#john coltrane's musical journey

[boricuacherry-blog]

[thespamman24]

What your favorite jazzer says about you!

Louis Armstrong- You don’t know why I’ve just broken into your house and asked you at gunpoint what your favorite jazz artist is, as you don’t listen to much jazz.

Miles Davis- You’re basic.

Bill Evans- You’re racist.

Chett Baker- You want to have sex with Chett Baker. 

Sun Ra- As a kindergartner, you were reprimanded for eating paper, an event that has haunted you for life. A career as a very unique artist awaits you. Also, you can name every species of preying mantis, all 51 of them. 

Pharaoh Sanders- You don’t know shit about preying mantises. 

Alice Coltrane- You’ve been trying to find Satchinada for the last 20 years, but it continues to allude you.

Phelonois Monk- Your favorite kind of sandwich is peanut butter and jelly.

Peter Brotzmann- You didn’t stop eating paper at kindergarten. In fact, as you read this, you’re currently eating the stuff. You do you, I guess.

João Gilberto- You constantly carry around a fanny pack full of important provisions such as trail mix. You’re disappointed that no one wants to use your Netflix password.

Wayne Shorter- Everyone laughs at your pointy shoes. “What are you some kind of elf?” they ask. Then, you kick them. They aren’t laughing after that.

Duke Ellington- A prestigious career of drawing of drawing furry smut awaits you. I salute you. 

Ryo Fukuri- You keep a shotgun beneath your bed in case someone with tattoos comes too close to your front lawn.

Max Roach- You’re wondering if I may have switched those last two. No, I did not. Shut up. 

Charles Mingus- You wear a bald cap wherever you go because it increases the chances of being slapped on the head- the most enjoyable aspect of living.

John Coltrane- You’ve been kicked out of eighteen Whole Foods stores, and you plan to make that number in the triple digits before you depart this green earth. Nothing brings you more satisfaction than opening the nut dispensers and watching the waterfall of cashews descend onto the ground.

Art Blakey- Fuck if I know. 

[kemetic-dreams]

Spiritual jazz (or astral jazz)[1] is a sub-genre of jazz that originated in the United States during the 1960s. The genre is hard to characterize musically but draws from free, avant-garde and modal jazz and thematically focuses on transcendence and spirituality. John Coltrane's 1965 album A Love Supreme is considered landmark in the genre.

Origins

Pharoah Sanders in 1981.

Critics usually associate spiritual jazz with the 1960s but the beginnings of the genre can be traced to the 1940s and 1950s in works such as Black, Brown and Beige by Duke Ellington, Zodiac Suite by Mary Lou Williams, and Jazz at the Vespers by George Lewis.

During the 1960s in the United States, the civil rights movement was occurring, causing societal change and political movements. As a result, African-American people gained more freedom to celebrate their culture and to express themselves religiously. This led to a desire to push the conventions of jazz, with some artists choosing to search for transcendence and spirituality in their music.

John Coltrane's 1965 album A Love Supreme is generally considered the genesis of spiritual jazz though Coltrane can be heard developing the sound on the song "Spiritual" recorded four years earlier. Treblezine wrote "Spiritual jazz begins, essentially, with John Coltrane," while Pitchfork wrote "This musical exploration [of spirituality] was epitomized by tenor saxophonist John Coltrane". A Love Supreme and other works by John Coltrane inspired other jazz musicians to create music searching for transcendence. For example, Pharoah Sanders and Don Cherry were considered to have taken inspiration from Coltrane's spiritual works.

After John Coltrane's death in 1967, his wife Alice Coltrane and Sanders—both who had previously played with Coltrane—were some of the first to continue the sound of the genre. Coltrane's 1971 album Journey in Satchidananda combined spiritual jazz with influences from Hindustani classical music, after her journey into spirituality with help from Swami Satchidananda. Journey in Satchidananda used ragas, harps, sitars, and ouds to achieve its sound. Pharoah Sanders took inspiration from Arabic, Indian, and Afro-Cuban music to create early spiritual jazz albums, including Tauhid (1967) and Karma

[cinamun]

URL SONG TAG GAME

rules of the game: link a song for each letter of your username

TAGGED by my friend @ty-loves thank you!! Y'all know I'm going to do anything music related when it comes to these OCs OR tag games right? lol

In honor of the healing journey of Professor Jayce Jabari Carruthers... we're going to do Coltrane and Coltrane only.

C - Central Park West

I - I'm Old Fashioned

N - Naima

A - Aisha

M - My Favorite Things (HoJay's Official Song™)

U - Untitled Original

N - Nature Boy

Don't just scroll, add a few of these to your "chill tf out" playlists

I tag @simsimulation @pink-chevalier @jayveesim @astoldbychae @thegloomiestwhim @thesimerella @theonyxscholarsims @shygirlsimmer @stellarfalls @uglyhomie and anyone else who would like to do this too!

[defjux]

200 of my favorite albums that I swear by, from any genre - limited to one per artist. I always wanted to do this since the start of the decade and finally got around to it. I’ve had a lot of different musical obsessions up to this point and periods where i was deep into specific genres so I tried to make sure all of that was represented here. Overall it’s a mix of personal classics that I go back to constantly, albums that helped form my taste, and some recently stuff I love. Didn’t want to stress too much over the order, but i’d say the first 50ish are pretty accurate. I’ll post the list below, and a version of the charts with the titles included. Let me know what you think - any favorites here? What would some of your picks be? Let me know. Peace. Charts with album titles included  1. At the Drive-In - Relationship of Command 2. Organized Konfusion - Stress: The Extinction Agenda 3. Aesop Rock - Labor Days 4. Ghostface Killah - Supreme Clientele 5. Cannibal Ox - The Cold Vein 6. MF DOOM - MM..Food 7. De La Soul - Buhloone Mindstate 8. John Coltrane - A Love Supreme 9. Converge - Jane Doe 10. Billy Woods & Blockhead - Dour Candy 11. The Mars Volta - De-Loused in the Comatorium 12. Pete Rock & C.L. Smooth - The Main Ingredient 13. Portishead - Dummy 14. The Dillinger Escape Plan - Ire Works 15. Björk - Vespertine 16. El-P - I'll Sleep When You're Dead 17. The Roots - Illadelph Halflife 18. Isis - Wavering Radiant 19. The Pharcyde - Labcabincalifornia 20. Miles Davis - In A Silent Way 21. Edan - Beauty and the Beat 22. Deltron 3030 - Deltron 3030 23. A Tribe Called Quest - Midnight Marauders 24. Company Flow - Funcrusher Plus 25. Every Time I Die - The Big Dirty 26. Gospel - The Moon Is a Dead World 27. OutKast - ATLiens 28. GZA/Genius - Liquid Swords 29. DJ Shadow - Endtroducing..... 30. Dälek - From Filthy Tongue of Gods and Griots 31. Stereolab - Dots and Loops 32. Refused - The Shape of Punk to Come 33. Mos Def - The Ecstatic 34. Boredoms - Vision Creation Newsun 35. Freestyle Fellowship - Innercity Griots 36. Redman - Dare Iz A Darkside 37. Armand Hammer - Paraffin 38. Panopticon - Autumn Eternal 39. Wu-Tang Clan - Enter the Wu-Tang (36 Chambers) 40. Godspeed You! Black Emperor - F# A# ∞ 41. Black Star - Mos Def & Talib Kweli Are Black Star 42. Ornette Coleman - Science Fiction 43. Electric Masada - At the Mountains of Madness 44. Orchid - Orchid 45. Alice Coltrane - Journey in Satchidananda 46. Digable Planets - Blowout Comb 47. Grouper - A I A: Alien Observer 48. Public Enemy - It Takes a Nation of Millions to Hold Us Back 49. Charles Mingus - Let My Children Hear Music 50. Camp Lo - Uptown Saturday Night

51. Milo - who told you to think??!!?!?!?! 52. Boris - Flood 53. Stan Getz & João Gilberto - Getz/Gilberto 54. Dr. Yen Lo - Days With Dr. Yen Lo 55. Avantdale Bowling Club - Avantdale Bowling Club 56. zeroh - awfulalterations 57. toe - For Long Tomorrow 58. Sun Ra - Sleeping Beauty 59. Dark Time Sunshine - ANX 60. Kayo Dot - Choirs of the Eye 61. Kate Bush - The Dreaming 62. Boards of Canada - Geogaddi 63. Unwound - Repetition 64. Jeru the Damaja - The Sun Rises In The East 65. Massive Attack - Mezzanine 66. Black Moon - Enta Da Stage 67. Tim Hecker - Harmony In Ultraviolet 68. CunninLynguists - A Piece of Strange 69. Quasimoto - The Further Adventures of Lord Quas 70. Glassjaw - Worship and Tribute 71. Sonny Sharrock - Ask The Ages 72. J Dilla - Donuts 73. Aceyalone - A Book of Human Language 74. D'Angelo - Voodoo 75. Jam Baxter - ...So We Ate Them Whole 76. Pharoah Sanders - Karma 77. Danny Brown - XXX (Deluxe Edition) 78. Gravediggaz - 6 Feet Deep 79. Sonic Sum - The Sanity Annex 80. Death - Symbolic 81. Funkadelic - Maggot Brain 82. Mach-Hommy - DUMPMEISTER 83. Prince Paul - A Prince Among Thieves 84. Nas - Illmatic 85. Grant Green - Idle Moments 86. Gang Starr - Moment Of Truth 87. Agalloch - Ashes Against the Grain 88. O.C. - Word...Life 89. Ne Obliviscaris - Portal Of I 90. Joni Mitchell - Hejira 91. Mr Key & Greenwood Sharps - Yesterday's Futures 92. Little Brother - The Listening 93. Max Roach - Members, Don't Git Weary 94. Cult Favorite - FOR MADMEN ONLY 95. Deftones - White Pony 96. Marvin Gaye - What's Going On 97. Cocteau Twins - Treasure 98. Prince - Sign o' the Times 99. Pageninetynine - Document #8 100. Boldy James & Sterling Toles - Manger on McNichols 101. NoMeansNo - Wrong 102. Fiona Apple - The Idler Wheel... 103. Baroness - Blue Record 104. Drive Like Jehu - Yank Crime 105. Alcest - Écailles de lune 106. Raekwon - Only Built 4 Cuban Linx 107. David Bowie - The Rise and Fall of Ziggy Stardust and the Spiders From Mars 108. Madlib - Beat Konducta Vol. 5-6: A Tribute To Dilla 109. Aphex Twin - druqks 110. Electric Wizard - Dopethrone 111. Siah & Yeshua dapoED - The Visualz Anthology 112. Discordance Axis - The Inalienable Dreamless 113. Mastodon - Crack the Skye 114. Juggaknots - Re:Release 115. The Cure - Pornography 116. Wolves in the Throne Room - Two Hunters 117. Erykah Badu - Mama's Gun 118. Fela Kuti - Expensive Shit 119. Blu - Below the Heavens 120. Ohbliv - Retrospective 121. Shibusashirazu Orchestra - 渋星 (=Shibuboshi) 122. United Nations - The Next Four Years 123. Mobb Deep - The Infamous 124. The Chariot - Long Live 125. Serengeti - Ajai 126. Heltah Skeltah - Nocturnal 127. Talking Heads - Remain In Light (Deluxe Version) 128. Autechre - LP5 129. Lil Ugly Mane - THIRD SIDE OF THE TAPE 130. Roc Marciano - Reloaded 131. Yndi Halda - Enjoy Eternal Bliss 132. Albert Ayler - Spiritual Unity 133. Open Mike Eagle & Paul White - Hella Personal Film Festival 134. Melt-Banana - Fetch 135. Bad Brains - Bad Brains 136. Deathspell Omega - Paracletus 137. Nujabes - Modal Soul 138. Nails - Unsilent Death 139. Cavalier - Private Stock 140. Flying Lotus - You're Dead! 141. The Avalanches - Since I Left You 142. Lightning Bolt - Hypermagic Mountain 143. Envy - Insomniac Doze 144. Gojira - From Mars to Sirius 145. The Doppelgangaz - Lone Sharks 146. System of a Down - Toxicity 147. letlive - Fake History 148. Goodie Mob - Soul Food 149. Death Grips - Ex Military 150. Jeromes Dream - Seeing Means More Than Safety 151. Standing On The Corner - Red Burns 152. Hüsker Dü - Zen Arcade 153. maudlin of the Well - Leaving Your Body Map 154. Oddisee - The Good Fight 155. Krallice - Years Past Matter 156. tricot - T H E 157. Gorguts - Obscura 158. Kvelertak - Kvelertak 159. Shabazz Palaces - Black Up 160. Sade - Love Deluxe 161. Opeth - Ghost Reveries 162. The Fall of Troy - Doppelgänger 163. Batsumi - Batsumi 164. Deafheaven - New Bermuda 165. Leonard Cohen - Songs of Leonard Cohen 166. The Number Twelve Looks Like You - Worse Than Alone 167. Dragged Into Sunlight - Hatred For Mankind 168. Earl Sweatshirt - some rap songs 169. Burial - Untrue 170. Mgła - Exercises in futility 171. Emperor - Anthems To The Welkin At Dusk 172. Fugazi - Red Medicine 173. Lord Finesse - The Awakening 174. Cult of Luna - Somewhere Along The Highway 175. Cryptopsy - None So Vile 176. The Ahmad Jamal Trio - The Awakening 177. Bohren & der Club of Gore - Black Earth 178. Lauryn Hill - The Miseducation Of Lauryn Hill 179. Bear vs Shark – Right Now, You're In The Best Of Hands 180. Wormrot - Voices 181. Broadcast - Tender Buttons 182. Swans - Swans Are Dead: Live '95-'97 183. Yves Tumor - Heaven to a Tortured Mind 184. AFI - The Art of Drowning 185. Mazzy Star - So Tonight That I Might See 186. Botch - We Are the Romans 187. NEPTUNIAN MAXIMALISM - Éons 188. Sigur Ros - Takk... 189. Rubberoom - Architechnology 190. Herbie Hancock - Sextant 191. Big K.R.I.T. - 4eva Is a Mighty Long Time 192. Oh No - Oh No Vs. Now-Again 193. Weyes Blood - Titanic Rising 194. Hella - Hold Your Horse Is 195. Loma Prieta - I.V. 196. Defcee - Lacuna 197. Genesis Owusu - Smiling with No Teeth 198. Brutus - Nest 199. Bruno Pernadas ‎- Those Who Throw Objects At The Crocodiles... 200. The Koreatown Oddity - Little Dominiques Nosebleed

[mywifeleftme]

THE END

Stats

I'm a bit of a goon for stats and lists, so as I close the book on this project, here are a few highlights.

Total word count: 181,231 Average review length: 497 words Longest review: 1,761 words (138: Various Artists // Experiments in Destiny) Shortest review: 131 words (303: Alice Coltrane // Journey in Satchidananda) Most reviewed decade: 1970s (110) Firstest review: Various Artists // Keep on Truckin' (1) Lastest review: Patti Smith // Horses (365) Middlest review: [TIE] Sandy Denny & the Strawbs // All Our Own Work (177) & Various Artists // The Paths of Pain: The CAIFE Label, Quito, 1960–68 (178) Age: 37 Wives left: 0

Twelve of my favourites

1: Various Artists // Keep on Truckin': How a series of TV commercials made Americans crazy for novelty truck driving songs.

32: The Who // Meaty Beaty Big & Bouncy: A free, online personality quiz.

59: Nass El Ghiwane // Nass El Ghiwane: Moroccan legends, quibbling about hype stickers, and the gift of trances.

90: Joe Coleman // Infernal Machine: Exploring a well-remunerated "Outsider artist" and his fixation on serial killers (feat. the craziest picture disc I've ever seen).

92: Aquariana // Aquariana: Your introduction to Father Yod and the Source Family cult, plus some weirdo piano ballads.

179: Elvis Presley // The Sun Collection: I asked 17 of my friends (and my grandma) for their opinions on Elvis.

199: Zero Kama // Zero Kama: In 1983, Austrian Psychic TV-devotee Zoe DeWitt snuck into a charnel house and scavenged a pile of human bones, which she then fashioned into musical instruments. This is the music that resulted.

209: Rob Hertner // Bucky's Heartaches: I research a private press country record by a Texan expat in London, and unearth his life as a crackpot political figure in Britain and connections to a terrorist militia group.

227: Jim Sullivan // U.F.O.: A guide to six lesser-known private press folkies, prepared with the assistance of antiquarian D. John Christie.

256: Maria Tănase // I: Romania's answer to Edith Piaf, and a figure much in need of rediscovery.

270: Purple Mountains // Purple Mountains: On David Berman's last work, and writing through pain.

319: Gilbert Bécaud // Incroyablement: A lovestruck fool, but no dummy. Some thoughts on an irrepressible chansonnier.

These are so stupid

Blogs tagged "this is so stupid"

[djhamaradio]

I feel like her example is really shaping a lot of newer black artists operating in a world that works with black spirituality that stretches itself outside the bounds of Christianity and says we too can explore other spiritual and religious textures.

[jazzdailyblog]

Transfiguration: Alice Coltrane's Spiritual Journey Through Music

Introduction: Alice Coltrane’s album Transfiguration stands as a testament to her musical genius and spiritual depth. Recorded live at Schoenberg Hall, UCLA, in April 1978, this double album showcases Coltrane’s mastery of the piano and organ, accompanied by bassist Reggie Workman and drummer Roy Haynes. The album features six tracks, including an extended version of John Coltrane’s “Leo,” and…

[snackpointcharlie]

Music from elsewhere and beyond for you to tune in, turn on, freak out, and go deep into the heart of creation at the center of the universe. Or something. 10pm tonight on WGXC, 90.7-FM in the Hudson Valley and streaming 24/7 at wgxc.org or UPDATE: download the podcast at the link below

Snackpoint Charlie - Transmission 136 - 2024.04.03 https://wavefarm.org/wf/archive/asfrfb [ ^ click for download ^ ]

PLAYLIST

1) Alice Coltrane - “Journey in Satchidananda” from THE CARNEGIE HALL CONCERT https://aquariumdrunkard.com/2024/03/21/alice-coltrane-the-carnegie-hall-concert/

(underbed throughout:) Pinchas Gurevich - “Whataboutism”

2) Gus Vali - “Telly” from CHIMERA - A FANTASY IN JAZZ ROCK MID-EAST SOUNDS https://www.discogs.com/release/2391349-Gus-Vali-Chimera

3) John Sinclair & His Blues Scholars - “I Talk to the Spirits” from FULL CIRCLE https://www.discogs.com/release/4433050-John-Sinclair-His-Blues-Scholars-Featuring-Wayne-Kramer-Full-Circle

4) Jesse Paul Miller - “Ancient Wave Travelers” from DREAM BOXES AND PSYCHIC MICROPHONES • RADIO AND OTHER SOUNDS FROM SOUTHEAST ASIA 2008 - 2017 https://jessepaulmiller.bandcamp.com/album/dream-boxes-and-psychic-microphones-radio-and-other-sounds-from-southeast-asia-2008-2017

5) Ron English - “Bees” from JOHN SINCLAIR PRESENTS DETROIT ARTISTS WORKSHOP https://strut.bandcamp.com/album/john-sinclair-presents-detroit-artists-workshop

6) Dimi Mint Abba and Nema Mint Choueikh w/Luleide ould Dendenni, Mohamed ould Deddah ould Choueikh, and Mohamed ould Seymali - excerpt from MOROCCAN SAHRAOUI EVENT (A MYSTERY TAPE FROM MAURITANIA) https://hivemindrecords.bandcamp.com/album/a-mystery-tape-from-mauritania

7) Khruangbin - “May Ninth” from A LA SALA https://khruangbin.bandcamp.com/album/a-la-sala

8) Street Musician of Yogyakarta - “Asoi” from STREET MUSICIANS OF YOGYAKARTA https://mississippirecords.bandcamp.com/album/street-musicians-of-yogyakarta

9) Kyle Tierce - “Interlocking Questions” from THE FIVE FINGERS OF A DOG (ORIGINAL SOUNDTRACK) https://superspectrum.bandcamp.com/album/the-five-fingers-of-a-dog-original-soundtrack

10) Jesse Paul Miller - “Radio Cambodia” from DREAM BOXES AND PSYCHIC MICROPHONES • RADIO AND OTHER SOUNDS FROM SOUTHEAST ASIA 2008 - 2017 https://jessepaulmiller.bandcamp.com/album/dream-boxes-and-psychic-microphones-radio-and-other-sounds-from-southeast-asia-2008-2017

11) Nadah El Shazly & Elvin Brandhi - CAIRO ???” from POLLUTION OPERA https://pollutionopera.bandcamp.com/album/pollution-opera

12) Ludwig Berger - “Apparent Heart” from SPECIES LONELINESS https://ludwigberger.bandcamp.com/album/species-loneliness

13) Faust - “Stay or Leave” from MOMENTAUFNAHME IV https://faust.bandcamp.com/album/momentaufnahme-iv-2

14) La Monte Young & Marian Zazeela - “31 VII 69 10:26 - 10:49 PM (a section of Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery)” from 31 VII 69 10:26-10:49 PM / 23 VIII 64 2:50:45-3:11 AM THE VOLGA DELTA (aka THE BLACK ALBUM) https://www.melafoundation.org/lmy.htm https://www.superiorviaduct.com/collections/la-monte-young-marian-zazeela

15) Ragnar Johnson & Jessica Mayer – “Mo-mo” from SPIRIT CRY FLUTES AND BAMBOO JEWS HARPS FROM PAPUA NEW GUINEA : EASTERN HIGHLANDS & MADANG https://ideologicorgan.bandcamp.com/album/spirit-cry-flutes-and-bamboo-jews-harps-from-papua-new-guinea-eastern-highlands-and-madang

16) Lea Bertucci - “Of Shadow and Substance (excerpt)” from OF SHADOW AND SUBSTANCE https://leabertucci.bandcamp.com/album/of-shadow-and-substance

17) John Bence - Raphael, Archangel of Tiphareth” from ARCHANGELS https://johnbence.bandcamp.com/album/archangels

18) Jesse Paul Miller - “Radio Wat Thailand I&II” from DREAM BOXES AND PSYCHIC MICROPHONES • RADIO AND OTHER SOUNDS FROM SOUTHEAST ASIA 2008 - 2017 https://jessepaulmiller.bandcamp.com/album/dream-boxes-and-psychic-microphones-radio-and-other-sounds-from-southeast-asia-2008-2017

[burlveneer-music]

Alina Bzhezhinska (aka Alina HipHarp) and Tony Kofi - Altera Vita - harp/tenor sax duo, album dedicated to Pharoah Sanders

'Altera Vita' is the first studio album by World renowned multi-award winning artists Tony Kofi (tenor saxophone) and Alina Bzhezhinska (harp) as a duo. The album is saxophone and harp in perfect harmony with Tony and Alina also providing the bulk of the percussion to accompany their recordings. Tony Kofi is widely recognized as one of the leading Jazz saxophonists in the UK and his duties include regularly lending his skills to legendary group Cymande for their live performances. Alina has been heralded as the "New Sound of Europe'' and the duo’s innovative and refreshing approach to recording is apparent on this album. The namesake and inspiration for this album; ‘Altera Vita’ (2023) was named in Downbeat’s jazz albums of 2023, which is very rare for a single release! 'Altera Vita' mirrors the human experience, from conception through to the inevitable end or new beginning. Throughout the journey the appreciation of our environments is paramount, 'Altera Vita' guides us through an intensified refocus on our senses through the medium of sound. This homage to the ethereal is dedicated to the influential Pharoah Sanders —a lynchpin in the creative and personal lives of Tony & Alina. Sharing a platform during the 2017 EFG London Jazz Festival at the Barbican in a concert honouring Alice & John Coltrane, Pharoah's influence was profound. Riding the wave of inspiration following Pharoah's passing, Tony channeled his gratitude into the creation of 'Altera Vita (for Pharoah Sanders)' (single). With Alina's harmonious harp in counterpoint, a serene musical dialogue was born, echoing the grandeur of Pharoah's legacy. This track released in 2023 to critical acclaim was a major catalyst for the creation of 'Altera Vita' as an album.

[melodiousmonk]

The album title "Ptah, The El Daoud" refers to the ancient Egyptian deity Ptah, who was believed to be the creator of the universe, and "El Daoud," which is Arabic for "the beloved."

The song title "Turiya & Ramakrishna" is named after two spiritual figures from India: Turiya, a Sanskrit word meaning "the fourth state of consciousness," and Ramakrishna, a 19th-century Indian mystic and saint.

(The fourth state of consciousness is sometimes translated as "pure consciousness." It is considered to be the source of all other states of consciousness and the underlying ground of all existence. In Turiya, the individual self (or ego) is said to be dissolved, and the individual becomes aware of their true nature as pure consciousness. It is described as a state of profound peace, bliss, and spiritual realization.)

"Turiya & Ramakrishna" features Alice Coltrane on harp and piano, Joe Henderson on tenor saxophone, and Ron Carter on bass. The track has been praised for its beautiful melody and improvisation, as well as its spiritual depth and exploration. It has since become a jazz standard and a signature piece of Alice Coltrane's body of work.

Alice Coltrane (1937-2007) is famous for her contributions to jazz music as a pianist, organist, harpist, and composer. She was a key figure in the development of spiritual jazz, a subgenre of jazz music that emphasizes spiritual and meditative qualities, and incorporated elements of Indian classical music into her compositions.

She married the legendary saxophonist John Coltrane in 1965, and played piano and harp on some of his later albums, including "Ascension" and "Meditations". After John Coltrane's death in 1967, Alice Coltrane began to explore her own musical vision, incorporating elements of Indian classical music, African music, and gospel music into her compositions.

In addition to her musical achievements, Alice Coltrane was also known for her spiritual pursuits. She became a devotee of the Indian guru Sathya Sai Baba and founded the Vedantic Center, a spiritual community in California. She also established the Sai Anantam Ashram in Agoura Hills, California, where she lived and recorded until her death in 2007.

Alice Coltrane's innovative approach to jazz music, her incorporation of diverse musical traditions, and her spiritual pursuits have made her a revered figure in the jazz world and beyond.

(Satchidananda refers to Sri Swami Satchidananda, an Indian guru who gained fame in the West for his teachings on yoga and spirituality.)

[droitsdesfemmes]

🎶 𝗩𝗼𝗶𝘅 𝗲́𝗰𝗹𝗶𝗽𝘀𝗲́𝗲𝘀 - 𝗔̀ 𝗹𝗮 𝗿𝗲𝗻𝗰𝗼𝗻𝘁𝗿𝗲 𝗱𝗲𝘀 𝗺𝘂𝘀𝗶𝗰𝗶𝗲𝗻𝗻𝗲𝘀 𝗺𝗲́𝗰𝗼𝗻𝗻𝘂𝗲𝘀 𝗱𝗲 𝗹'𝗵𝗶𝘀𝘁𝗼𝗶𝗿𝗲 🎵

🎹 𝗔𝘂𝗷𝗼𝘂𝗿𝗱’𝗵𝘂𝗶 : 𝗔𝗹𝗶𝗰𝗲 𝗖𝗼𝗹𝘁𝗿𝗮𝗻𝗲 (𝟭𝟵𝟯𝟳-𝟮𝟬𝟬𝟳) 🎶

Née à Détroit, Alice Coltrane, issue d'une lignée de musiciens, émerge comme une artiste aux facettes multiples. Pianiste, harpiste, organiste, vibraphoniste et compositrice de jazz, elle se fraye un chemin unique dans le monde musical. Sa rencontre avec John Coltrane en 1963 marque le début d'une collaboration et d'une complicité profondes, jusqu'à la disparition tragique de ce dernier en 1967. Ensemble, ils plongent dans les méandres des sonorités orientales, tissant les fils du spirituel dans la trame du jazz. Veuve, Alice Coltrane poursuit sa quête artistique et spirituelle, insufflant dans ses albums une fusion novatrice de jazz, de musique indienne et de harpe. Sa conversion à l'hindouisme la mène à fonder un ashram en Californie, où elle guide les âmes au son des chants dévotionnels. Revenant à ses premières amours, le jazz, dans les années 2000, elle offre au monde « Translinear Light », son ultime opus. « Journey in Satchidananda » (1970), son œuvre phare, reconnue par la National Public Radio parmi les 150 meilleurs albums réalisés par des femmes, se hissa à une noble 86e place, se tenant fièrement entre « Diamonds & Rust » de Joan Baez et « Los Angeles » du groupe X. Alice Coltrane demeure une figure de proue du jazz avant-gardiste, une muse pour de nombreux artistes. Sa musique, transcendant les barrières stylistiques et temporelles, nous convie à un périple intime vers une lumière intérieure éclatante.

🔗 Pour en savoir plus : https://fr.wikipedia.org/wiki/Alice_Coltrane

🎧 Écouter : https://youtu.be/w0O9L7KXkC0?feature=shared

📸 Photo : Alice Coltrane en 2006.

[brushandneedles]

Thelonious Monk: Architect of Jazz Innovation and Uniqueness

In the rich tapestry of jazz history, the name Thelonious Monk stands as a beacon of innovation, unpredictability, and sheer artistic brilliance. Born on October 10, 1917, in Rocky Mount, North Carolina, Monk emerged as one of the most influential figures in the world of jazz, leaving an indelible mark on the genre with his distinctive approach to composition and improvisation. Step into the enigmatic world of jazz with our Thelonious Monk-inspired T-shirts, a sartorial ode to the timeless eccentricity and musical genius of the legendary pianist.

Early Years and Musical Upbringing

Thelonious Sphere Monk's musical journey began in his early childhood. Raised in New York City, Monk's exposure to music came primarily through the church, where his mother, Barbara, served as the church organist. Monk's early interest in the piano was nurtured by his family, and by the age of 11, he had already begun to showcase his prodigious talent.

Innovations in Jazz Harmony and Rhythm

Monk's impact on jazz is perhaps most prominently felt in the realm of harmony. His unique approach to chord voicings and dissonant intervals challenged the conventional norms of the time. Monk's compositions, such as "Round Midnight" and "Blue Monk," are characterized by their unconventional harmonic structures, marked by angular melodies and unexpected chord progressions.

His use of dissonance, often incorporating clusters of notes played in close proximity, created a sense of tension and release that was revolutionary in the jazz landscape. Monk's harmonic innovations laid the foundation for future generations of jazz musicians to explore new possibilities in tonality and expression.

The Pianistic Genius

Monk's distinctive pianism is immediately recognizable. His percussive and angular playing style, coupled with his penchant for dissonant chords, created a sonic signature that set him apart from his contemporaries. The rhythmic complexity of Monk's playing, characterized by unexpected accents and pauses, added an additional layer of intrigue to his performances.

His influence on piano technique and style extended beyond his compositions. Monk's idiosyncratic approach to the instrument, with his use of staccato accents and unexpected pauses, challenged the conventional norms of jazz piano playing. His innovations continue to resonate in the work of countless pianists who have drawn inspiration from Monk's groundbreaking style.

The Birth of Bebop and Monk's Role

The 1940s saw the emergence of the bebop movement, a revolutionary shift in jazz characterized by rapid tempos, complex harmonies, and intricate improvisation. Monk played a crucial role in shaping the bebop sound, collaborating with pioneers such as Charlie Parker and Dizzy Gillespie. His compositions, including "Well, You Needn't" and "Epistrophy," became emblematic of the bebop era.

While Monk's contemporaries were often at the forefront of the bebop movement, Monk's own unique contributions were sometimes overshadowed. His compositions, though revered by fellow musicians, did not always find immediate commercial success. Nevertheless, Monk's uncompromising commitment to his artistic vision and his refusal to conform to established norms set him apart as a true innovator.

The Legendary Monk Quartet

In the mid-1950s, Monk formed the legendary Thelonious Monk Quartet, a group that featured John Coltrane on tenor saxophone, Wilbur Ware on bass, and Shadow Wilson on drums. This quartet, often hailed as one of the greatest in the history of jazz, produced some of Monk's most iconic recordings.

The partnership with Coltrane, in particular, was a meeting of two musical giants. Coltrane's fiery and expressive playing complemented Monk's idiosyncratic compositions, creating a synergy that elevated both artists to new heights. The recordings from this period, including the album "Thelonious Monk with John Coltrane," are celebrated as masterpieces of jazz collaboration.

Monk's Compositional Legacy

Thelonious Monk's compositions have become an integral part of the jazz repertoire. His tunes, characterized by their memorable melodies and intricate harmonic structures, continue to be studied and performed by musicians around the world. "Round Midnight," arguably Monk's most famous composition, has been recorded by countless artists and remains a jazz standard.

Monk's compositional style was rooted in a deep understanding of the blues, and his ability to infuse bluesy sensibilities into complex harmonic settings contributed to the enduring appeal of his music. His compositions often featured unexpected rhythmic twists and turns, keeping both musicians and listeners on their toes.

The Jazz Vanguard: Monk's Impact on the Genre

Beyond his contributions as a pianist and composer, Monk played a pivotal role in shaping the broader landscape of jazz. His unapologetic commitment to originality and innovation encouraged other musicians to explore their own unique voices. Monk's impact extended beyond the confines of bebop, influencing the development of post-bop, free jazz, and avant-garde jazz.

Monk's insistence on individual expression and his rejection of musical conventions opened doors for future generations of jazz artists to embrace their creative instincts. His influence is evident in the work of avant-garde musicians such as Cecil Taylor and Ornette Coleman, who drew inspiration from Monk's fearless approach to musical exploration.

Challenges and Recognition

Despite his undeniable genius, Monk faced challenges in his career. His unorthodox playing style and sometimes unpredictable behavior led to periods of public misunderstanding. In 1951, Monk's cabaret card was revoked in New York City, a setback that restricted his ability to perform in local venues for several years.

However, Monk's fortunes began to change in the late 1950s and early 1960s. With the support of fellow musicians and growing recognition of his artistic contributions, Monk experienced a resurgence in his career. In 1964, he appeared on the cover of Time magazine, a significant acknowledgment of his status as a jazz innovator.

Later Years and Recognition

In the latter part of his career, Monk continued to tour and record prolifically. His later albums, including "Monk's Dream" (1963) and "Criss-Cross" (1963), showcased his enduring creativity. Monk's impact on jazz was further recognized when he was awarded the prestigious Grammy Lifetime Achievement Award in 1997, a fitting tribute to his lasting contributions to the genre.

Monk's Persona: Quirks and Eccentricities

Thelonious Monk's persona was as distinctive as his music. Known for his distinctive sense of style, which often included distinctive hats and sunglasses, Monk's onstage presence reflected his offbeat approach to life. His penchant for abrupt pauses during performances, as well as his sometimes enigmatic behavior, only added to the mystique surrounding the man and his music.

Legacy and Influence

Thelonious Monk's legacy endures not only through his recordings but also through the impact he had on the evolution of jazz. His uncompromising commitment to originality and his fearless exploration of musical possibilities continue to inspire musicians across genres. Monk's influence can be heard in the work of pianists ranging from Herbie Hancock and Chick Corea to modern innovators like Brad Mehldau.

Monk's compositions remain a rite of passage for jazz musicians, a testament to the enduring power of his musical vision. His contributions to jazz harmony, rhythm, and composition have left an indelible mark on the genre, ensuring that Thelonious Monk's legacy will resonate through the ages as a testament to the boundless possibilities of artistic expression in jazz. Embrace the avant-garde flair of jazz with our Thelonious Monk T-shirt, embodying the quirky elegance and groundbreaking creativity of the legendary pianist.

[sinceileftyoublog]

John Coltrane Reissue Review: Evenings at the Village Gate: John Coltrane with Eric Dolphy

(Impulse!/UMe)

BY JORDAN MAINZER

Not even two years after A Love Supreme: Live in Seattle saw the light from Joe Brazil's private collection, a new John Coltrane treasure has been given to us, unearthed this time by accident. A Bob Dylan archivist, scouring through the archives of the New York Public Library for the Performing Arts, found an August 1961 recording of John Coltrane with Eric Dolphy at Greenwich Village's long-shuttered Village Gate. While Coltrane's November performances from the same year at the Village Vanguard have long been available, either as part of his 1962 live album or a 1997 box set, this collection shows some familiar players a bit rougher around the edges. Future Nina Simone and Dylan engineer Richard Alderson, who wanted to test a newly found single ribbon microphone, decided to record the set, and everything from McCoy Tyner's restrained piano to, well, the overall sound quality, has the vibe of a group of geniuses still figuring things out, a fascinating snapshot in an ever-changing time in jazz.

In an era where our most revered artists take seemingly forever to release new albums, it's hard to fathom just what luminaries like Coltrane did back then, and the rapid pace of change they faced in a burgeoning music industry. In March, he released My Favorite Things on Atlantic, which yielded surprising hits in adaptations of George Gershwin's "Summertime" and Rodgers and Hammerstein's "My Favorite Things", the latter of which received significant radio airplay. Two months later, his Atlantic contract was bought by Impulse! While he kept Tyner and drummer Elvin Jones in his band, he replaced bassist Steve Davis with a young Reggie Workman and brought on multi-instrumentalist Eric Dolphy, forming the basis of a live quintet. His studio ensemble grew even larger on the first album he recorded for Impulse!, Africa/Brass, also one of his first to employ two bass players. Eventually, though, he'd settle into the Classic Quartet, Jimmy Garrison replacing Workman for the next several years, the four producing stone cold classics like, yes, A Love Supreme. It's impossible to separate this context when listening to Evenings at the Village Gate: John Coltrane with Eric Dolphy in all of its rawness.

Really, Evenings at the Village Gate is a true moment in time and one of arguable significance, though listening to it is a fascinating exercise. You constantly find yourself wishing you were there to witness it, watching an audience in real time react to where you know jazz would end up. As Jones' pattering drums and Workman and Tyner's steady bass and piano introduce "My Favorite Things", Dolphy subtly flutters his clarinet. Six minutes in, Coltrane announces himself with a brawny saxophone line before blasting streaks of notes above the band. When he very occasionally returns to the song's main refrain, it's like a sigh of relief before he embarks on another freeform journey. Sometimes, you can hear an audience member clapping, thinking his solo has finished, but he keeps going. Dolphy offers a similarly tattered solo on Benny Carter's "When Lights Are Low", while the rest of the band lurches. Tyner's solo, for example, is sprinkled but so low in the mix you can almost clearly hear background chatter in the club, and you can definitely decipher Workman's plucks. The band is risky and adventurous, unafraid to fail.

The final three tracks performed would eventually be recorded, including "Impressions", a Coltrane composition first set to tape in 1962. The version on Evenings at the Village Gate is an early run-through the way a lot of jazz instrumentalists do today. On one hand, hearing him breathlessly and immediately whittle away at schemas of jazz must have been thrilling. On the other, compared to the live versions of the song from months later, on this one, Coltrane embraces true chaos rather than controlled chaos. Only Jones and Tyner are truly honed in here, the former shining with his dexterousness throughout and underrated dynamism in his be-bop duet with the latter. If you've always thought Coltrane's recording of "Greensleeves", meanwhile, sounds a little bit like "My Favorite Things", Tyner somewhat interpolates the latter song as Jones' drum fills pervade the performance. Tyner's two-handed solo mid-way through simultaneously showcases the song's theme and his own phrasing, while Coltrane and Dolphy enter much later, as if they've been stockpiling on reserves before gradually taking the tune to dizzying new heights.

If there's a true highlight on Evenings at the Village Gate, it's of course the only known recorded version of Africa/Brass' "Africa". Art Davis fills in on additional bass drones, with Coltrane on tenor saxophone, and the song feels like the most the band had been in sync all night. Perhaps that's because there's nothing else to compare it to, but the performance is still thrilling taken on its own, from Jones' raindrop pitter patters to Tyner's unshakeable refrain. Coltrane and Dolphy give way to the rest of the band for a while, and the tune slowly ascends as they tease a return, first giving Jones his due with a rolling solo and then actually returning to rapturous applause, skronking and squeaking away. You have to think that some members of the audience had no conception for what they just saw. You also have to think the set made them want to dive in further.

[tristan-v-saxophone]

The music that keeps me going

Charles Mingus, need I say more?

Actually, maybe a little more context is necessary.

The thing is, I wasn't always an avid listener of jazz. In fact, in the first 5 or so years of playing music, I was only interested in wind band music. I had wanted to become a conductor, and only listened to the music of Mackey, Maslanka, Grainger, and the like. In fact, I actively avoided listening to all other genres, including jazz, believing them to lack the depth that wind band music could have. But it wasn't until one fateful day that, while surfing YouTube to find wind ensemble music with bass clarinet solos, that I discovered what jazz was and could be. I stumbled across a video, 8 minutes and 47 seconds long, with an album cover of a man playing a bass clarinet, titled "Eric Dolphy 1963 - God Bless the Child."

Eric Dolphy is possibly one of the greatest musicians of all time. This solo is proof. From the very first note, I was hooked. What was this unique sound I was hearing? His notes were erratic, his sound was thick and squawky, and his pacing was random... By all means, this was music I should have hated; but it just drew me in. Eric Dolphy took me on an 8 minute and 47 second journey, almost an out of body experience. His playing was so... melodic? It was like everything he was feeling was spilling out through his playing. I needed to know who he was and what he was playing.

Thats when I did some research, and learned that he was a woodwind player from the mid 1900s who played Jazz, and was at the forefront of the birth of the Avant Garde Jazz Tradition, alongside John Coltrane, and, more relevant here; Charles Mingus.

Mingus and Dolphy were close friends and closer musicians. Much of their careers were shared, with Dolphy being one of the most consistent members of the Mingus Sextet. After Dolphy's death in 1964, Mingus said

"Usually, when a man dies, you remember—or you say you remember—only the good things about him. With Eric, that's all you could remember. I don't remember any drags he did to anybody. The man was absolutely without a need to hurt."

It was only natural that I would divert my research and listening to the man who had such kind words to say about this musician who'd planted the seed that would change my life. Thats how I discovered Jazz's Angriest Man.

My journey with Mingus began the same as many others. I searched Charles Mingus on YouTube before anything else, and pressed the first tune that popped up: Moanin'.

Now, at this time, I had began to dip my toes into the water that is the baritone saxophone, after listening to a gorgeous rendition of Czardas, played by Yasuto Tanaka. But I wasn't prepared for what I was about to hear. I was almost knocked off my feet by the sound of a cadenza played by the quite possibly the baddest cat of all time, Ronnie Cuber. You know the one...

The absolutely nasty line in the Baritone, the pedals in the bass bone, the group improvisation, this composition is has EVERYTHING. I couldn't believe what I was hearing, then the unison line hit, chaos broke out, and through it, rose Ronnie Cuber, ripping some of the tastiest lines that will ever occur. What's not to love? Following this, the trombone solo? Perfect! The recap? Perfect! The ending? WITH A SLIDE WHISTLE? PERFECT!

Now, while probably the most impactful piece to my playing to date, Moanin' is only the surface of what Mingus had to offer. Infact, it was written as a response to all the "bitchin' and moanin'" from the critics about his tune, Haitian Fight Song, which was slandered for "Not Swinging hard enough". Now Listen to it, and tell me that it doesn't swing...

Haitian fight song slaps. There is no other way to describe it. The opening bass solo is just bluesy in a way only a bassist could capture. The song form is simple, its just an 8 bar cannon with a sexy bassline under it, where the melody is interlayed so that both halves are being played at the same time. Not very interesting on paper, but by godd does it work well. True to the Mingus way, the heavy use of group improvisation makes this simple concept into a thick arrangement of sound that builds and builds, until the explosion of Alex Foster on the soprano with just the slickest solo, one filled with blues and language topped with the sweetest soprano tone, bridging the warmth of the old cats and the power of the new cats. The pacing of this recording is also just perfect, building to new heights of sound and chaos, before dropping to just the bass line alone and rebuilding. And it does this Twice! No other group could do the same idea twice and have it be fully unexpected both time.

Now I could talk for days about Haitian Fight Song, but it's time to move to something with a bit more substance...

Black Saint and the Sinner Lady takes everything great about all 3 of the above tunes, the openness of God Bless the Child, the timbre of Moanin, the intensity of Haitian fight song. Add in several phenomenal cadenzas by the Pianist, drummer, and lead trombone, and you have a perfect storm for what could be the best piece Mingus had ever written. Thats BEFORE referencing about the deep historical and personal context of this piece, its abstract commentary on ethnicity and religion through the cultural referencing to Latin and Spanish sections, the heavily gospel inspired moments through the frequent 12/8 feel over slow form blues, the portrayal of the pain of racial injustice through a section I can only really describe as the "Whomp" section, with the dirtiest baritone saxophone line I have ever heard supporting the bluesiest trombone solo to ever have been recorded. This piece is, in my opinion, the peak of what music can be. A four movement, over 40 minute piece that encapsulates Mingus's life so vividly without a single word being spoken.

Children's Hour of Dream. What can I say about this?

This piece leaves me speechless every time I hear it. An orchestral piece for a Big Band, with some of the darkest harmony, most powerful lines, inspired by the great Charlie Parker playing over Stravinsky's Rite of Spring. The depth of a piece like this, portraying pain like no other. Dark, Brooding, Heavy? Can any of those words actually be enough to be used to talk about this piece?

[ausetkmt]

He first gained wide recognition for his work with John Coltrane. He went on to a fertile, prolific career, releasing dozens of albums as a leader.

The saxophonist Pharoah Sanders in performance in Brooklyn in 2015.Credit...Sam Polcer for The New York Times

Published Sept. 24, 2022Updated Sept. 25, 2022

Pharoah Sanders, a saxophonist and composer celebrated for music that was at once spiritual and visceral, purposeful and ecstatic, died on Saturday in Los Angeles. He was 81.

His death was announced in a statement by Luaka Bop, the company for which he had made his most recent album, “Promises.” The statement did not specify the cause.

The sound Mr. Sanders drew from his tenor saxophone was a force of nature: burly, throbbing and encompassing, steeped in deep blues and drawing on extended techniques to create shrieking harmonics and imposing multiphonics. He could sound fierce or anguished; he could also sound kindly and welcoming.

He first gained wide recognition as a member of John Coltrane’s groups from 1965 to 1967. He then went on to a fertile, prolific career, with dozens of albums and decades of performances.

Mr. Sanders played free jazz, jazz standards, upbeat Caribbean-tinged tunes and African- and Indian-rooted incantations such as “The Creator Has a Master Plan,” which opened his 1969 album, “Karma,” a pinnacle of devotional free jazz. He recorded widely as both a leader and a collaborator, working with Alice Coltrane, McCoy Tyner, Randy Weston, Joey DeFrancesco and many others.

Looking back on Mr. Sanders’s career in a 1978 review, Robert Palmer of The New York Times wrote, “His control of multiphonics on the tenor set standards that younger saxophonists are still trying to live up to, and his sound — huge, booming, but capable of great delicacy and restraint — was instantly recognizable.”

Mr. Sanders told The New Yorker in 2020: “I’m always trying to make something that might sound bad sound beautiful in some way. I’m a person who just starts playing anything I want to play, and make it turn out to be maybe some beautiful music.”

Pharoah Sanders was born Farrell Sanders in Little Rock, Ark, on Oct. 13, 1940. His mother was a cook in a school cafeteria; his father worked for the city.

He first played music in church, starting on drums and moving on to clarinet and then saxophone. (Although tenor saxophone was his main instrument, he also performed and recorded frequently on soprano.) He played blues, jazz and R&B at clubs around Little Rock; during the era of segregation, he recalled in 2016, he sometimes had to perform behind a curtain.

In 1959 he moved to Oakland, Calif., where he performed at local clubs. His fellow saxophonist John Handy suggested he move to New York City, where the free-jazz movement was taking shape, and in 1962, he did.

At times in his early New York years he was homeless and lived by selling his blood. But he also found gigs in Greenwich Village, and he worked with some of the leading exponents of free jazz, including Ornette Coleman, Don Cherry and Sun Ra.

It was Sun Ra who persuaded him to change his first name to Pharoah, and for a short time Mr. Sanders was a member of the Sun Ra Arkestra.

Mr. Sanders made his first album as a leader, “Pharoah,” for ESP-Disk in 1964. John Coltrane invited him to sit in with his group, and in 1965 Mr. Sanders became a member, exploring elemental, tumultuous free jazz on seminal albums like “Ascension,” “Om” and “Meditations.”

After Coltrane’s death in 1967, Mr. Sanders went on to record with his widow, the pianist and harpist Alice Coltrane, on albums including “Ptah, the El Daoud” and “Journey in Satchidananda,” both released in 1970.

Mr. Sanders had already begun recording as a leader on the Impulse! label, which had also been Coltrane’s home. The titles of his albums — “Tauhid” in 1967, “Karma” in 1969 — made clear his interest in Islamic and Buddhist thought.

His music was expansive and open-ended, concentrating on immersive group interaction rather than solos, and incorporating African percussion and flutes. In the liner notes to “Karma,” the poet, playwright and activist Amiri Baraka wrote, “Pharoah has become one long song.” The 32-minute “The Creator Has a Master Plan” moves between pastoral ease — with a rolling two-chord vamp and a reassuring message sung by Leon Thomas — and squalling, frenetic outbursts, but portions of it found FM radio airplay beyond jazz stations.

During the 1970s and ’80s, Mr. Sanders’s music moved from album-length excursions like the kinetic 1971 “Black Unity” toward shorter compositions, reconnections with jazz standards and new renditions of Coltrane compositions. (He shared a Grammy Award for his work with the pianist McCoy Tyner on the 1987 album “Blues for Coltrane.”) His recordings grew less turbulent and more contemplative. On the 1977 album “Love Will Find a Way,” he tried pop-jazz and R&B, sharing ballads with the singer Phyllis Hyman. He returned to more mainstream jazz with his albums for Theresa Records in the 1980s.

But his explorations were not over. In live performances, he might still bear down on one song for an entire set and make his instrument blare and cry out. During the 1990s and early 2000s he made albums with the innovative producer Bill Laswell. He reunited with the blistering electric guitarist Sonny Sharrock — who had been a Sanders sideman — on the 1991 album “Ask the Ages,” and he collaborated with the Moroccan Gnawa musician Maleem Mahmoud Ghania on “The Trance of Seven Colors” in 1994.

Information on Mr. Sanders's survivors was not immediately available.

Mr. Sanders had difficult relationships with record labels, and he spent nearly two decades without recording as a leader. Yet he continued to perform, and his occasional recorded appearances — including his wraithlike presence on “Promises,” his 2021 collaboration with the London Symphony Orchestra and Sam Shepherd, the electronic musician known as Floating Points — were widely applauded.

Reviewing “Promises” for The Times, Giovanni Russonello noted that Mr. Sanders’s “glistening and peaceful sound” was “deployed mindfully throughout the album,” adding, “He shows little of the throttling power that used to come bursting so naturally from his horn, but every note seems carefully selected — not only to state his own case, but to funnel the soundscape around him into a precise, single-note line.”

In 2016 Mr. Sanders was named a Jazz Master, the highest honor for a jazz musician in the United States, by the National Endowment for the Arts.

In a video made in recognition of his award, the saxophonist Kamasi Washington said, “It’s like taking fried chicken and gravy to space and having a picnic on the moon, listening to Pharoah.” The saxophonist Lakecia Benjamin said, “It’s like he’s playing pure light at you. It’s way beyond the language. It’s way beyond the emotion.”