Even when Pharoah Sanders plays uptempo, he sounds as if he's playing a ballad. That's because the tenor saxophonist, known for his deeply spiritual approach, is always in a meditative space when creating. Sanders began playing jazz in 1961, when he moved to New York from Oakland, Calif. Born Farrell Sanders in Little Rock, Ark., he was urged by Sun Ra in New York to use the name Pharoah instead of Ferrell. Sanders followed the orchestra leader's advice and promptly began exploring the avant-garde. In 1965, Sanders joined John Coltrane's group and recorded on Coltrane's Ascension (Archie Shepp also was on tenor saxophone) and Meditations as a soloist. Some believe Coltrane's late abstract style was influenced by Sanders. [Photo above of Pharoah Sanders, courtesy of the artist]
Artistically, Sanders has been on a life-long journey. His search for meaning has taken him through various global cultures as well as many different forms of music. His trip is less of a frustrating search to find himself than an odyssey borne out of curiosity. Unlike most jazz, which fits into formulas created by commercial demand, Sanders' jazz is driven by his feelings and spirit. The result is a fascinating form of expressive jazz that's true to himself and his emotional compass. [Photo above of Pharoah Sanders and Sam Shepherd courtesy of the artist]
Sanders' latest album, Promises. Is something of a new chapter in which he works on a large canvas and incorporates electronica. He's featured on the tenor saxophone and vocals, but he collaborated with Sam Shepherd, known professionally as Floating Points. Shepherd is a British musician who, on the album, plays piano, harpsichord, celesta, Fender Rhodes, Hammond-B3 organ, Oberheim 4 voice & OB-Xa, Solina String Ensemble, Therevox ET-4.3, EMS Synthi, ARP 2600 and Buchla 200e. Shepherd also scored the string section of the London Symphony Orchestra. The 46-minute album consists of nine movements, with no gaps between them.
The music is a fascinating voyage with Sanders at the helm. As you listen, you feels as if you're canoeing on a tranquil river that winds through a dense forest of fragrant musical foliage. You listen and feel as if you're meditating. There are synthesizers coming and going, the bell sound of a celesta, strings and a wide range of repeated musical phrases. Atop it all is Sanders' saxophone, making statements with his overblowing technique or sitting out periods to allow the sparkling surface of electronica to stand out. As you listen, the album acts as a blotter, draining your stress and anxiety and freeing your ears to listen to the detail and feel the current of the music. To me, it's like putting your hand under the surface of a stream and feeling the different unseen forces tug and push your hand. [Photo above of Pharoah Sanders and Sam Shepherd courtesy of the artists]
If this album makes you curious about Sanders, the next step is Karma, with its 33-minute The Creator Has a Master Plan. The song is hypnotic. Then you can shift to Sanders' early years, checking out albums such as Pharoah's First (1964) and Tauhid (1966). Then check out Moon Child and any album with the word ballad in its title. From there, you'll be ready for whatever Sanders album you choose next. They're always a surprise.
JazzWax tracks: You'll find Pharoah Sanders' Promises (Luaka Bop) here.
JazzWax clips: Here's Movement 1...
Here's an edit of The Creator Has a Master Plan recorded live in Germany in 1999...
And here's Louis Armstrong's recording of the song with Leon Thomas, on Armstrong's last album in 1970...