Interviews
an interview with Leon Thomas
(Leon Thomas first became known to us through Pharoah Sanders’ album Karma (Impulse). His near-yodel, “the moaning of spirits known and unknown” as it has been called, fascinated both myself and many others. It was like the crying out of the father after the son and a million other everyday occurences; immediately relatable, as real and intense as Sander’s own work.
The influence of Thomas has not gone unnoticed in either jazz or rock circles. Tim Buckley is said to be patterning his new act after Thomas’ vocal style. And Leon is featured on two new albums; his own Spirits Known and Unknown (Flying Dutchman) and Pharoah Sanders’ latest, Jewels of Thought (Impulse). The Pharoah Sanders group, featuring Leon Thomas, is perhaps the first group which has made the New Music relatable for white rock audiences. (Others who might be mentioned in the same context are Miles Davis new group, Tony Williams’ Lifetime and Albert Ayler’s album New Grass).
Definitely a vanguard performer, Thomas discusses here some of the elements which make up what has been variously called everything from The New Music to avante garde jazz to a jazzrock fusion. At any rate, all it really is is a Black man discussing Black Music. That’s enough. -Dave Marsh.)
CREEM: To go back a little bit, the first time I ever remember hearing your name was from (Pharoah Sanders album) Karma. Who were you with before that?
THOMAS: Well, I recorded with Mary Lou Williams and (Count) Basie. I worked with Basie about two years.