Customer Reviews

Journey to the One (Mlps)

5 star:		(4)
4 star:		(5)
3 star:		(0)
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By 1980 when this disc was originally released as an Lp Pharoah Sanders was solidly entrenched with his own voice on tenor. The passing of John Coltrane and Sanders's fruitfull years of playing with the prolific saxophone genius resulted with an umistakable influence on his sound and explorations of the instrument. Pharoah Sanders plays both hot and cool jazz on this disc , traditional arrangements as well as experimental passages are woven together tighly for a snapshot of a man who has found his own voice and leadership in the jazz idiom. Beginning with "Greetings to Idris " the structure of the music is one that follows tradition yet opens up for the musicians to improvise within the arrangements. "Greetings to Idris " is in reference to the featured drummer Idris Muhammad who also played with Coltrane during his late period. Naturally Sanders is featured as the main instrument and his horn can be bold and demanding of your full attention. Always interested in other instruments from other cultures , much like Trane, he incorporates the Japanese instrument the koto, a beautifully harmonic stringed intrument counter to his soft rich blowing on tenor with only wind chimes and a harmonium for a delicious peaceful bit of music on "Kazuko"(Peace Child) that has the qualities of a meditative offering. Most of the music, eight tracks, is composed and arranged by Sanders and demonstrates his leadership. There is one John Coltrane composition entitled "After The Rain" that gets the Tranesque treatment by Sanders that makes it hard for even the most discerning listener to distinquish between the original version and Sanders impression. It is a bluesy duet featuring only sax and piano and leaves you wanting to hear it over and over again because of it's simple and haunting melodies. Another song that Coltrane recorded entitled "Easy To Remember " has a gentle swing to it built around a classic quartet (drums, bass, piano, sax) like that employed by Coltrane that results in superb standard. Pharoah Sanders shifts gears quite a bit on this disc. Sanders incorporates the use of another "foreign" instrument to jazz by working in a tabla and sitar on "Soledad " that takes center stage before Sanders joins in on the music. The result is a thing of genius as the East and West merge and interface for composition that is peacefull. Sanders music on this disc flucuates between the tranquil sounds of his mellow horn to the outer limits where he left off with the explorations of Trane's late period. What seperates this disc from others is that it is a group playing under his leadership where he gives all others close to equal billing. The uptempo, " You've Got To Have freedom " is one such song where Sanders gets out there on some of his solos but works within the group structure as the other musicians, most notably Eddie Henderson on flugelhorn, bring the music back home. There is a chorus sung much of the time throughout where the the proclamation "Ya gotta have peace and love, ya gotta have freedom" is presented in Manhattan Transfer style but with much more soul. The use of vocalists is done again on the track entitled "Think About The One." The chorus features voacalese specialist Bobby McFerrin who later went on to work on his own and to colloborate with many other major talents and is probably best known for the song "Don't Worry Be Happy." The Tranesque tenor of Sanders plays a striking counter to the chorus in the musical statement that begs the metaphysical question in a sort of gospel tinged, vocalese thought provoking way. This disc shows the different sides of Pharoah Sanders, a man always willing to explore the music, explore his soul and share it with you. The closing track "Bedria" is a mellow exploration of the various ranges of the tenor. The full, rich tones produced are some of the best I have heard from his horn and I've heard many a Pharoah Sanders number. It is a ten minute song that displays all the grace of his being, a gentle giant who can manipulate the horn to do extraordinary things , reveberating out and back in undulating waves of harmonic bliss. Sanders on this disc is next to perfect. One of his best recording from his post Impulse career. It belongs in your jazz collection right next to John Coltrane.

Pharoah is one of the best tenor players around, and his tone varys from scratchy, intense blows to sweet tones more often associated with alto and soprano sax. My favorite cuts are, of course, Soledad, Kazuka (a duet for Sanders and a japanese Koto, a harp that has, to my ears, an almost banjo-ish tone), and "You Gotta Have Freedom", a straingtahead jazz tune, that makes you feel really happy without sounding too...happy. In an age where jazz is dominated by post-fusion electronics, it's great to hear some truly soulful acoustic Jazz (yes, there are electric keyboards on a few cuts...). Bottom line, Pharaoh is an extremely underrated figure in modern jazz.

You want Jazz with soul, free from technicalities and shackled design? But do you also want traditional contrast interjected, allowing sufficient restraint to guide the proceedings? Few are able to walk that line as gracefully as Sanders (helped immensely with song-stealing pianist) does here, perhaps the only true protege of a Coltrane aesthetic emulated past the point of sheer imitation. While it does have its substantially stronger sections, the entire album brims with a diverse, assured, post-bop warmth few Jazz artists have embraced since.

Read below I won't add more but to say if you like modern jazz/post bop this is a screamer.There is enough energy to power a city while it's playing.I think any modern jazz collection is missing something that does not have it.I don't know what the 4 stars reviewers want as "Kind Of Blue" or "Giant Steps" only came out once.BUY THIS CD and be prepared!!!
Chazz

Most of this very long CD (originally I had the 2-LP set) is excellent. As some other reviewers note, the quality is not absolutely even, and there are a few tiresome tracks, but overall it is wonderful.

"After the Rain" alone is worth the price of the entire album. Unlikely as that might seem, I think it is better than the original Coltrane version.

This recording is a challenging group of compositions but throughout it all, the music is suffused with and effervescent and ebullient energy and joy. If ever there was thought provoking artist, Pharoah is it. It is obvious he has travelled far in his musical journey and it is stunning to share this evolution with him. The compositions are trim but powerful. Hicks on piano is a highlight as is Drummond on bass. There is also a delightful splash of Japanese koto in the song 'Kazujo (Peace Child). Pharoah truly pushes the envelope of the tenor sax much as a great shakuhachi artist.

On Saturday 21 July 2007, I had a previllage of attending Pharoah Sanders performing live with a 42 piece band with strings in Johannesburg South Africa. From this CD, he performed "you've got to get Freedom. This CD was my father's favourite from the LP's, I was a young boy then together with "Rejoice", they were always played at my home until I was able to pick Pharoa 's sound in any album he is featured in. I always liked John Hicks' accompanies, his sound spreads around the other musicians and holds the entire piece of music within the its bars. This CD explains Pharoa's love of exploring other sounds like "Kazuko".

This Cd (originally a 2 Lp set) is a little uneven. When its good its great like on the opening cut "Greeting to Idris" or Kazuko. But its vocal tracks that often drag Sanders work down. Here the tune "Think About the One" is pretty bland while the infectous "You've gotta Have Freedom" does grow on you after a while.

Not perfect, but an enjoyable journey.

Pharoah Sanders has made a big impression on me with his music&this set is no different.i have always dug the vibe&feel he has with his horn.i have many of his recordings.he doesn't get the love he deserves the man has made alot of great music.check this out.