PHAROAH SANDERS-ELEVATION.

dereksmusicblog ♦ December 5, 2013 ♦ 1 Comment

PHAROAH SANDERS-ELEVATION.

Having released his debut album Pharoah’s First in 1964, Pharoah Sanders went on to release over thirty albums. As if this isn’t impressive enough, he’s accompanied jazz legends John and Alice Coltrane, McCoy Tyner and Don Cherry. Pharoah’s other collaborations have included working with such luminaries as Terry Callier, Sun Ra and Ornette Coleman, who referred to Pharoah as “probably the best tenor player in the world.” This is high praise indeed. However, for anyone who has heard Pharoah’s legendary sheets of sound, this isn’t unexpected. Especially, for anyone familiar with Pharoah’s Impulse albums.

There’s no doubt that Pharoah’s best work was for Impulse Records. This is no surprise. After all, Impulse was one of the most groundbreaking, innovative labels. Jazz pioneers like John Coltrane, Coleman Hawkins, Chico Hamilton and Max Roach called Impulse home. Whilst signed to Impulse, Pharoah released ten albums between 1966 and 1974. This included Elevation, which was released in 1973.

Recorded in September 1973, with two different bands accompanying him, Elevation  was the first album Pharoah’s recorded since he returned to the West Coast. ABC Records who owned Impulse, decided to move the label back to Los Angeles from its New York base. Elevation was a homecoming for Pharoah Sanders. 

Produced by Ed Michels, who was chosen to replace Bob Thiele in 1969, Elevation was another album of spiritual jazz from Pharoah Sanders. Elevation which was recently released by Sounds Of The Universe, an imprint of Soul Jazz Records was Pharoah Sanders’ penultimate album for Impulse. Love In Us All was Pharoah’s final album for Impulse and marked the beginning of a turbulent time in Pharoah Sanders’ life. That was all to come. Pharoah Sanders was enjoying one of the most productive period in his career. It seemed he could do no wrong. An innovator, he was one of the jewels in Impulse’s crown. You’ll realise that when I tell you about Elevation. Before that, I’ll tell you about Pharoah Sanders’ career.

Born in Farrell Sanders, in Little Rock, Arkansas, in October 1940, Pharoah Sanders’ career began in Oakland, California. That’s where he made his professional debut. A tenor saxophonist, played in local blues and R&B bands. That’s where Pharoah developed and honed his distinctive style. As the fifties drew to a close, Pharoah wanted to widen his horizons. So he headed to New York.

Initially, Pharoah’s time in New York wasn’t the happiest of his life. He was homeless, reduced to sleeping on the streets, under stairs or just about anywhere warm and dry. With his clothes reduced to rags, many a lesser man would’ve headed home. Not Pharoah Sanders. Luckily, he caught a break when he met Sun Ra.

Not only did Sun Ra give Pharoah a place to stay and bought him some new clothes, but brought him into his band. This was just the start of Pharoah Sanders’ career. Then in 1964, Pharoah released his debut album Pharoah’s First, on ESP Disk. A year later, Pharoah joined John Coltrane’s band, where he came to the attention of a much wider audience.

It was during the two years he spent as a member of John Coltrane’s band, that he perfected his sheets of sound technique. Once heard, it’s never forgotten.  Best known for his overblowing, harmonic and multi-phonic techniques, Pharoah was the perfect addition to ‘Trane’s band. Pharoah played on albums like Ascension, Meditation and Om. Playing alongside ‘Trane was a musical apprenticeship worth its weight in gold. Sadly, Trane’s career was cut short, when he died in July 1967, aged just forty. Having learnt from the master, Pharoah returned to his solo career.

During his time playing with ‘Trane, Pharoah had released two solo albums,1965s Pharoah and 1966ss Tauhid, his debut for Impulse. It was at Impulse where Pharoah would release the best music of his career. Just like before, Pharoah split his time between his solo career and accompanying some of the giants of jazz. Among the artist Pharoah accompanied, were Alice Coltrane, McCoy Tyner and Don Cherry. Pharoah collaborated with Terry Callier, Sun Ra and Ornette Coleman. From 1969 right through to 1974, Pharoah was at his creative peak, whether as a bandleader or collaborator.

From 1969 right through to 1974, Pharoah was releasing two solo albums a year. In 1969 he released Karma, an album of spiritual jazz. A fusion of avant-garde, free jazz, Indian and African music, it seemed Pharoah trying to fill the void left by the death of ‘Trane. Just like ‘Trane’s album Pharoah played on, Karma featured music that was innovative and progressive. So did Jewels Of Thought, released in October 1969. Featuring an all-star band that included Leon Thomas, Lonnie Liston Smith, Cecil McBee and Idris Muhammad, Jewels Of Thought, is an often overlooked album  in Pharoah’s back-catalogue. Jewels Of Thought marked the end of the sixties for Pharoah. Little did he know he was about to enter one of the most productive and creative periods of his career.

1970 saw Pharoah release one of his most ambitious and spiritual albums. Summun Bukmun Umyun or Deaf Dumb and Blind, was influenced by African music. The album is an exploration of faith, spiritual truth and enlightenment. Deaf Dumb and Blind are the “non-believers,”  those who have rejected faith. Joining Lonnie Liston Smith and Cecil McBee were Gary Bartz and Woody Shaw. They played their part in what was an album that was hailed as ambitious and groundbreaking. Sadly, critics didn’t say the same thing about the followup, the underrated Thembi, one of three albums Pharoah released during 1971

Thembi, which was released in 1971, saw a change in style from Pharoah. Gone were the lengthy jams. In their place were short. breezy and uptempo tracks. These tracks see Pharoah’s band deploy an eclectic selection of instruments. Recording took place in two sessions. This resulted in the criticism that Thembi didn’t flow. Instead, it seemed like parts of two albums. That’s somewhat unfair. After all, Thembi saw embark on a transition. Granted it was still a fusion of avant-garde, experimental and free jazz, but these musical journeys were much more concise and just as captivating as previous albums. So was the other album Pharoah released during 1971, Black Unity.

Black Unity was released in December 1971. It marked the end of era. Pharoah decided to change tack. He decided to innovate rhythmically. Concentrating on the groove, he brought onboard younger musicians, who could fuse Afro-beat, funk, free jazz, avant-garde and experimental. His front line played their part. They can be heard innovating, pushing musical boundaries to their limits, sometimes, even way beyond. The result was a musical melting pot, that produced a mesmeric, hypnotic, genre-melting, groove-laden album. This was one of Pharoah’s greatest albums. Having concentrated on his solo career for much of 1971, where he released two studio albums and his Live album, Pharoah briefly, returned to being a sideman.

The other album Pharoah featured on during 1971, was Alice Coltrane’s Journey In Satchidanada. A year later, Pharoah also played on Alice’s 1972 album Ptah, The El Daoud. It featured Pharoah and Joe Henderson. Along with drummer Ben Riley and bassist Ron Carter, the result was  truly, space-age, genre-melting album. Alice Coltrane pushed musical boundaries to breaking point. 

1972 wasn’t the most productive period of Pharoah’s career. His only release was Wisdom Through Music. It was well received by critics, who forecasted this would be the start of a golden period for Pharoah. How wrong they were.

Village Of The Pharoahs was released during in April 1974. It had been recorded at sessions held during 1971, 1972 and 1973. There’s not the same spontaneity. This was an album that didn’t flow, As a result, Village Of The Pharoahs was an album that critics didn’t take to. Featuring a brand new band, it didn’t match the quality of previous albums. Pharoah only played tenor saxophone on just one track. His weapon choice is the soprano saxophone. He also adds some vocals on Village Of The Pharoahs, which stylistically, was like a return to his earlier album. Thankfully, there was a return to form from Pharoah Sanders on Elevation, his penultimate album for Impulse.

Elevation features five tracks. They’re a mixture of four live tracks and one recorded in the studio. Each track was written by Pharoah Sanders. Recording took place during two sessions. The title-track, Ore-Se-Rere, The Gathering and Spiritual Blessing were recorded live at the Ash Grove, Los Angeles, on 9th September 1973. Pharoah was accompanied by a rhythm section of drummer Michael Carvin and bassist Calvin Hill. Joe Bonner played piano, cow horn flute and percussion.  Jimmy Hopps and John Blue added percussion, while Lawrence Killan played congas and bell tree. This lineup played on Greeting To Saud (Brother McCoy Tyner). It was recorded a week later, on 13th September 1973, at Wally Helger Recording, San Francisco. These five tracks became Elevation, which was released in 1973.

On the release of Elevation, this fusion of a Afro-beat, avant-garde, free jazz, post bop and progressive jazz was well received. It didn’t receive the same critical acclaim as previous album. That’s no surprise. Free jazz was no longer as popular. Even ABC Records realized this and closed Impulse a year later, in 1974. What didn’t help, was that Elevation was neither a live, nor studio album. Instead, it was a hybrid. That puzzled critics? However, forty years after Elevation’s release, it’s time it was reappraised. Is Elevation one of the highlights of Pharoah Sanders’ career? That’s what I’ll tell you.

Opening Elevation is the title-track. It’s one of the four tracks recorded live. A blazing, broody tenor saxophone takes centre-stage, before being enveloped by bells and percussion. Meanwhile, the piano finds a groove and exploits it to its fullest, as the rhythm section provide a shuffling beat. Pharoah’s saxophone is akin to a plaintive cry. Mournful, full of sorrow, it’s a cathartic outpouring from a troubled  soul. As if having exercised his demons, Pharoah plays with much more hope and freedom. Then all of a sudden the demons and turmoil comes to the surface. This results in a dramatic, frantic arrangement. Free jazz, avant-garde and experimental music combine. Instruments are almost punished. Joe Bonner pounds his piano in protest. What follows is not unlike Primal Scream therapy. It’s the equivalent of musical exorcism, with demons being expunged. Later, as if spent, a sense of calm is restored, the band almost spent, find a much mellower, melodic sound. Even then, demons are lurking just below the surface ready to surprise you. 

Straight away, Greeting To Saud (Brother McCoy Tyner) has an Eastern feel. Waves of wistful piano are enveloped by percussion, tamboura and bells. Pianist Joe Bonner has a leading role. Flourishes of piano grab your attention. His modal piano playing is crucial to the track’s success. Pharoah plays a supporting role. He adds subtle, understated wailing, pleading and atmospheric saxophones. Their otherworldly sound adds the finishing touch to Elevation’s best track.

Again it’s Joe Bonner’s modal piano playing that’s at the heart of Ore-Se-Rere as it unfolds, He’s joined by a myriad of percussion, bells and drums that have an African influence. Chants and bursts of vocals are added, as this infectiously catchy track reveals its subtleties and nuances. An impassioned, heartfelt and joyous, vampish vocal scats above the arrangement. You’re always awaiting Pharoah’s saxophone. You wait and wait. It never arrives. Instead, he’s happy to let his band take centre-stage and allow them to showcase their considerable talents on this infectious and joyous call to dance.

Stabs and flourishes of piano open The Gathering. Joe Bonner takes charge, playing confidently and stridently. A myriad of percussion, bells and the rhythm section accompany him. They match Joe for power. Pharaoh adds a vampish vocal. It’s best described as a scat. Then there’s his saxophone playing. He plays tenderly and thoughtfully. You find yourself enthralled by his playing as it drifts in and out of. The rest of the band play with power and freedom. They’re very much the stars of the show. That’s until Pharaoh blows his saxophone. Veering between improvisational and a much more traditional style, he gives a virtuoso performance. Often the music is sweet, melodic and mesmeric, other times dramatic, bold and challenging. Like the pioneering jazz colossus he is, Pharaoh steals the show, helped no ended by Joe Bonner. No wonder at the end of this epic track, they received the rousing reception they did. It’s richly deserved.

Closing Elevation is Spiritual Blessing. It has a challenging, Eastern sound as the track unfolds. A crescendo of percussion and Pharoah’s saxophone intertwine. Gradually, the arrangement takes on a melodic sound. That’s because it sounds as if Pharaoh’s performance is an unburdening of his soul. Wistful and melancholy describes his playing. Around him the droning arrangement rises and wraps itself around his saxophone. They’re an unlikely ying and yang. Although they work well together, I long to turn down the faders on everything but Pharoah’s solo. Only then can let its ethereal beauty wash over me. That’s not possible though. However, Pharoah’s playing on this track is some of his best on Elevation and an example of why Ornette Coleman referred to Pharoah as “probably the best tenor player in the world.”

That’s high praise indeed. However, Ornette Coleman had been around and played with some of the giants of jazz. This includes the legendary John Coltrane, who brought Pharoah into his band in 1967. Pharoah spent the next two years in ‘Trane’s band. Indeed, Pharoah was in ‘Trane’s band right up until his death. That was part of Pharoah’s musical apprenticeship. So was working with Alice Coltrane, McCoy Tyner and Don Cherry, plus collaborations with Terry Callier, Sun Ra and Ornette Coleman. Working with such venerable musicians was a musical education. After that, Pharoah would go on to release some of the best music of his career.

This includes albums like Karma, Jewels Of Thought, Thembi and Black Unity. They feature Pharoah Sanders at his best. Elevation deserves to be mentioned in the same breath. That’s despite Elevation dividing opinion upon its release. A fusion of everything from Afro-beat, avant-garde, free jazz, post bop and progressive jazz Elevation was well received. However, Elevation didn’t receive the same critical acclaim as previous album. There’s a reason for that. Free jazz was no longer as popular. It was perceived as yesterday’s music. That seems strange, given that it was a groundbreaking and innovative album. 

Elevation deserved to fare better, much better. Sadly, that wasn’t the case. It neither received the critical acclaim nor commercial success it deserved and warranted. Now Elevation has been rereleased by Sounds Of The Universe, an imprint of Soul Jazz Records. Maybe now, Elevation will be reappraised and seen as an album that was ambitious, bold, innovative and progressive. After all, that describes so much of Pharoah Sanders’ music, including Elevation.

PHAROAH SANDERS-ELEVATION.