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Tauhid

Pharoah Sanders

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Album Review

Tauhid marks the 1966 Impulse debut of tenor saxophonist Pharoah Sanders, who had already gained fame as a flame-throwing saxophonist of the "new thing" playing with John Coltrane. However, Sanders' tenor appearance doesn't saturate the atmosphere on this session; far from it. Sanders is content to patiently let the moods of these three pieces develop, whether it be through the percussion of Roger Blank and Nat Bettis, guitarist Sonny Sharrock, or his own piccolo. For those looking for Sanders' patented screeching tenor throughout, Tauhid will disappoint.

Customer Reviews

Don't be misled

This is a seminal recording of Sanders with a great band and a very important recording. The music is indeed not over the top, just a really good record and very influential sort of a proto-fusion date.

I second TeeTop

This was Sanders' major label debut and one in which he sought to extend Trane's vocabulary while stamping it with his own expansive view of Eastern, African and down home musics. Sanders took great care with the compositions, perhaps moreso than on any of his later recording dates. However, it's Sonny Sharrock who steals the show. Sharrock came out of the blue for most people (he'd only been on a couple of other recordings at that point) and all but the most astute of fans knew of him at that point. (Most would come to know his work only through its bizarre juxtapositions with Herbie Mann's pop flute in a group that variously featured Sharrock, Roy Ayers, and Miroslav Vitous performing soul jazz over Bruno Carr's leaden beats.) If you ever were moved by Trane, Sanders, or Sharrock, you probably know this record already; if not, grab it. If you have to summon up some courage to get through it, to quote Charles Ives: "Stand up and use your ears like a man!"

Biography

Born: October 13, 1940 in Little Rock, AR

Genre: Jazz

Years Active: '60s, '70s, '80s, '90s, '00s

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,...
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