Consisting mainly of Pharoah Sanders’ most famous song, “The Creator Has a Master Plan,” Karma is the most widely known of the tenor sax giant’s Impulse! albums spanning 1966 to 1973. The song, co-written with vocalist Leon Thomas, is by turns meditative and declamatory, with a long, cyclical form that starts out of tempo, eases into a steady groove (loosely based on the “Ack...(展开全部) Consisting mainly of Pharoah Sanders’ most famous song, “The Creator Has a Master Plan,” Karma is the most widely known of the tenor sax giant’s Impulse! albums spanning 1966 to 1973. The song, co-written with vocalist Leon Thomas, is by turns meditative and declamatory, with a long, cyclical form that starts out of tempo, eases into a steady groove (loosely based on the “Acknowledgement” motif from John Coltrane’s A Love Supreme), states a main melody and several countermelodies, bursts into a joyous double-time romp, then repeats the whole process. As a nearly album-length piece, it merits consideration alongside Ornette Coleman’s Free Jazz and Coltrane’s Ascension (the latter featuring Sanders). “Colors,” another Sanders-Thomas song, rounds out Karma much more concisely, in a floating and ethereal vein that recalls Coltrane pieces such as “Dear Lord” and “After the Rain.” Karma is pure psychedelic soul, a glorious convergence of Black Power and Flower Power. Its accessible groove is arguably related to some of the work appearing contemporaneously on Creed Taylor’s CTI label, though much harder-edged. Remarkably, Karma was recorded almost the exact same day as In a Silent Way by Miles Davis, and thus was truly a sign of changing times. Featuring James Spaulding on flute, Julius Watkins on French horn, and Nat Bettis on percussion, it’s also a key example of Sanders using expanded instrumentation and textures. Pianist Lonnie Liston Smith, drummer Billy Hart, and bassists Reggie Workman and Richard Davis complete the lineup, with Ron Carter and Freddie Waits substituting as the rhythm section on “Colors.”
13 有用 xhua 2011-07-19 22:54:55
剛剛江邊一圈來回3Km,iPod里法老30多分鐘的一首The Creator Has A Master Plan相伴,頭腦中仿佛在經歷另一次旅行,前面的2/3其實很迷幻優美,後面1/3法老終于開始發力,排山倒海搬的高潮聲中我也完成了衝刺。大汗淋灕,爽。。。
7 有用 Dr. Tardis 2008-05-05 23:51:31
这个老苦逼 其实也有甜的时候 多彩 流动的时候
3 有用 Don't ask why 2022-12-30 17:09:14 湖北
超级超级仙乐我的天……这张做的东西于我而言已经超越了所谓“爵士”本身的范畴。法老跟他的乐队早就洞察到“把一个好段落loop个几百遍就能让人沉浸”的这种道理了。。。Track 1只用两个和弦就把人吹上天,虽然被称作“spiritual”的典范,但本质上是不是也为了营造一种“氛围”呢?而在1969这个效果器跟录音手段仍不算非常发达的年代,法老仅用萨克斯本身的威力,就让人一步步飞升……虽然音乐的织体部分... 超级超级仙乐我的天……这张做的东西于我而言已经超越了所谓“爵士”本身的范畴。法老跟他的乐队早就洞察到“把一个好段落loop个几百遍就能让人沉浸”的这种道理了。。。Track 1只用两个和弦就把人吹上天,虽然被称作“spiritual”的典范,但本质上是不是也为了营造一种“氛围”呢?而在1969这个效果器跟录音手段仍不算非常发达的年代,法老仅用萨克斯本身的威力,就让人一步步飞升……虽然音乐的织体部分来自于爵士,但毫无疑问这张从爵士迈向了更广的领域中呢。。。就跟Miles从modal jazz的解放慢慢开始转向拥抱电声后说“我做的才不是什么老爵士乐,我做的是给年轻人听的音乐!”一样,法老说“我不知道什么是爵士”,则是从另一种“沉浸”中,忘却了“爵士为何物”。就让音乐一直进行下去就好。 (展开)
1 有用 JOJOORC/Z 2012-07-23 15:19:12
Creator Has a Master Plan真美
16 有用 Humbug 2014-05-07 10:06:19
第一个音符就不行了
0 有用 Ken 2024-12-18 14:11:26 广东
阳光普照
0 有用 Pixie jr. 2025-01-26 03:49:43 安徽
10 前段未经修饰的自然主义田园气息与东方根源的精神确实能让人陷入沉沦。中段则开始迈向更为形而上的精神领域,尤其是在人声与铜管音色交替中所迸发的“嘶吼”,恰恰是本专辑的精髓所在。那种歇斯底里的冲击,仿佛将你从禅意的怀抱中猛然抽离出来,让你直面现实的痛苦与混乱。你感到失望、质疑、困惑,但却依然没有放弃希望。 正如你所料,在经历了这一切的颠覆后,乐曲重新进入禅意的境界,仿佛是一条缺水的鱼突然遇见了水。... 10 前段未经修饰的自然主义田园气息与东方根源的精神确实能让人陷入沉沦。中段则开始迈向更为形而上的精神领域,尤其是在人声与铜管音色交替中所迸发的“嘶吼”,恰恰是本专辑的精髓所在。那种歇斯底里的冲击,仿佛将你从禅意的怀抱中猛然抽离出来,让你直面现实的痛苦与混乱。你感到失望、质疑、困惑,但却依然没有放弃希望。 正如你所料,在经历了这一切的颠覆后,乐曲重新进入禅意的境界,仿佛是一条缺水的鱼突然遇见了水。在这一瞬间,你仿佛又陷了进去,禅意、精神、现实与幻境的边界变得模糊不清,主体性被彻底压制。此时,法老桑德斯霸道的艺术魅力才真正展现了出来——直到《Colors》的出现。那一刻,仿佛毒药找到了对抗的解药,整个“精神”之旅也因此画上了圆满的句号,让你惊叹实在是妙不可言。 (展开)
0 有用 desmonte 2024-12-19 13:46:20 广东
A+
0 有用 gingababa.saru 2025-01-29 09:14:57 美国
好厲害!在一個音樂博主那裡種草的蛇年音樂,的確有一種蜿蜒前行的瘋癲感…
0 有用 kusuriii 2024-12-17 16:45:39 上海
竟然没标过法老,my bad 入坑第一张