly explored. Lots of beauty in my favorite version of My Favorite Things. Coltrane said he never got tired of playing it as each time new things opened up. More lyrical despite Pharoah Sanders intensity.

This is an amazing CD. I put off purchasing it for a long time because I thought it was going to be so far out that it would just sound like noise to me. It's very beautiful actually, including those de-constructionist solos by Pharoah Sanders. One cannot approach this music the same way one might approach a release like Giant Steps or Favorite Things... or even A Love Supreme for that matter. The new listener has to be patient and willing to engage in repeat listenings in order for this to sink in - especially if you are a musician. I don't pretend to understand everything that's going on in this music (even though I am a semi-pro jazz player myself). This music will challenge you to put aside your expectations and your conditioning on what sounds pleasing. If you can do that, then eventually this music becomes a very enjoyable experience.

THis is it! The greatest of all time. This one.

I first heard this album in February, 1967, at a college friend's pad in Berkeley. It blew my mind then and it hasn't ever stopped.

Beginning with Jimmy Garrison's bass solo Introduction the CD moves right on to My Favorite Things without having to flip over the vinyl, like you used to have to do. Then, increase the volumn from minute to minute until deafining. Be absolutely sure to have a high quality, powerful sound system with a subwoofer. Take off. Enjoy. John Coltrane and Pharoh Sanders dueling. Mind expanding drugs not necessary. The music will do the job.

I'm a little disappointed that it is not possible to buy this CD as digitally remastered, or SACD or DVD Audio. But the way it comes is quite good.

This is the single greatest musical accomplishment of all albums, in my opinion.

At this stage I thought I'd decided not to review old Coltrane albums anymore since it's so late, as they all have alot of reviews and what more need be said? Recently reviewing the much newer My Favorite Things: Coltrane at Newport and One Down, One Up: Live at the Half Note made me change my mind. With the repugnant taste of '65 McCoy Tyner fresh in my mind, I needed to find solace in this '66 Coltrane where he is surrounded by artists who get what he was after.

I have 1 quibble with this album. It's not long enough. I wish this were 1966's 4-disc reply to The Complete 1961 Village Vanguard Recordings. Yes we have Live In Japan but these are very different sorts of performances.

This is my co-favorite Naima of all time along with the 1 from Eric Dolphy's true last date, 6/11/64 (a show that towers above the falsely named, officially released Last Date from about a month earlier). Pharoah is the heart and soul of this Naima. He turns inward, scouring and caressing the strata of emotions available to him. I'll never understand why he's attacked for not being "melodic". He is melodic... sometimes. Also, when he's not it's because he is more concerned with feeling, sound, timbre and tone than he is with telling a conventional "story" via Sonny Rollinsesque melodic variation. Just because a poem doesn't rhyme doesn't mean it's not a great poem.

Alice and Pharoah are 2 huge reasons why '66 live Coltrane is so compelling. I certainly wouldn't have been able to deal with another year of McCoy and Elvin being more and more out of place with each passing performance. Alice's touch is so gentle and open. She and Pharoah are so tuned in to what makes me tick. There's no time on this disc where he strikes me as anything less than beautiful and brilliant. Pharoah here is the one who really comes across as singing, yearning, feeling and Being through his horn though to be fair, John's 2nd solo in My Favorite Things tops those of the aforementioned '65 albums.

I've had this cd for 10 or 11 years and listened to this Naima more than any other. Most recently I listened to this album 40 minutes ago and it still pulls me in and will not let go. This is a peak moment in time from 1 of John's best bands.

...In fact, compared to the Olatunji Concert (which I reviewed elsewhere) these performances from 1966 are positively conservative. On both tunes Trane definitely sticks to the structure and atmosphere of the originals. I was especially taken with My Favorite Things. In the Olatunji album Trane never quotes the entire MFT theme in its entirety but only tiny parts of it. Here, he repeats the theme exactly as he did back in 1961. In the Olatunji version of MFT Trane never seems to play to an implied tempo. Here even though he supposedly has a group that plays "panrhythmic music" he seems to be sticking to the waltz tempo of the original tune for much of the time.

Admittedly there are some important differences between MFT as it was in 1960-65 and here - one, there is no beat (Rashied Ali preferring some sort of bizzare changing tempo); two, Trane's soloing is far beyond even the Newport 1965 version in passion and freedom; and most importantly Pharoah Sanders is present.

Now I have every respect for Mr Sanders, and I know he is still alive and all. But I must admit that on this disc (and the Olatunji disc) I cannot for the life of me comprehend what his improvisations are about. They literally bear no resemblance to the theme of the tunes except very very briefly at random moments. For the rest of the time it is like listening to a jackhammer or an angle grinder. You can literally swap Sanders' solos between the two pieces, and not notice the difference. Whereas Coltrane's soloing always relates to the tune and its mood, Sanders is often screeching away in some world of his own.

I am also not too sure about the tambourines, bells and drums - they are often played without any taste, seemingly at random moments during a solo.

The Penguin reviewers mention that it is a little odd to have Coltrane play Naima (a tribute to his first wife) whilst his second wife is in his band! Maybe you can detect a certain mulish resentment in Alice's playing on this piece...?

Also, I notice that Coltrane (or his quintet) makes a slight error during MFT. Trane reaches the end of his solo with his usual double-repetition of the theme, slurring the notes at the end - but then usually McCoy Tyner would play the MFT theme and take off on his solo. With his new group, either Alice or Sanders flubs their entry, so Coltrane hesitantly plays the MFT theme a *third* time, almost dropping out halfway, and then continuing with a certain irritated air.

This is a fine disc. It is true what the other reviewer said, that this is a good introduction to Coltrane's avant garde phase - it is far, far easier on the ear than the Olatunji disc!!!

HARD TO FIND BUT A SUPER CD IN LINE WITH THE EARLY IMPULSE RELEASES.5 *****.

HARD TO FIND BUT A SUPER CD IN LINE WITH THE EARLY IMPULSE RELEASES.5 *****.

HARD TO FIND BUT A SUPER CD IN LINE WITH THE EARLY IMPULSE RELEASES.5 *****.

Don't let my four-star rating scare you off. I reserve five stars for only the music I can't live without (like Pharoah's "Karma" and "Black Unity"). I bought the original Impulse LP 30 years ago and am listening it now. It's a shame this isn't widely available, and a shame that the musicians weren't credited. This was one of the last recordings he made for Impulse before wandering off in search of new directions, and one of his best ever.

The first side, "Love Is Everywhere" is mostly relaxing and meditative, with Pharoah noodling inventively on soprano sax over his patented third-world groove. However, it's the second side, "To John", which keeps me coming back. Pharoah's overblown tenor and a high-octane trumpet (Hannibal Marvin Peterson?) repeatedly climax into the energetic outbursts that made Pharoah notorious in the late '60s/early '70s. Joe Bonner has a great Tyner-influenced solo here, too. The percussionists Badal Roy and James Mtume provide the requisite colors that keep this at least as interesting as the sessions they recorded with Miles Davis at about the same time. The album ends in modal peacefulness

Reviewing this is almost as useless as talking about why sex with your partner was so good.