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▀▄ Artist... pharoah sanders and graham haynes
░ Title.... with a heartbeat
Label.... evolver
Year..... 2003
Genre.... Electronic
Rip Date. 06.07.2003
Tracks... 04
Grabber.. EAC
Source... CDDA
Encoder.. LAME 3.90.3
Quality.. 192kbps/44.1kHz
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Review:
"OK, this sounds like a pretty hokey concept: Pharoah
Sanders and some of Bill Laswell's Material crew perform
along with recordings of a heartbeat, supplied by Dr.
Jean-Louis Zink. Fortunately, it comes off far better in
execution than one might expect. First off, the
heartbeat itself is sonically treated to be more of a
bass pulse, which Laswell then elaborates on when his
bass is in the picture. As might be expected with
Laswell, there are strong elements of dub throughout,
from the sound of the bass lines to the way the
instruments fade in and out. Besides the heartbeat,
which is always present to varying degrees, the main
sounds are the guitar and electric sitar of Nicky
Skopelitis and keyboards either by Jeff Bova or Laswell.
Pharoah Sanders' playing is excellent, and the album is
enjoyable, but one gets the sense that this is Laswell's
project, and Pharoah just plays on it. If you're looking
to start a Pharoah Sanders collection, begin with
something from the Impulse catalog, like Karma or
Thembi. As a Pharoah Sanders record, With a Heartbeat
makes a fine Bill Laswell album." - Sean Westergaard,
allmusic.com
Biography:
"Pharoah Sanders possesses one of the most distinctive
tenor saxophone sounds in jazz. Harmonically rich and
heavy with overtones, Sanders' sound can be as raw and
abrasive as it is possible for a saxophonist to produce.
Yet, Sanders is highly regarded to the point of
reverence by a great many jazz fans. Although he made
his name with expressionistic, nearly anarchic free jazz
in John Coltrane's late ensembles of the mid-'60s,
Sanders' later music is guided by more graceful
concerns. In the free-time, ultra-dense cauldron that
was Coltrane's last artistic stand, Sanders relied
heavily on the non-specific pitches and timbral
distortions pioneered by Albert Ayler and further
developed by Coltrane himself. The hallmarks of Sanders'
playing at that time were naked aggression and
unrestrained passion. In the years after Coltrane's
death, however, Sanders explored other, somewhat gentler
and perhaps more cerebral avenues ù without, it should
be added, sacrificing any of the intensity that defined
his work as an apprentice to Coltrane.
Pharoah Sanders (a corruption of his given name, Ferrell
Sanders) was born into a musical family. Both his mother
and father taught music, his mother privately and his
father in public schools. Sanders' first instrument was
the clarinet, but he switched to tenor sax as a high
school student, under the influence of his band
director, Jimmy Cannon. Cannon also exposed Sanders to
jazz for the first time. Sanders' early favorites
included Harold Land, James Moody, Sonny Rollins,
Charlie Parker, and John Coltrane. As a teenager, he
played blues gigs for ten and 15 dollars a night around
Little Rock, backing such blues greats as Bobby "Blue"
Bland and Junior Parker. After high school, Sanders
moved to Oakland, CA, where he lived with relatives. He
attended Oakland Junior College, studying art and music.
Known in the San Francisco Bay Area as "Little Rock,"
Sanders soon began playing bebop, rhythm & blues, and
free jazz with many of the region's finest musicians,
including fellow saxophonists Dewey Redman and Sonny
Simmons, as well as pianist Ed Kelly and drummer Smiley
Winters. In 1961, Sanders moved to New York, where he
struggled. Unable to make a living with his music,
Sanders took to pawning his horn, working non-musical
jobs, and sometimes sleeping on the subway. During this
period he played with a number of free jazz luminaries,
including Sun Ra, Don Cherry, and Billy Higgins. Sanders
formed his first group in 1963, with pianist John Hicks
(with whom he would continue to play off-and-on into the
'90s), bassist Wilbur Ware, and drummer Higgins. The
group played an engagement at New York's Village Gate. A
member of the audience was John Coltrane, who apparently
liked what he heard. In late 1964, Coltrane asked
Sanders to sit in with his band. By the next year,
Sanders was playing regularly with the Coltrane group,
although he was never made an official member of the
band. Coltrane's ensembles with Sanders were some of the
most controversial in the history of jazz. Their music,
as represented by the group's recordings ù Om, Live at
the Village Vanguard Again, and Live in Seattle among
them ù represents a near total desertion of traditional
jazz concepts, like swing and functional harmony, in
favor of a teeming, irregularly structured, organic
mixture of sound for sound's sake. Strength was a
necessity in that band, and as Coltrane realized,
Sanders had it in abundance.
Sanders made his first record as a leader in 1964 for
the ESP label. After John Coltrane's death in 1967,
Sanders worked briefly with his widow, Alice Coltrane.
From the late '60s, he worked primarily as a leader of
his own ensembles. From 1966-1971, Sanders released
several albums on Impulse, including Tauhid (1966),
Karma (1969), Black Unity (1971), and Thembi (1971). In
the mid-'70s, Sanders recorded his most commercial
effort, Love Will Find a Way (Arista, 1977); it turned
out to be a brief detour. From the late '70s until 1987,
he recorded for the small independent label Theresa.
From 1987, Sanders recorded for the Evidence and
Timeless labels. The former bought Theresa records in
1991 and subsequently re-released Sanders' output for
that company. In 1995, Sanders made his first
major-label album in many years, Message From Home
(produced by Bill Laswell for Verve). The two followed
that one up in 1999 with Save Our Children. In 2000,
Sanders released Spirits ù a multi-ethnic live suite
with Hamid Drake and Adam Rudolph. In the decades after
his first recordings with Coltrane, Sanders developed
into a more well-rounded artist, capable of playing
convincingly in a variety of contexts, from free to
mainstream. Some of his best work is his most
accessible. As a mature artist, Sanders discovered a
hard-edged lyricism that has served him well." - Chris
Kelsey, allmusic.com
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01: across time - 17:04
02: morning tala - 07:43
03: alankara (beats of the heart) - 08:56
04: gamaka - 15:52
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T O T A L T I M E - 49:35
T O T A L S I Z E - 68,2 Mb
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░ 1REAL /1-REE-ILL/ n. 1 a group dedicated to bringing you
the best in electronic live performances. cd's. vinyls.
It's been a long time since we've updated this part of
the nfo, probably because we dont have much to say here.
We still don't. We probably never will. Our goals are
still there, as are we, and all of our members.
Our standards haven't dropped, they're higher than ever.
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░ 1REAL might be looking for new members, you never know.
We might have a public channel, we dont have a web site,
and we definately dont have an e-mail address.
If you feel you have something to contribute, and want to
be part of an open-minded, electronic focused group with
plenty tall blonde swedish girls, come and find us.
Disclaimer: Certain information in this NFO could be
considered false advertising,
please dont hold it against us.
- TEAM 1REAL
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