PHAROAH SANDERS - TAUHID - IMPULSE A-9138 - NM-/VG++

$

39

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Dear friends, the records available in this auction are from my personal collection built over forty years of collecting. adesso! my ebay nickname, means now, right now, immediately, instantly, at this moment. Our life is made up of moments, scanned by time. Second after second, minute after minute, hour after hour, day after day, year after year. My life has been characterized by many things and one of the most important was the music and of course the vinyl. I started collecting vinyl since I was 10 years old. And I sold my first record when I was 14 years old. From that time forward the vinyl has always had a place in my days. Just like ... now!

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Please see my other items for some more Jazz/Rock gems.

ALL GRADINGS ARE BASED ON THOROUGH VISUAL INSPECTION. OUR GRADINGS ARE ALWAYS VERY CONSERVATIVE. ALL RECORDS ARE CLEANED WITH Okki Nokki VACUUM USING ITS CLEANING PROFESSIONAL SOLUTION.

PHAROAH SANDERS - TAUHID - IMPULSE A-9138 - NM-/NM-

STEREO printing. Very clean original orange lable.

RECORD: NM-  Original IMPULSE copy (printed in France) with AS 9138 A  /  AS 9138 B engraved in the dead wax. This record is near mint -

COVER: VG++ Original cardboard laminated gatefold jacket. Original stamps in the front. Excepting a very very light and small ring-wear in the rear (check the pict) the jacket is perfect. 

"Conventional wisdom has it that saxophonist Pharoah Sanders' signature, late-1960s astral jazz recording is "The Creator Has A Master Plan" from Karma (Impulse!, 1969). But conventional wisdom is rarely to be trusted. Clocking in at an unhurried and mesmerising 32:45, "Master Plan" is certainly definitive Sanders of the time; yet "Upper Egypt And Lower Egypt," from Sanders' own-name Impulse! debut, Tauhid, recorded in November, 1966, is arguably the finest statement in his astral oeuvre. At a relatively brief 16:16, "Egypt" has all the elements which characterised Sanders' astral excursions—explicit spiritual references, vocal chants, a rolling bass ostinato, "exotic" percussion, out-there but lyrical tenor saxophone, and extended vamp-based collective jamming—and crucially, was played by an edgier and more challenging band, including guitarist Sonny Sharrock and pianist Dave Burrell, than was assembled for Karma. The later album was made by a distinctly more blissed-out line-up, lacking Sharrock, in which the comfort-zone pianist Lonnie Liston Smith and vocalist Leon Thomas figured large. With Tauhid, however, Sanders—at the time a regular member of saxophonist John Coltrane's band and revelling in his first album as leader since the sock-peeling Pharoah's First (ESP Disk, 1964)—was still stretching the envelope. Of all Sanders' Impulse! albums—he stayed with the label until late 1973, when he fell victim to cost-cutting imposed by corporate bosses ABC Records—Tauhid, produced by Bob Thiele, who also produced Karma before quitting Impulse! in the summer of 1969, also has the best sound. "Egypt" takes a long time to get to the point, and therein lies much of its charm. Divided into two distinct sections, "Upper Egypt" and "Lower Egypt," the first part is a long, teasing introduction, always seemingly on the brink of resolving itself and giving way to the main theme, but avoiding doing so for almost 9 minutes. Henry Grimes' propulsive post-"Love Supreme" bass ostinato enters at this point, the tempo picks up and the vamp changes—but it's another 3 minutes before Sanders, previously heard only on piccolo, enters on tenor with the unfolding-sunrise main theme, which he reiterates, reconfigures and improvises around for the final 4 minutes, over a fat piano and percussion groove and Sharrock's raggedly crystalline chord work."Upper Egypt And Lower Egypt" is so perfect that the rest of Tauhid tends to get forgotten, but the four shorter tracks which complete the album, totalling another 18:08, are also magnificent. "Japan," inspired by Sanders' tour of the country with Coltrane's band in the summer of 1966, is as pretty as pink lotus blossom. "Aum" and "Venus," the first with Sanders on alto, are tougher and further out, before the concluding "Capricorn Rising" re-establishes the album's peaceful opening vibe. Over the next few years, Lonnie Liston Smith, already worryingly jazz-funkish on Karma, played a key role on Sanders' albums, which became increasingly codified and formulaic. In retrospect, the first cut was indeed the deepest, and for many devotees Tauhid remains Sanders' astral jazz muthalode, and "Upper Egypt And Lower Egypt" his finest (quarter) hour" 

(EXCERPT FROM AN ONLINE REVIEW BY CHRIS MAY/ALLABOUTJAZZ.COM

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WE OFFER UNCONDITIONAL MONEY-BACK GUARANTEE WITHIN 7 DAYS FROM THE DAY OF THE RECEIPT OF THE MERCHANDISE, NO QUESTIONS ASKED. YOU CAN REQUEST A REFUND FOR ANY REASON WHATSOEVER WITHIN 7 DAYS OF THE RECEIPT.

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(A) Undisclosed crack or fatal warp in the vinyl;

(B) Serious defect in manufacturing or workmanship

(C) Skipping during the playback which we did not notice, disclose or describe beforehand, or: 

(D) Undisclosed thermal (heat or sunlight) damage causing excessive surface noise. 

For the purpose of our refund policy, no other deficiencies will be defined or acceptable as "defects": the scuffs, scratches and abrasions on the CD's or vinyl's surface, if any, are ALWAYS noted and described in our auctions to the best of our ability, and they are NOT considered to be defects.

We do not know how the purchased item will sound when played by the buyer. We can only make reasonable inference on the record's condition based on its visual appearance. The bidders should be cautioned that every bid carries a risk that the purchased item will underperform, or play worse than its visual grade may indicate. In addition, some play-grading standards are utterly subjective: one man's light, tolerable surface noise is another man's unbearable, degrading clatter. 

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