![]() On the title-track of Thembi (january 1971) it was Michael White's violin that joined Sanders' saxophone and Smith's ubiquitous piano, but the album The harmony thanks to Woody Shaw's trumpet and Gary Bartz's alto, while theġ8-minute prayer Let Us Go Into the House of the Lord displays the The 21-minute Summun Bukmun Umyun extends Summun Bukmun Umyun (july 1970) repeats the same concept but While the 28-minute Sun in Aquarius was a pure delirium of colors. The 15-minute Hum-Allah-Hum-Allah-Hum Allah was a narrative event, Represented the two basic forms of Sanders' art: Sanders began to play all sorts of instruments (flutes, clarinetsĪnd percussions), preferring soundpainting over virtuosity. That is basically a piano and reed album against the backdrop of African The line-up was streamlined for Jewels Of Thought (october 1969), Was mainly taken up by the 32-minute The Creator Has A Master Plan,Ī sonic excursion that ran the gamut from microscopic timbral exploration ![]() Ron Carter and Richard Davis on bass, and the usual army of percussionists, James Spaulding on flute, Reggie Workman on bass, Karma (february 1969), with Smith on piano, The 12-minute Balance highlighted his sense of impressionistic counterpoint, while the 29-minute Izipho Zam was a colossal fresco of abstract dissonance. Sirone and Cecil McBee on bass, Lonnie Liston Smith on piano, Izipho Zam (january 1969), with Howard Johnson on tuba, Sonny Sharrock on guitar and two percussionists.ĭistracted by recordings with Don Cherry and Alice Coltrane, Sanders did not The sound was perfected on Tauhid (november 1966), particularly by theġ6-minute Upper & Lower Egypt, featuring Henry Grimes on bass, With Sanders' own Quintet (september 1964), featuring trumpetist Stan Foster, pianist Jane Getz, bassist William Bennett and drummer Marvin Pattillo.Īimed at grafting the free-jazz concept onto archetypicalĪfrican rhythms and decorating the hybrid with Eastern techniques ![]() ![]() With Sun Ra's Solar Arkestra (december 1964), With the Paul Bley Quartet (may 1964), featuring bassist David Izenzon and drummer Motian, With the Don Cherry Quintet (january 1963),įeaturing pianist Joe Scianni, bassist David Izenzon and drummer John Curtis Moses, Moved to New York in 1962 and joined the groups of Sun Ra (where he got his ( Copyright © 2006 Piero Scaruffi | Terms of use)įarrell "Pharoah" Sanders (1940), who had cut his teeth in Oakland (California), Pharoah Sanders: biography, discography, review, ratings ![]()
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