This is another Pharoah Sanders gig that I didn’t get to see, mainly because it was in New York City and I was in London.
There is a New York Times reviewhere accompanied by an excellent photo.
It seems like Pharoah was playing well and I enjoyed this paragraph in particular:-
But this crowd was listening hard and well. At one point, Mr. Booth played a solo that alternated between only two notes. It was an exercise in focused simplicity, and the crowd processed exactly what was good about it: Cheers erupted when he finished. The same went for a single note played by Mr. Sanders toward the end: not particularly long or showstopping, but big and strong and decisive, full of overtones. The audience members seemed to understand that it was more than a note; they understood the power of its placement, and the information it contained, and how in a way it represented Mr. Sanders’s whole enterprise.
I remain hopeful that we will get the chance to see Pharoah in the UK later this year.
The latest Polar Bear album has been out for about a month now and it was to have been my contemporary album of the month for April but other demands on my time conspired against reviewing it until now. It’s even more accessible than last year’s In Each And Every One and I have enjoyed listening to it, both at home and on the bus and tube to work, where it has enlivened my trip through London Bridge.
Life, Love and Light Is an invocation which gets things underway. It wouldn’t be out of place on a Pharoah Sanders Impulse set and it is a meditation designed to set up a train of thought and take you somewhere else.
We Feel The Echoes moves things along. I like it but the backing beats feel somehow independent from the the gentle meditative saxophone improvisations. The track has a sense of calm, despite the pacy percussion. It is restorative music offering a chance to slow down your heart rate and let your mind go where it will.
The First Steps has a driving beat underlying it as a horn player contributes a simple phrase.
Of Hi Lands would not be out of place on an ECM album, which probably isn’t surprising as Seb Rochford recently worked on Andy Sheppards ECM debut Surrounded By Sea. The introduction is followed by a sax led, beat driven track which is how I would imagine may be like waking up while on some sort of bespoke safari to a place where unfamiliar sounds surround.
Don’t Let The Feeling Go includes vocals from Hannah Darling and Gar Robertson, while while Shabaka Hutchings makes an appearance on tenor saxophone. The track has a great and relentless bass line which is reminiscent of dub reggae and reminded a second set of ears of a visit to Morocco. You can take a listen courtesy of YouTube:-
To play touch or click on the arrow
Unrelenting, Unconditional is a long meditative track and is definitely in ECM meets Augustus Pablo territory. Once more there is an Eastern feel here, or maybe it is the influence of the high Californian desert where Seb Rochford mixed this album. There’s an enjoyable piece of solo percussion before we have a reprise of the Don’t Let The Feeling Go vocals to close.
So Polar Bear have produced another set which oozes atmosphere. Indeed, when it gets heard by the people who seek out and source engaging yet somehow brooding background music for TV there is likely to be a regular stream of royalty payments.
I hope to catch Polar Bear live in the not too distant future and if I do I’ll tell you about it here at downwithit.info
The band etc: Mark Lockheart (tenor saxophone); Pete Wareham (tenor saxophone); Tom Herbert (bass); Leafcutter John (electronics); Sebastian Rochford (drums). Written and Produced by Sebastian Rochford. Recorded by Sonny at Assault and Battery Studios, London. Artwork: Sanchita Islam. Released on The Laef Label. April 2015. Website: www.polarbearmusic.com