. He is arguably among the most truly authentic of Coltrane's disciples, considering that he was a member of the saxophonist's band during the last two years of his life. At the same time, Sanders offers an exuberant, inspired kind of expression that is all his own.
Joining Sanders at Birdland for a five-night stint were three longtime collaborators: pianist William Henderson, whose first recordings with Sanders go back to 1987, bassist Nat Reeves
just two weeks before Sanders' first recording with a larger Coltrane ensemble in June, 1965. Evoking Tyner's attack and style, Henderson laid the foundation for the tune, a rubato ballad prayerfully projected by Sanders, with Farnsworth playing freely on mallets throughout.
Next was a Sanders' original, "Doktor Pitt," an up-tempo tune made up of shifting modes in eight-bar segments, first recorded on Journey to the One (Evidence, 1980). Sanders built his solo by liberally using the Coltrane "sheets of sound" vocabulary, punctuating it with occasional forays into the altissimo register, overblowing to achieve the multiphonics that Sanders is well known forproducing multiple tones out of his instrument simultaneously. Reeves largely kept to walking in his accompaniment, but with a certain freedom in his playing, an approach that continued through his solo. Sanders concluded the tune by wielding his saxophone up close to the microphone and emitting a range of sounds without blowing into it tapping the keys and drawing out sounds percussively using the pads and the air in the horn.
Sander's approach to the Coltrane ballad "Naima," was a very straightforward onesimply stating the classic melody at the beginning and end of the performance, leaving the improvisation for others in the band to showcase Reeves' beautiful tone, Henderson's rich modal colorings, and Farnsworth's fine brush work. A blues in B flat followed, with Sanders blowing at least 16 choruses and sprinkling the most bebop flavorings of anything in his set. Farnsworth's solo in particular stood out here, quickly criss-crossing his arms here and there as he got an impressive variety of sounds out of his small drum kit.
The closer for the set was another Sanders original, "The Creator Has a Master Plan," perhaps his best-known composition and one that often draws comparisons to Coltrane's "A Love Supreme." The tune started off with Reeves playing arco, with Sanders improvising loping, legato lines, and some especially powerful playing in the lower register, in addition to his soaring altissimo. Sanders also contributed some vocals to the performance, bringing to mind somewhat Leon Thomas' singing and yodeling on Sanders' classic recording, Karma (Impulse, 1969). Sanders also invited the audience to join in on the singing, while he danced away in small movements on stage. He finished the song as he did with "Doktor Pitt," tapping the keys of his horn.
When he was asked, during a famous interview conducted by Frank Kofsky in 1966, how he liked having Sanders in his band, Coltrane said, "it helps me stay alive sometimes." There's no doubt that Coltrane's influence on jazz has beenand will continue to bea lasting one. With performances like this one at Birdland, Pharoah Sanders is, in his own unique way, doing more than his part to keep Coltrane's legacy burning bright.
Bob Kenselaar is former Assistant Curator of the Institute of Jazz Studies, Rutgers University, and has published articles on music in The New Grove Dictionary of Jazz, the Annual Review of Jazz Studies, and The Aquarian Weekly.