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Pharoah Sanders 1940 - now

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Amiri Barka: "For at least the last decade and a half, Pharoah Sanders has produced some of the most significant and moving, beautiful music identified by the name Jazz"

Pharoah Sanders was born in Little Rock, Arkansas in 1940. He moved to New York in 1962, struggled in obscurity for two years, then made his recording debut on ESP. He came to the attention of John Coltrane and from mid-1965 until 'Trane's death in 1967 he was usually a part of Coltrane's controversial group with his role being largely to create violent sound explorations. Sanders' most rewarding recordings took place during the late '60s/early '70s for Impulse with and without Leon Thomas. His later more interesting work were his collaborations with Bill Laswell and Terry Callier's comeback LP 'Timepeace'.

  • internal links
  • very selected discography
    • 'You've Got To Have Freedom' (1980)
    • 'Prince Of Peace'
    • 'Ole' on the Theresa 118 'Heart Is A Melody' live LP
    • 'Astral Travelling'
    • "The Creator Has A Masterplan"
  • external links
    • http://members.aol.com/ishorst/love/sanders.html Pharaoh Sanders, 'The Creator Has A Masterplan'
      Pharoah Sanders, originally Farrell Sanders from Little Rock, Arkansas, became well-known in the local jazz scene in Oakland, California, in the early 1960s. In the middle of the decade he moved to New York, where he worked with Sun Ra and other luminaries of the new jazz avant garde. He was asked by John Coltrane to join his group in 1965, and so became a part of Coltrane's most experimental unit. After Coltrane's death in 1967 he continued in musical collaboration with Coltrane's second wife, Alice.
    • http://members.aol.com/ishorst/love/discsand.html Pharoah Sanders discography
    • http://www.levity.com/AfroARTz/pharoah/bio.html AfroARTz Pharaoh Sanders discography with pictures

    2002, apr 19; 21:02:
  • Pharoah Sanders - Message From Home [1 CD, Amazon US] Super prolific Producer/bass man Bill Laswell ( Material, Bootsy Collins, Last Poets, Bernie Worrell projects) combines his tough urban funk sensibilities with artificially sweetened Afro-pop and lays them under Pharoah's otherwordly saxaphone. The end result of this experiment is a couple of cool songs including the exciting Kora drumming and bass guitar interplay on "Our Roots.." and the oceanic squealing solos that stretch throughout this experiment that fizzles. But it ain't Pharoah or the Brothers who perform on the African drums faults!

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