Pharoah Sanders
Friday, May 2, 2014
WWOZ Jazz Tent, Fair Grounds
New Orleans Jazz and Heritage Festival
New Orleans, Louisiana

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01 - Introduction
02 - Pharoah 1
03 - Pharoah 2
04 - Pharoah 3
05 - Pharoah 4
06 - Pharoah 5
07 - chatter


Lineup:
-Pharoah Sanders - saxophones
-Nathaniel Reeves - bass
-William Henderson - piano
-Joe Farnsworth - drums
-Marlon Jordan - trumpet

Review:
Pharoah Sanders brought fire, wisdom and a big sax sound to the New Orleans Jazz Fest
By Chris Waddington, NOLA.com | The Times-Picayune

Pharoah Sanders shared the legend at the New Orleans Jazz Fest on Friday (May 2), unscrolling spirit-charged
music that looked to India, to the free jazz visionaries of the 1960s, and most especially to John Coltrane,
the saxophone giant who first catapulted the young Sanders to international notice.

In Coltrane's band, Sanders was the 25-year-old "Rock From Little Rock," an unbridled squall of saxophone
energy, who went toe-to-toe with his mentor in expressionist firestorms. At Jazz Fest, the 73-year-old
reedman tapped that fire in a program that gave equal weight to the meditative wisdom of age.

Sanders showed plenty of wisdom in choosing his longtime quartet -- pianist William Henderson, bassist
Nathaniel Reeves, and drummer Joe Farnsworth. His sagacity was equally evident in his choice of New Orleans
ringers: Trumpeter Marlon Jordan, who took a leading role in the show, is well-acquainted with post-Coltrane
free jazz sensibility.

This band followed Sanders through every turn, sustaining the quiet drama of trancelike modal compositions;
kicking up rhythmic storms in uptempo numbers; and proving their idiomatic grasp of jazz verities in an
account of Billy Eckstein's' "I Want to Talk About You."

Reeves' extended solo on the Eckstein's melody was one of the highlights of Jazz Fest for me -- a stately
affair in which each note floated in a penumbra of string overtones, creating a singing line. Henderson
made strong contributions throughout the concert, brooding over long, modal compositions with his shimmering
trills and arpeggios, and piling on drama with crashing octaves and percussive low register rumbles.
Farnsworth was his match on the kit, never missing a chance to underscore the broader musical narrative.

Jordan played as if he had been with Sanders for years. Perhaps it helped that the trumpeter grew up
in the home of an equally formidable grand master of the tenor, Edward "Kidd" Jordan.

On Friday, in the Jazz Tent, Marlon Jordan soloed with authority, focusing on the midrange of his horn and
decorating his long musical lines with bird calls and squeezed, inward-spiraling blue notes. When he stood
side-by-side with Sanders, the two men fed off each other, exchanging ideas in free counterpoint. Jordan
also knew how to up the stakes from the sidelines, offering quiet fanfares that always matched the mood.

As for Sanders, his evident frailties seemed to fall away whenever he picked up his horn. Still possessed
of a vast, canyonlike sound, rich in overtones, he put it at the service of a dignified, spiritual music
that proved funky enough to keep the crowd to its feet for much of the show. And Sanders hasn't forgotten
his expressionist youth, peppering his slowly evolving modal solos with upper register squeals and multiphonic
honks that flashed like lightning amid the towering clouds.

That's a good way to close out a day at Jazz Fest, my friends.

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