25.4.09
Por falar em Pharoah Sanders, recordo o primeiro que dele ouvi: Live At The East (Impulse!), para aí em 1975. Carcavelos, tarde de sol, casa do Nuno e Suas Irmãs (ele e as três). Live at the East é uma experiência única, disso sabe que o descascou a fundo ao longo dos anos. Um disco assaz indutor de estados expandidos e alterados de consciência, ainda que sem o uso de substâncias exógenas. Três temas: Healing Song (21'46); Lumkili (12'52) e Memories of J. W. Coltrane (8'35). Pharoah Sanders, com Cecil McBee, Stanley Clarke, Lawrence Killian, Norman Connors, William Hart, Carlos Garnett, Joseph Bonner, Harold Vic e Marvin Peterson. Outro momento alto de rememoração exógena e endógena do universo faraónico aconteceu no já distante Cascais Jazz de 1984. Pharoah Sanders com quem? Deixa cá ver... ah, com Kirk Lightsey, piano (que ataque, que mão esquerda...), o contrabaixista David Eubanks, e a bateria de Eddie Gladden. Ah, a nostalgia duma distante e perfeita noite de Verão...
Uma curiosidade relacionada com a feitura do disco: «Regardless of this album’s title, Live At The East is not actually live at the East. The East, a cultural and educational center for people of African descent, was based in Brooklyn and existed from the late ‘60s through to the ‘80s. Pharoah Saunders was very influenced by the center and dedicated one of his Impulse! recordings to it. However, the cost of moving the recording equipment to Brooklyn was prohibitively expensive, so the cheaper option was used and the East audience (or family) were shipped to the studios for the faux-live recording session».
posted by eduardo chagas
@ 25.4.09 Uma curiosidade relacionada com a feitura do disco: «Regardless of this album’s title, Live At The East is not actually live at the East. The East, a cultural and educational center for people of African descent, was based in Brooklyn and existed from the late ‘60s through to the ‘80s. Pharoah Saunders was very influenced by the center and dedicated one of his Impulse! recordings to it. However, the cost of moving the recording equipment to Brooklyn was prohibitively expensive, so the cheaper option was used and the East audience (or family) were shipped to the studios for the faux-live recording session».
