Sanders Anne Laubenthal

Kenny Garrett - Sketches of MD: Live at the Iridium (2008) {Mack Avenue MAC 1042} (ft. Pharaoh Sanders}
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© 2008 Run Run Shaw / Mack Avenue Records | MAC 1042
Jazz / Modern Jazz / Post Bop / Saxophone

Though it was recorded live at New York's jazz emporium, Iridium, Detroit born saxophonist Kenny Garrett makes a return home of sorts with Sketches of MD, his debut on the Motor City's own Mack Avenue Records. His quartet here, with bassist Nat Reeves, pianist/organist Benito Gonzalez, and drummer Jamire Williams, may not possess the star power of some of his studio albums, but this band is more than up for the gig. In addition, saxophonist Pharoah Sanders reprises his role from Beyond the Wall from 2006 as Garrett's foil, creating sparks aplenty.

Recorded in 1987, A Prayer Before Dawn is one of Pharoah Sanders' gentle, reflective dates. Some jazz fans may cringe at his versions of "Christmas Song" and Whitney Houston's "The Greatest Love of All," but the music displays a heartfelt spirituality as opposed to financial slickness. It is the opposite of Sanders' characteristic fire-breathing tenor of his Impulse days, but there is nobility in taking this tranquil direction; Sanders refuses to repeat himself. He demands you listen with open ears, dropping preconceived notions. For instance, unlike the adult contemporary direction taken by one-time free jazz tenor titan Gato Barbieri, this date doesn't sound like a polished commercial venture as much as a quiet, meditative one. The use of tabla, sarod, and chandrasarang adds to the session's spiritual nature.

Pharoah Sanders - Summun, Bukmun, Umyun (1970) {Impulse! IMPD-265 rel 1998)
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© 1970, 1998 Impulse! / MCA Records / GRP Records | IMPD-265
Jazz / Modal Music / Post Bop / Progressive Jazz / Spiritual Jazz / Saxophone

After Karma was issued and Sanders had established himself – to himself – as a musician who had something valuable and of use to say, he was on what this critic considers to be a divinely inspired tear. Deaf Dumb Blind is an example of that inspiration. Beginning with the title cut, a suite of over 21 minutes, Sanders brings in the whole of his obsession with rhythm and R&B. Using African percussion, bylophones, shakers, cowbells, and all manner of percussion, as well as drummer Clifford Jarvis, Sanders brought in Cecil McBee to hold down the bass chair and Lonnie Liston Smith back in on piano, and added a three-piece horn section that included Gary Bartz on alto and Woody Shaw on trumpet in addition to himself.

A dream of a record from this legendary spiritual jazz duo – drummer Norman Connors and reedman Pharoah Sanders – coming together in a freewheeling spiritual jazz style that's a lot more like Connors' earlier albums than the soulful fusion he was mostly recording in the late 70s! The album was recorded live at the Montreux Jazz Festival, and features long-spinning tracks that step out nicely in a way that takes us back to Norman's Cobblestone Records years – no vocals at all, and instead some nicely expressive work from Pharoah Sanders on tenor, Bobby Lyle on acoustic piano, and Buzzy Jones on tenor, soprano sax, and flute. Lyle and Sanders drop out for two of the album's five tracks, but there's still a very unified, jazzy vibe to the record throughout.