As a result of my housecleaning project (see below), I also came across a bunch of old CD-Rs that I hadn’t touched in a long time. I really haven’t had any use for CDs in the past couple of years, because CDs suck and I have an iPod with a pretty high storage capacity. In fact, I made back-up discs for all my CDs, sold them all, and made about $500. I still have a few CDs that either are on CD-Rs, or I can’t find the case or the insert to them (therefore, I can’t sell them), so I kept them in one of those spindles that CD-Rs come in. Always keeping inventory of my music collection, I decided that I should listen to them again. It wouldn’t hurt to rediscover some old stuff I loved when I was in high school.
Since the age of 15, I have been into jazz. I like Miles Davis a lot, and I worship John Coltrane. I go through phases where I listen to jazz incessantly, from the dissonant grooves of Ornette Coleman, to the whimsical stylings of Thelonious Monk’s Misterioso. I’ve always been drawn to avant-garde jazz (or free jazz), basically where jazz musicians say “fuckall” to conventional structures, and just play what they feel. It’s a generally misunderstood art form, and I even knew some hardcore jazz fans who found Coltrane’s Ascension to be “too out there,” even if they love Charles Mingus. But I get it. A lot of it is pretty genuine, but there are others who are avant-garde and experimental just for the sake of being so (and being able to tell the difference is an accomplishment on its own, a small victory for me).
Kenneth* and I were very into jazz during high school. We would listen to jazz records all the time; we would go to the library to rent jazz CDs, download notable jazz records online, and trade recommendations with one another. I went through a phase where I listened to these jazz records more than I listened to rock. I still would put Coltrane’s A Love Supreme in my personal Top Five records ever.
During my daily paper routes, I usually tune in to the local college radio station (WXCI – WestConn) but I guess after hours, they have a set playlist until regular programming resumes, so the same songs, most of them great, are getting kind of tiresome and repetitive. Regular radio sucks, and I’m too paranoid to leave my iPod in the car when I make deliveries (though, sometimes, I walk with my headphones on, but they get uncomfortable after a while). For the last week, these old CDs I have suffice just fine.
I put on an old jazz record I used to love, but had forgotten about; Karma by Pharoah Sanders. Sanders was a protégé of Coltrane during his experimental, free jazz period, and served as a sideman for him from 1965 until Coltrane died in 1967. I haven’t heard anything except some of his work with Coltrane and the aforementioned Karma LP, so I’m not gonna pretend like I know his entire back catalogue, although I intend to plunge into it headfirst soon. I put it on, and I immediately was transported back to when I was 16 or 17, and hearing it in my room for the first time. The opening notes to “The Creator Has a Master Plan” almost drove me to tears, and I was captivated immediately.
I put that track on repeat, and listened to it 3 times in a row. The track is 32 minutes and 47 seconds long…
That’s right. I spent over an hour and a half listening to the same song only 3 times. Some people do this with your average three or four minute songs. Not me. I do this with extended jazz compositions that grasp at your soul, flare up your heart, and make you feel like you are immortal.
From the opening four notes of Sanders’ wailing saxophone, you know that you’re in for an interstellar journey. The introduction alone is resonant in a way that most music just isn’t. After about two minutes, the main theme to the song begins, and along with a bassline reminiscent of Coltrane’s “Acknowledgement,” a flute, and exotic percussion instruments, Sanders solos for several moments, with not one note out of place, and not one second bordering on the song becoming repetitive or self-indulgent. The vocals finally start around 7:26, provided by the song’s co-author, Leon Thomas, an avant-garde jazz vocalist, and a disciple to Sanders. The lyrics to this song are very simplistic, yet effective, telling of a higher being whose ultimate plan for the universe is eternal grace for everyone.
The lyrics:
The creator has a master plan,
peace and happiness for every man
The creator has a working plan,
peace and happiness for every man
The creator makes but one demand,
happiness through all the land
In the liner notes, there are two additional verses, but Leon Thomas probably forgot to sing them. Oh well.
Then there’s the focal point of the song, which starts around 15:40 (stupid emo kids call it a breakdown, I call it the emotional zenith!). It starts off as a sped-up variation of the main theme of the piece, with Sanders just reaching deep into his soul and exerting these notes that are so primal and so passionate that it seems like his life is dependent on them, and Thomas singing and wailing as if he was experiencing an epiphany or a great deal of joy. And I wish I could be right there with him, getting a contact high on whatever he was feeling. Let’s not forget that the other musicians in that song (James Spaudlin on flute, Lonnie Liston Smith on piano, Richard Davis on bass, Billy Hart on drums, and Nathaniel Bettis on percussion) playing from their souls, and adding as perfect sidemen to Sanders (17:29 – 28:14).
After that, the song basically goes back to its variation, and Leon Thomas reiterating about the creator’s master plan. After the piece finally ends, you feel like you have been given a gift. Not only are you alive, but you live in a world where sound and technology has advanced to the point where seemingly perfect and evanescent moments such as these at your convenience. This may be just me, a cynical atheist who lost his faith in organized religion at the age of 9, but this song makes me feel that maybe there is a god of some sort that wants us all to be happy. The song’s lyrics, probably derived from the teachings of Buddha, are praising a higher deity in its simplest terms, which, in my opinion, is the correct way. If I were to believe in a higher power, I would be a Deist. I would believe in a higher power that created the world and all that, and wants us all to be happy, but does not interfere with your life, much like the Christian God portrayed in the Bible (or as Bill Maher calls it, “The book of Jewish fairy tales.”).
As one critic once wrote, “The Creator Has a Master Plan” is like a sequel to A Love Supreme. It’s not only that, but it’s a testament to Coltrane’s influence, as well as a cathartic tribute. Nickelbackers won’t get it, nor will I expect them to, but for those who look for music that is emotionally charged with joy, and need a break from anger or melancholia, this is one of those rare pieces.
Addendum:
I was on eBay the other day, just browsing, and I searched for records that the auctions on them were soon expiring. Lo and behold, I found Pharoah Sanders’ Karma. The original Impulse! label pressing from 1969 for $10. I placed a bid on it for $15.00, and guess what happened? That’s right. I was five seconds away from winning, and some douchebag OUTBID ME A THE LAST SECOND!!!!! I was so pissed off.
I wept. Like a kid with a broken toy…
Hope’s not lost. I found a few more copies of it on eBay stores, going for around $20. A small price to pay for spirituality you can’t find in your local congregation.