Spiritual Urgency in the New Cosmos
Pharoah Sanders reaches toward something transcendent through sheer force of feeling and sound.
Tauhid arrived when Pharoah Sanders had already proven himself as John Coltrane's most fearless collaborator, but this solo outing showed he wasn't interested in following anyone else's map. The album is direct and uncompromising—Sanders' tenor saxophone burns with an intensity that can feel almost overwhelming, especially on the title track and "Astral Traveling," where he pushes the instrument to its absolute limits. This isn't pretty playing. It's urgent, sometimes raw, occasionally harsh in a way that makes you sit up and pay attention. Pianist Jackson and bassist Reggie Workman anchor things, but the album really belongs to Sanders' vision: spiritual jazz that doesn't apologize for being difficult.
What makes Tauhid different from the Coltrane records is the specificity of Sanders' voice. Where Coltrane was searching in multiple directions at once, Sanders here feels laser-focused on one thing—an almost transcendent spiritual expression pushed through an increasingly uncompromising saxophone tone. The sound is dense and sometimes claustrophobic, especially compared to the more spacious approach he'd take later. Tracks like "Red, Black and Green" have a political weight alongside the spiritual one, grounding the album in something concrete even as it reaches for the celestial.
This isn't an easy entry point into Sanders' music. If you want something more accessible, try Karma (1969), which has similar spiritual goals but with more breathing room. But if you're already deep into free jazz and spiritual searching, Tauhid is essential—it's the sound of an artist at a genuine crossroads, deciding who he was going to be on his own terms. The album still demands something from the listener, which is exactly what makes it worth your time.
Who's playing
Henry Grimesbass
Dave Burrellpiano
Sonny Sharrockguitar
Pharoah Sanderssaxophone
Roger Blankdrums
Nat Bettispercussion
