Pharoah Sanders - Crescent with Love (Venus, 1992)

Pharoah Sanders, tenor sax
William Henderson, piano
Charles Fambrough, bass
Sherman Ferguson, drums

Recorded October 19 & 20, 1992
Sear Sound, NYC
Engineer: Fred Kevorkian

In 1964, John Coltrane hired Pharoah Sanders to play on the album Meditations. With the addition of Rashied Ali as a second drummer, the "classic quartet" became a sextet. Hearing Sanders for the first time was a shocking experience, but I played Meditations often and it became one of my favorites. 

I recall Nat Hentoff's liner notes inside Impulse's gatefold sleeve. I'll paraphrase: "Sanders played minute after minute in a register I did not know the tenor had." As Hentoff also noted, the overblowing and screeching that had become common ways for energy players to express emotional climaxes were the fundamental mode of expression for Sanders.

Twenty years later, I was again shocked to find Crescent with Love, Sanders' 2-CD tribute to John Coltrane. I was surprised because Sanders plays tender ballads such as "After the Rain," "Lonnie's Lament," "Naima," "Wise One," among others. All are delivered with a sumptuous tone that bears no resemblance to the raw screeching on Meditations. My shock quickly turned to gratitude for Sanders' choice to celebrate Coltrane's more lyrical legacy.

I was able to see Sanders perform live at the Atlanta Jazz Festival in the late 1990s. The memory is foggy, as it is with festivals where the performance times are limited, the roster long, and the outdoor seating grassy. I remember mostly the power of Sanders' tenor.

Crescent with Love has been issued in at least 9 versions, all with the same program but with different cover art and formats. We can now revel in Japanese vinyl and SACD versions sporting the original impressionist artwork shown above. 

Crescent's predecessor, Welcome to Love: Pharoah Sanders Plays Beautiful Ballads (Timeless, 1991), has received comparable treatment. It is also warmly recommended.

Sanders' remarkable career lasted 55 years, beginning with a dozen or so Impulse albums in the 60s and 70s, and continuing past his 80th birthday. My last citing was the minimalist collaboration of Sanders, Floating Points, and the London Symphony Orchestra (Promises, Luaka Bop, 2020). Sanders died in 2022 at age 81.

Joe Henderson - So Near, So Far (Musings for Miles) (Verve, 1992)

Joe Henderson, tenor sax
John Scofield, guitar
Al Foster, drums
Dave Holland, bass

Recorded October 12-14, 1992

Power Station, NYC

Engineer: Jim Anderson

Miles Davis's death on September 28, 1991, triggered numerous tributes and memorials, proving once again that in the music industry death is a good career move. I normally avoid tribute albums, preferring to play deceased artists' original albums. But Joe Henderson's So Near, So Far (Musings for Miles) has become one of my favorites over the past 35 years, and it grows in esteem each time I hear it. It is vastly more engaging than Henderson's more celebrated Lush Life (Verve, 1991), a tribute to Billy Strayhorn.

Davis composed or co-composed all of the tunes except for "So Near So Far," which was written by British jazz artists Benny Green and Tony Crombie. The nine Davis compositions covered on Musing for Miles are not the most obvious choices. Some of the classics are here ("Miles Ahead," "Flamenco Sketches," "Milestones"), but some are cuts from Davis's earliest 10" albums.

Pairing Henderson's tenor with John Scofield's electric guitar was a stroke of genius. Although Davis relied heavily on strong pianists (e.g., Wynton Kelly, Herbie Hancock), he generally avoided guitars until his electric funk stage (Bitches Brew and beyond). On So Near, So Far, Scofield supplants the piano's chording and soloist roles while the dream rhythm team of Al Foster and Dave Holland handle the rest. 

Scofield and Henderson complement each other superbly. The unison and harmony sections sound fresh, and Scofield's comping is funky but respectful of Miles' legacy and stature. 

The extensive booklet notes include tributes from members of the quartet, all of whom had played in Davis's bands of the 1970s and 1980s, long after the tunes on the CD were originally composed. I'm touched by the closeness of Davis's relationship with Al Foster, as told by Miles in an excerpt from his autobiography, included in the booklet. Foster died in 2025 at age 82.

Henderson died in 2001 at age 64. His music was also memorialized by tribute albums such as Jim Snidero's The Music of Joe Henderson (Double-Time, 1998), which is the subject of a future post in this blog.

So Near, So Far was recorded digitally, so it is unlikely to be reissued on vinyl. Used CDs are abundant and preferred over downloads or streaming because of the booklet.

If you don't know this music, get it. You won't be disappointed. 

For my reviews of two other Joe Henderson albums, go to:

Post: Edit An Evening with Joe Henderson

Post: Edit The State of the Tenor: Live at the Village Vanguard, Vols. 1 and 2

Alex Cline - Montsalvat (Nine Winds, 1992)

Alex Cline, percussion, kantele
Wayne Peet, keyboards, bells
Jeff Gauthier, violin, bells
Aina Kemanis, voice, bells
Eric Von Essen, bass, cello, bells

Recorded May 25 & 26, 1992

Group IV, Hollywood CA

Engineer: Geoff Sykes

Beginning in 1987, Alex Cline released a series of 8 recordings that his twin brother Nels describes as "monastic." (See the link below for the source of Nels' description.) Albums in the series have an otherworldly spiritual vibe, performed by a core set of players from the Nine Winds and Cryptogramophone labels. The most compelling of these records is For People in Sorrow (Cryptogramophone, 2013), which includes a DVD of the recorded performance. The other albums in the series are tamer but equally profound. 

Montsalvat's cover art pictures a clouded mountain peak, vaguely suggesting a devotional theme although no particular religious influence is referenced. Cline's percussion kit includes multiple gongs and with the whole band doubling on bells, it's easy to imagine a Tibetan sanctuary nestled in the mountain side. The music is cinematic in this respect. 

Among the featured musicians, Aina Kemanis' angelic vocals stand out. Often wordless, as if drawn from some forgotten ancient language, her lyrics add to the unfolding mystery. She is positioned as equal to the keyboards and violin, while the bass and percussion provide a restlessly shifting presence. 

Cline's percussion work establishes the structure of each composition. I would love to see the sheet music for his compositions if it happens to exist (which I doubt). Given the organic, improvised nature of the music, I would expect to see only minimal structures in which dramatic crescendos and meditative drones are signaled. (The video performance of People in Sorrow is paced by cards held up to signal transitions. That method seems sensible to sustain the minimal structure of the music.) 

Regardless of the timing and numbers of scripted sections, it all flows like clouds or waves, prompting listeners' imaginations. I personally get a lot of emotional mileage from Cline's series of cinematic albums. 

Other albums in the series are:

The Lamp and the Star (ECM, 1987)

Sparks Fly Upward (Cryptogramophone, 1998)

The Constant Flame (Cryptogramophone, 2000)

The Other Shore (Cryptogramophone, 2000)

Cloud Plate (Cryptogramophone, 2005)

Continuation (Cryptogramophone, 2009)

For People in Sorrow (Cryptogramophone, 2013)

To see my post on the first album in Cline's series, go to:

 Post: Edit The Lamp and the Star

Jay Hoggard - In the Spirit (Muse, 1992)

Jay Hoggard, vibes
Dwight Andrews, bass clarinet, alto flute & soprano sax
James Newton, flute
Mark Helias, bass
Ed Blackwell, drums

Recorded May 4, 1992

Van Gelder Studio

Engineer: Rudy Van Gelder

In the Spirit is Jay Hoggard's tribute to Eric Dolphy. Rather than covering multiple Dolphy compositions, Hoggard chooses only one, "Gazzeloni," which appears on Dolphy's classic Out to Lunch (Blue Note, 1964). However, the spirit of Dolphy is present in every note played on In the Spirit. 

Even the jazz classics ("Stolen Moments" and "Bye Ya") and the sole standard ("Without a Song") are approached in a manner that Dolphy would have admired. James Newton's flute solo on "Stolen Moments" also reminds us of Dolphy's solo on Oliver Nelson's The Blues and the Abstract Truth (Impulse, 1961).

Between Newton's flute and Dwight Andrews' reeds, all of Dolphy's instruments are represented on In the Spirit. Andrews' alto sax solo on "Stolen Moments," written by Nelson, is closer to the composer's saxophone style than to Dolphy's (not many could replicate Dolphy's alto style). Andrews returns on bass clarinet for the closing theme of "Stolen Moments." 

Anthony Davis's "Andrew," honors pianist Andrew Hill, whose Point of Departure (Blue Note, 1965) features Dolphy. While it's odd to hear Hill's music played without a piano, the tune's angular structure mimics Hill's style. Andrews plays a Dolphy-inspired solo on bass clarinet, followed by solos from Newton, Hoggard, and bassist Mark Helias. Hoggard channels Bobby Hutcherson on vibes to complete the 1960s associations.

Hoggard's composition "In the Spirit of Eric Dolphy, Peaceful Messenger of God's Music" begins with two flutes conversing freely over Hoggard's shimmering vibes. After about 3 minutes, we hear loose interplay over blues changes and a strutting tempo created by Mark Helias and Ed Blackwell. The tempo slows after about 2 minutes to revisit the introduction with arco bass and cymbals added.

"De Pois Do Amor O Vazio (After Love)," is a poignant Brazilian tune that Hoggard and his mates caress gently. The song also appears on Wayne Shorter's Odyssey of Iska (Blue Note, 1971). Shorter's version is taken on soprano sax with vibist Dave Friedman and guitarist Gen Bertoncini joining the Latin percussion. I know of no other recorded version of this wonderful tune, penned by drummer Bobby Thomas who apparently never recorded it himself.

In the Spirit is the type of tribute album I like the most. It celebrates the honoree and is fully conversant with his methods and voicings. Such tributes allow Dolphy's five years of recording to live on as an enduring legacy.

For my review of Hoggard's Overview album, go to:

Post: Edit Overview

Gerry Hemingway - Down to the Wire (hat ART, 1991)

Gerry Hemingway, drums & percussion
Michael Moore, alto sax & clarinets
Wolter Wierbos, trombone
Mark Dresser, bass

Recorded December 8* & 10, 1991
Kleines Zall of the Vredenburg, Utrecht, NL 

and *Kito Bremen, DE
Engineer: Dick Lucas

Having established a small collection of American jazz records from my youth (early 1960s), it was a surprise to discover later how international the music had become. As a result, about half of my favorites of the 1980s and 1990s were recorded outside of the U.S. 

As I explored artists and labels centered in Europe, I discovered American drummer Gerry Hemingway. Although born in New Haven, Connecticut, he had become an internationalist through collaborations with German and Dutch artists and by recordings on Swiss, German and Portuguese record labels.

Whether working in a quartet, as on Down to the Wire, or a quintet, as on Demon Chaser, Hemingway displays unique compositional and performance skills. His deceptively loose charts are actually complex, demanding players to play both scripted parts and free improvisations. I list both Down to the Wire and Demon Chaser in this blog.

Although Hemingway's basic group in the late 80s and 90s was a quintet, Down to the Wire was recorded with a quartet because cellist Ernst Reijseger was sidelined with a bad back. The band takes advantage of the more open format to produce a classic recording of the decade. And to think that Hemingway almost cancelled the recording date because of Reijseger's unavailability. 

No two tracks on Down to the Wire follow the same pattern. On the opening "If You Like," Michael Moore begins on alto and is joined by Wolter Wierbos' trombone in a staccato duet over Hemingway's sticks. Wierbos employs a variety of growls and smears in his solo before the jaunty theme is revisited. 

"Space 2" begins with a slowly swaggering trombone that leads into Mark Dresser's arco bass solo. The pace quickens as Moore (on bass clarinet) and Wierbos freely improvise over Hemingway's frantic drumming before the melody resumes, then dissolves into intricate harmonies between the horns. 

Track 4, "Waltz Everywhere," is a calm piece with gentle interplay between clarinet and trombone, soon joined by Dresser's solemn meditations on the bass. The calm is followed by the bright "N.T.," led by Moore on clarinet. 

The album closes with Moore's composition, "Debby Warden 2," recorded two days earlier in Germany. The moods shift from serene to bluesey, to practically motionless, to swagger, then stops. This is organic music of a high order - fascinating to hear, approachable, and entertaining. 

Although Hemingway's quartet format was revisited at least three more times, the quintet proved to be his more durable unit with seven recordings spaced over the next 20 years. Recordings involve multiple personnel changes but are all worth investigating. I am especially fond of the two most recent quintet albums: Double Blues Crossing and Riptide.

Quartets:

Johnny's Corner Song (Auricle, 1998)

Devil's Paradise (Clean Feed, 2003)

The Whimbler (Clean Feed, 2005)

Quintets:

Outerbridge Crossing (Sound Aspects, 1987)

Special Detail (hat ART, 1991)

Slamadam (Random Acoustics, 1995)

The Marmalade King (hat ART, 1995)

Perfect World (Random Acoustics, 1996)

Waltzes, Two-Steps & Other Matters of the Heart (GM, 1996)

Double Blues Crossing (Between the Lines, 2005)

Riptide (Clean Feed, 2011)

Charles Gayle - Touchin' on Trane (FMP, 1991)

Charles Gayle, tenor sax

William Parker, bass

Rashied Ali, drums

Recorded October 31 & November 1, 1991

Haus der Jungen Talente, Berlin

Engineer: Holger Scheuermann

I had plenty of exposure to the so-called "free jazz" of the 1960s, initially through John Coltrane's late work, then on to Archie Shepp, Pharoah Sanders, Sam Rivers, and others. Most post-Coltrane tenor players still employ occasional overblowing, screeching, and multiphonics as a means of expressing intense emotions, sometimes of a spiritual nature. At its best, spiritual intensity can be transcendental, life-affirming, and cathartic. At its worst, it can be tedious and exhausting to hear. 

I acquired Charles Gayle's Touchin' on Trane after reading the rave review in the Penguin Guide to Jazz, which awarded it the highest possible accolades. Using phrases such as "raw urgency" and "superbly harsh lyricism," The Guide's editors judged it to be "a central document in the free music of the decade."* I hold editors Brian Morton and Richard Cook high regard, so I returned to the world of free jazz.

Touchin' on Trane is indirectly a Coltrane tribute album, but one that is freely improvised. Rather than covering Trane's compositions, the live performances are assigned five parts (A-E). Gayle's improvisations are intense, but also coherent and eloquent. There is a sense of purpose and direction in his playing that distinguishes it from random free blowing. 

Trio mates William Parker and Rashied Ali are icons of free music. It's not easy to describe their contributions to Touchin' on Trane. They surround, extend, augment, and prompt Gayle's searching voice. Any attempt to analyze exactly what is happening would be an injustice to the essence of free group improvisation. 

I suggest that anyone curious enough to hear why this album is special should listen twice before judging it. The first listen is to become sensitized to the syntax and intensity of sound. The second is to suspend critical analysis and allow deeper meanings to surface. Yes, the exercise requires time and attention, but anyone serious about free jazz should invest the effort.

The German FMP label (FMP stands for Free Musical Production) has been active since 1969 and is known for its commitment to European artists performing free music, often in live settings. FMP also records visiting American artists like Gayle, Noah Howard, William Parker and Cecil Taylor. FMP's production values assure good sonics and faithful rendering of even the farthest "out" music. 

*Brian Morton and Richard Cook, The Penguin Jazz Guide, Penguin Books, 2010, pp, 556-7.

David Murray - Ballads for Bass Clarinet (DIW, 1991)

David Murray, bass clarinet

John Hicks, piano

Ray Drummond, bass
Idris Muhammad, drums

Recorded October 14 & 15, 1991
Power Station, NYC
Engineer: Jim Anderson

Would David Murray be trying to parody the timeless genre of "ballad album"? Perhaps, and the most obvious giveaway of his presumed mischief is the list of composers on Ballads for Bass Clarinet: David Murray (3 tunes), Wilbur Morris (bassist in Murray's octet), Idris Muhammad (drummer on this date), and Kunle Mwanga (Murray's producer and manager). It's a fair conclusion that none of these compositions actually qualify as ballads and won't become standards. 

Murray's choice of bandmates ensures a strong supporting cast for whatever agenda he might have in mind. Of the side men, John Hicks enjoys the most solo space and demonstrates once again that he can adapt to any setting and deliver solo and accompaniment with all the right notes in all the right places. Ray Drummond gets a brief bass solo on "New Life," and Idris Muhammad is featured on his own composition "Lyons Street."

Murray's three compositions are the most remarkable performances on the album. "Waltz to Heaven" launches the proceedings with a mid-tempo swinger in which the leader and Hicks each play expansive solos. Murray relies on extended techniques here and on "New Life," whereas Hicks just spins out coherent soulful phrases that fit the tunes and leave the listener spellbound. His work on the two opening songs is wholly satisfying and original. 

Murray's "Portrait of a Black Woman" is the longest tune on the album at 11:39 minutes. It begins with an ominous free section in the bass clarinet's lower register, then segues into a more conventional ballad melody. Hicks takes over from Murray's minor intro to make the woman's portrait sparkle with personality. When Murray returns for his solo, Hicks plays a strong blues progression behind the leader's soaring flights.

Jim Anderson's recording renders Murray and Hicks faithfully. Drummond and Muhammad are recessed a bit from the lead voices. 

Discogs lists a vinyl reissue that was licensed from DIW to Ko Ko Music in the UK in 2019. I have not seen or heard that release. 

Fortunately, Qobuz has the full album in CD quality for $5.29. Given the price of the download and the quality of the music, there's no excuse for not owning (or streaming if you prefer) this amazing album. 

To see my reviews of two David Murray albums from the 1980s, go to:

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Post: Edit The Hill