2nd Chance: Ronnie Boykins - The Will Come, Is Now (1976)

Ronnie Boykins was one of the first members of Sun Ra’s fledgling Arkestra, joining the band in early 1958 and his innovative yet rock-solid bass playing was a key element in the music’s rapid development up through the mid-1960s (it was also Boykins’s car that carried the band from Chicago to Montreal in 1961 and, thence, to New York City). Boykins had been classmates with John Gilmore and Pat Patrick at Du Sable High School (where he played sousaphone in the band) but he had already established himself as an in-demand bassist prior to joining the Arkestra, having played with such diverse figures as Muddy Waters, Johnny Griffin and Jimmy Witherspoon. In 1966, Boykins left the Arkestra to pursue other opportunities, (notably including work with Rahsaan Roland Kirk) and, as we’ve seen, Sonny had a hard time finding his replacement, opting on many occasions for doing without the bass altogether. Boykins intermittently performed with Arkestra thereafter with his last known appearance being at Hunter College on June 16, 1974 (portions of which were released as Out Beyond The Kingdom Of ). While Prof. Campbell suggests he might been a part of the two-week stand at The “New” Five Spot in June, 1975, he is not present on the bootleg tape which circulates (Campbell & Trent p.220). According to Szwed, growing animosity between Boykins and Ra over money and lack of composer credit for some of the Arkestra’s recordings caused him to quit the band for good sometime during this period (Szwed p.119).
Continue reading at NuVoid's Sun Ra Sundays


Listening to The Will Come, Is Now on my iPod as I type; I can't help but revisit this ESP-Disk' release at least once a month.  Ronnie Boykins' first and only release as a leader has so much replay value and it it leaves me wanting more and more. A bassist that is as versatile to play along with Muddy Waters, Marion Brown, Steve Lacy, Bill Dixon, Sam Rivers, Mary Lou Williams. Rashaan Roland Kirk, at many others, Boykins is mostly famous for his time with the Arkestra. Where we can hear Boykins providing the bass lines for some of the most pivotal Sun Ra LPs.

In an era when Jazz was becoming more and more fusion as well as electric, Boykins rejected the norm and recorded this earthy, acoustic session in 1974. It's very rhythmic, with bass licks that draw from eastern music and polyrhythmic influences from African drumming. Yet his beautiful arco playing on the upright amalgamates classical western sounds with eastern and African influences.

The opening title track exemplifies everything I described in the prior paragraph. However we then make a left turn with the following cut, "Starlight at the Wonder Inn." A buoyant ballad pulling from traditional jazz melodies that even a composer like Strayhorn would write. Although Boykins' technique allows it to be off teetered enough to comprise of its own aesthetic. Fitting perfectly with the rest of the album.

"Demon Dance" is the most Post-Bop in nature, but once the theme is played the whole ensemble wails together as if they were a New Orleans band from the earlier part of the century. It's swinging while offering a change of pace just as the album starts to really grip hold of you.

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by Matthew Ditullo at This Shape of Jazz

Capricorn Moon

Thanks to Rev.b for this great track of Ronnie playing with Marion Brown!

Ronnie Boykins is probably best known for being a member of the Sun Ra Arkestra. During that time, the Arkestra made some of its best recordings and Boykins was an integral part of the equation. He integrated his relationship with Sun Ra to gear the forward movement of the music. In his individual contributions on the bass he gave the instrument an underlying voice in developing the thematic concept through his choice of notes, the use of arco and his chord patterns.

Boykins' ability saw him called up by Marion Brown, Bill Barron, Rahsaan Roland Kirk and Steve Lacy in a long list of collaborations. Challenging music was not his only forté, he moved from free invention into the mainstream with Mary Lou Williams and played the blues with Muddy Waters. Boykins went on to lead the Free Jazz Society and then went into the Melodic Art-Tet. In spite of all his accomplishments, Boykins was modest. When Bernard Stollman asked him to record for ESP in 1964, Boykins said that he was not ready. Eleven years later in 1975, he was.

Boykins' music is the confluence of several streams. He places as much emphasis on composition as he does on improvisation, with the title track profiling the two. Boykins sets up the groove for the Middle Eastern melody, the antithesis for horns which blow asymmetrical lines. It's a constantly shifting vortex, with Joe Ferguson indulging in the melody before the other horns come in to dissect it. The final shift comes from Boykins, whose bow arcs both melody and dissonance while the percussion dances niftily below.

"Demon's Dance" is a wild swinging tune with a generous dollop of New Orleans rhythm, quite mainstream and a delicious romp. Boykins gift for melody is apparent on all the tracks. "The Third I" loosens that grip for an open invitation to percussion and congas. The insistent rhythm is scarped by the bassist, whose arching lines cut deep into the pith. The flute flutters in but the resolution is completed by Boykins, who bares the melody and then wraps it up with the rest of his band.

Boykins made just one record as leader, but it marks his place as an adventurous bassist and a composer with a gift for style and genre. 

All About Jazz review By Jerry D'Souza

The Will Come, Is Now
ESP-Disk CD
ESP 3026 (LP rel. 1976) (CD reiss. 2009)

1. The Will Come, Is Now   12:33
2. Starlight At The Wonder Inn   7:33
3. Demon's Dance   3:21
4. Dawn Is Evening, Afternoon   6:19
5. Tipping On Heels   4:50
6. The Third I   12:26

Personnel: Ronnie Boykins (sousaphone, bass instrument); Joe Ferguson , Jimmy Vass (flute, saxophone); Monty Waters (saxophone); Daoud Haroom (trombone); George Avaloz (congas); Art Lewis (percussion).

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