BREATH OF LIFE:
a converation about black music
We bless this week with both a studio and a live version of Pharoah Sanders gracing us with “Let Us go Into The House Of The Lord.” Vocalist Heidi Vogel serenades us with brilliant interpretations of Brazilian music. We close with 15 takes on the gospel classic, “There Is A Balm In Gilead” featuring Donna Weaver, John Blake Jr, Nnenna Freelon, Kamau Daaood, Sunny Sumter, Courtney Bryan, Larry Willis, Mahalia Jackson, Archie Shepp, Rhoda Scott, The Clark Sisters, Karen Clark-Sheard, Soweto Gospel Choir, and Nina Simone.
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This is as close to the dangerous live Pharoah as one is liable to get from any mechanical recording. Amazingly there are no electric instruments, nor even creative use of amplification. It’s drums, percussion, acoustic bass, acoustic piano and Pharoah, although when they are full-out roaring you’ll swear there is some secret instrument juicing up the maelstrom. What it really is, is cats in tune with each other who are willing to use extra-musical elements to effect extraordinary music.
Pianist Lonnie Liston Smith in particular is demonic: his left foot holding down the sustain pedal while his left hand rumbles in the bass clef of the piano producing a tidal wave of sound akin to a stampede of bull elephants, at the same time his right hand is mining sparkling jewels of treble trills that sing and ring in the upper reaches. You can almost see the piano doing the twist as both ends of the keyboard are struck with sledgehammer strength.
When Pharoah enters his first bellowing notes are what other saxophonist might have used for a climax—at that point there is almost nothing left to do but let sounds just gush out and afterwards fall back totally exhausted. Pharoah had played the opening theme with such sensitivity and control that we are completely shocked by his short solo, which is immediately followed by a percussion fusillade that is a second coming matching and reprising the saxophone assault. By now the audience is actively participating, hollering and shouting as though they were an accompanying Pentecostal choir.
A short arco solo from Mr. McBee on bass and Pharoah then re-enters playing with the dignity of a high-bishop, or an immense black swan gliding over a placid lake at sunset. At this point the music is a prayer. For peace, for understanding, guidance and grace. And then, just like Eric said, the sounds are gone…
—Kalamu ya Salaam