Presented by our guest interviewer Ellie May.
Pharoah Sanders once said that sound could be a form of prayer, and Emanuele Cisi seems to move from that same inner place. “Pharoah’s Message” was born from decades of lived devotion to the spiritual lineage of Coltrane and Sanders — a current he has carried since his teens. Now, in the hands of Joe Claussell, the piece expands into a ritual of its own: a long-form, breathing invocation where jazz’s ecstatic core meets the pulse of the dancefloor. This conversation traces the path between those worlds — the memory, the philosophy, and the quiet fire that shaped the message at its centre.
Pharoah’s Message — What was happening in your artistic life when this composition first emerged, and what inner space were you trying to reach with it?
I’ve been deeply influenced and inspired, in my youth, by the so called “spiritual” side of the music of Coltrane and Sanders. In my 60s I feel like expressing through my playing and compositions this special link that brought me right into jazz music when I was still in my teens.
Your piece draws from the modal, mystical lineage of Pharoah Sanders and Coltrane. Spiritual_jazz_influence — How do you personally connect to that tradition, emotionally or philosophically?
When I was 16 years old I listened for the first time to Coltrane’s “My Favorite Things” and that was the trigger. It blew my mind; I could have listened to it for hours and hours. I felt my deepest inner emotion perfectly connected to that sound, that idea of a never ending loop of beauty, yet wild and strong. Since then, the door was opened, and that feeling stuck with me indelibly.
When you wrote “Pharoah’s Message,” did you imagine it ever leaving the jazz realm and entering the club/ritual space?
Not at all, even if I was very conscious that this kind of “mood” in jazz has often been used by producers, electronic musicians, and so on… But I didn’t expect that a well known artist such as Joe Claussell would take care of it.
What made Joe Claussell the right person to reinterpret such a spiritually charged composition?
According to the result… absolutely!
Claussell approached the track almost like a ceremony — do you agree?
Yes, he really caught the meaning of the tune: a never ending wave of beauty and love.
What was your first emotional response when you heard his Sacred Rhythm mixes?
I felt happy that probably many people not pure jazz fans can enjoy my music, especially this one.
His versions expand your piece into long form, breathing suites. Interpretation_vs_original — What did he reveal in the music that surprised you?
That sense of constant energy, which is inside us musicians when we play, but it’s totally addressed to the performance instead of being “offered” to dance.
Where does “Rushin’” sit in your personal journey as a composer and saxophonist?
I feel myself in my artistic maturity. All I need and want to do is play with people who are really compatible with me, with whom I can express my musical ideas. I have my sound — still working on it, though, every day — but I have it clear in my soul, and I go for it.
You’ve released 22 albums as a leader/co leader. What feels different about your creative voice today compared to your early years?
The more you live, the more you can express through your music. It’s simple but true. Also, all your experiences in life make you better understand what is important to say with your horn.
You’ve collaborated with legends from Clark Terry to Branford Marsalis. Which encounters left the deepest imprint on your musical philosophy?
Hard to pick just one… each of these great artists left me something deep, of course. Clark was a real witness of the great jazz tradition, and he was so gracious and generous to me. I will never forget his sense of total honesty and dedication to music.
What drew you to release this project with Right Tempo, a label known for bridging heritage and innovation?
The connection with Rocco Pandiani was very lucky and he gave me the possibility to be myself. I think it’s been a nice astral conjunction.
How do you feel about jazz being reactivated in dancefloor contexts?
It’s a very positive thing, as far as it brings more people to discover music they have never been aware of. Jazz has always been a dance music, at least until the ’40s, when the revolution of Be Bop transformed it into a more “conceptual” form of art. Still, its strong rhythmic nature, coming from Africa, always made it music to be danced, in my opinion.
Do you see performance as a form of ritual?
Absolutely. I intend to tell a story of a trip during my concerts, embracing listeners and embarking them on our journey.
You’ve played extensively across Russia, Mexico, South Africa, the US. How does the spiritual dimension of your music translate across cultures?
I think it’s something that passes everywhere, more than any other element in music. Because it’s something that goes straight to people’s hearts, with no upper structures or intellectual mediation.
After this project, where is your artistic compass pointing?
I would love to be more and more “soulful” in my playing and compositions. That’s my main goal.
Claussell’s mixes bring your message to the dancefloor. What do you think dancers will feel or discover in this new version?
I don’t know, maybe the joy of sounds!
What would you like new listeners — especially those coming from club culture — to understand about the heart of this composition?
I wish they can understand how much energy and joy can be expressed through acoustic music and instruments, and how much this can let you dance all night long!
Release: June 5
Buy Emanuele Cisi – Pharoah’s Message (Joaquin ‘Joe’ Claussell Sacred Mixes) on Right Tempo at Bandcamp
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