Pharoah Sanders - Tauhid (3 tracks) +Album Reviews

A different side of Coltrane-era Pharoah

A. Benjamin | Goodwell, OK United States | 11/08/2001

(5 out of 5 stars)

"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."

Very Important Work

Connecticut Rooster | Danbury, CT USA | 02/01/2000

(5 out of 5 stars)

"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."

Pharoah's first strong effort.

Michael Stack | North Chelmsford, MA USA | 10/12/2005

(4 out of 5 stars)

"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."

Protege emerging as heir

Enrique Torres | San Diegotitlan, Califas | 01/27/2008

(5 out of 5 stars)

"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."

Classic

Bill Your 'Free Form FM Handi Cyber | Mahwah, NJ USA | 01/05/2010

(5 out of 5 stars)

"What continues to amazing about Pharoah Sanders' late 1960s work is its almost deliberate contrast fromn the tenor man's work with John Coltrarne a year eariler. With the master, Sander's pressed through the music like a angry safe crcaker's angry drill.

Sander's own music is airy: full of chimes, percusson, tastefully light drumming, and an overall neuance of quiet rain gently crawling down a window.

Sander's soloing has not entirely changed: he still uses his shreiks and swarks, but is playing into the music, almost around it, not punching through it.

Any of his 1960s-early 70s Impulse albums provide templates for new age, spacey fusion, world music, and the ambient hum of acid jazz. Lonnie Liston Smith began with Pharoah, and soon created a whole new sub-genre.

Get 'em all. Start with this"

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