If you try to track the development of Sun Ra's music on record, you will inevitably run up against numerous difficulties. Both chronologically and stylistically, his oeuvre contains anachronisms, false trails, mistakes and just plain weirdness. Evidence's re-issue package of the two Saturn albums, Angels and Demons at Play/The Nubians of Plutonia represents exactly these problems. Luckily, the detailed liner notes shed light on the confusing chronology while simultaneously informing listeners that what we are hearing is a band in the process of transforming itself. However, after a few listens to this release's strange melting pot of music, the latter observation becomes clear on its own.
But to merely say that the Arkestra was 'in transition' belies the fact that all of Ra's creative phases generate interest on their own merits. When the music sounds as focused and disciplined as Ra's usually does, it becomes difficult to label it merely 'experimental' or 'transitional.' Listen, for example, to "Between Two Worlds and you will hear the Arkestra playing in a concise, understated style that sounds confident and fully developed. Elements, however, of their future style do present themselves: the interlocking pulse of percussion and bass, the prevalent use of Boykins' arco bass, and the integration of melody instruments into the rhythm. Here the title of the tune means not transition from one place to another, but depicts a place in and of itself.
In a way, almost any Ra composition contains a piece of past, present and future. "Music from the World Tomorrow and "Angels and Demons at Play predict the Arkestra's deeper ventures into sound textures, with Phil Cohran's zither forecasting albums like Strange Strings. Even the earliest recorded pieces on the album, which ostensibly resemble more traditional big band tunes (big and brassy charts, walking bass), offer tastes of Ra's tomorrow. They show Ra beginning to utilize, however modestly, electronic keyboards, soon to become an integral part of his musical palette; in addition, Wilbur Green plays only electric bass, an instrument not used in jazz in 1956.
The Nubians of Plutonia sides, coming chronologically between the other two groups of tunes, evidence an Arkestra moving into ever looser, more abstract ground. The percussion becomes more varied and moves ever closer to the foreground. "The Golden Lady seduces with a swaying groove created by a combination of simple parts: hi-hat, cow bell, wood blocks, rolling floor toms and bass. Ra then sets up a dark melodic theme, and then the Arkestra proceeds to weave a series of jaunty, blues-tinged solos into the fabric of the groove.
"Nubia , "Africa and "Aiethopia continue this excursion into more mystical, rhythm-based territory. The Arkestra utilizes the same ominous, simmering percussion beds, now augmented by more exotic instruments like Pat Patrick's 'space lute,' which gives a playfully sinister sound to "Africa .
This two-album package presents a stunning cross-section of the Arkestra's ever-developing style, and highlights the strengths of Evidence's Ra re-issue series. You can hear the Arkestra being dark and mysterious at times, or playful and humorous at others. This powerful, multi-faceted music is a great place to start if you are just beginning to travel with Sun Ra, or a great way to continue the journey.
All About Jazz Review by Matthew Wuethrich
But to merely say that the Arkestra was 'in transition' belies the fact that all of Ra's creative phases generate interest on their own merits. When the music sounds as focused and disciplined as Ra's usually does, it becomes difficult to label it merely 'experimental' or 'transitional.' Listen, for example, to "Between Two Worlds and you will hear the Arkestra playing in a concise, understated style that sounds confident and fully developed. Elements, however, of their future style do present themselves: the interlocking pulse of percussion and bass, the prevalent use of Boykins' arco bass, and the integration of melody instruments into the rhythm. Here the title of the tune means not transition from one place to another, but depicts a place in and of itself.
In a way, almost any Ra composition contains a piece of past, present and future. "Music from the World Tomorrow and "Angels and Demons at Play predict the Arkestra's deeper ventures into sound textures, with Phil Cohran's zither forecasting albums like Strange Strings. Even the earliest recorded pieces on the album, which ostensibly resemble more traditional big band tunes (big and brassy charts, walking bass), offer tastes of Ra's tomorrow. They show Ra beginning to utilize, however modestly, electronic keyboards, soon to become an integral part of his musical palette; in addition, Wilbur Green plays only electric bass, an instrument not used in jazz in 1956.
The Nubians of Plutonia sides, coming chronologically between the other two groups of tunes, evidence an Arkestra moving into ever looser, more abstract ground. The percussion becomes more varied and moves ever closer to the foreground. "The Golden Lady seduces with a swaying groove created by a combination of simple parts: hi-hat, cow bell, wood blocks, rolling floor toms and bass. Ra then sets up a dark melodic theme, and then the Arkestra proceeds to weave a series of jaunty, blues-tinged solos into the fabric of the groove.
"Nubia , "Africa and "Aiethopia continue this excursion into more mystical, rhythm-based territory. The Arkestra utilizes the same ominous, simmering percussion beds, now augmented by more exotic instruments like Pat Patrick's 'space lute,' which gives a playfully sinister sound to "Africa .
This two-album package presents a stunning cross-section of the Arkestra's ever-developing style, and highlights the strengths of Evidence's Ra re-issue series. You can hear the Arkestra being dark and mysterious at times, or playful and humorous at others. This powerful, multi-faceted music is a great place to start if you are just beginning to travel with Sun Ra, or a great way to continue the journey.
All About Jazz Review by Matthew Wuethrich
Sun Ra ambles between vigorous hard bop, ambitious, adventurous free jazz, and African and Afro-Latin material on the 15 selections featured on this set of '50s and early '60s tracks. The first half was recorded in 1956 and 1960 and includes originals from Ronnie Boykins and Julian Priester, plus futuristic organ from Ra on "Music From the World Tomorrow" and hard-blowing solos from John Gilmore and Marshall Allen. The second half consists of rehearsal tapes from 1960 with The Arkestra steadily progressing and moving beyond conventional jazz modes into multiple rhythms, chants, and twisting, roaring arrangements spiced by vividly expressive solos. Plus, like every other disc in the series, it is superbly remastered.
AMG Review by Ron Wynn
Sun Ra's Angels & Demons at Play is a diptych created by merging two recording sessions. The first is a laid-back introspective affair ("angels?") recorded in 1960. Even frolicsome, these bouncy melodies follow the percolating rhythms with a gently leading reed, as Marshall Allen exemplifies on flute in "Tiny Pyramids." Also dating from before the truly experimental Sun Ra period, the last three tracks were recorded at RCA Studios in Chicago in 1956. Still very accessible, here several horns, among them reaching trumpets ("demons?"), trade briskly back and forth in solid and lively big band arrangements.
AMG Review by Tom Schulte
AMG Review by Tom Schulte
29. [16] Le Sun-Ra and his Arkistra
Angels and Demons at Play
Sun Ra (Wurlitzer ep -1, p); Art Hoyle (tp); Julian Priester (tb); John Gilmore (ts); Laurdine "Pat" Patrick (bars); Wilburn Green (eb); Robert Barry (d); Jim Herndon (tymp -1).
G7OW-5258 Medicine for a Nightmare (Ra) -1 Saturn Z222A
G7OW-5261 Urnack (Priester) Saturn Z222B
Saturn Z222 was a 45-rpm single with black print on gold and the Saturn logo in block letters across the top (information courtesy of Glenn Jones; see the cover of this volume). It is sometimes said that it was the Arkestra's first release; in any event it was issued in 1956. Sun Ra maintained that there was an "equation of sound-similarity" between "kest" and "kist," but in later years he did not respell the name of the Arkestra in this fashion.
These same tracks reappeared in 1965 on Side B of Saturn SR 9956-2-O/P, Angels and Demons at Play. In 1967 it was given the catalog number 407. All titles from this LP were reissued on Impulse AS 9245 in 1974 and on Evidence 22066 [CD] in 1993. "Medicine for a Nightmare" was reissued in 1997 on a Japanese Sun Ra sampler, Sun Ra Came Down to the Earth on Paddle Wheel KICJ 315. Personnel from the Impulse release, except that Impulse lists Victor Sproles on bass, who is not present; Art Hoyle was in the Arkestra from Christmas 1955 till around the end of 1956.
30. [17] Le Sun-Ra and his Arkistra
Angels and Demons at Play /
The Singles
Sun Ra (Wurlitzer ep -1, p); Art Hoyle (tp); Julian Priester (tb); John Gilmore (ts); Pat Patrick (bars); Wilburn Green (eb); Robert Barry (d); Jim Herndon (tymp -1).
"A Call for All Demons" and "Demon's Lullaby" were first issued in 1956 on a 45 rpm Saturn single. Raben's discography, a 1961 Saturn press release that lists these two tracks as appearing on singles, and Art Hoyle's recollections all support this. Julian Priester also believes that "Call" appeared on a single. No pressings of the single have yet been located, however. Both tracks later appeared on side B of Saturn SR 9956-2-O/P, Angels and Demons at Play. In 1967 it was given the catalog number 407.
According to Alton Abraham, "Saturn" was released on one of the first Saturn singles; this version (the earliest known recording of the piece, and one that was not used on any Saturn LPs) was found during research on the master tapes of the Saturn singles. "Supersonic Jazz" was found at the same time. It is similar to "Super Blonde": both are blues with the same opening riff and virtually identical solo lineups; however, in "Supersonic Jazz" the central ensemble passage is replaced with a tympani break by Jim Herndon. A pressing of this single still needs to be located. Both tracks were reissued in September 1996 on The Singles, Evidence 22164 [a 2-CD set]. "Saturn" is also on Sun Ra Came Down to the Earth, a Japanese sampler, derived from Evidence releases, which appeared in 1997 on Paddle Wheel KICJ 315.
54. [39] Sun Ra and his Myth Science Arkestra
Lady with the Golden Stockings
(The Nubians of Plutonia)
Sun Ra (p.); Lucious Randolph (tp); Nate Pryor (tb); James Spaulding (as solo); Marshall Allen (as); John Gilmore (ts); Pat Patrick (bs solo); Charles Davis (bars); Ronnie Boykins (b); Robert Barry (d); Jim Herndon (timb, perc).
Initially released (in a generic Tonal View of Times Tomorrow cover) by Saturn in 1966 as SR 9956-11E/F, Lady with the Golden Stockings. In 1967 this album was given the catalog number 406; by the end of 1967 (according to Vein), it was retitled The Nubians of Plutonia, and by 1969 given a new cover by Richard Pedreguera. Subsequent reissues (on Impulse AS-9242 in 1974 and Evidence 22066 [CD] in 1993) have used the later title. Personnel from the 1969 Saturn and Impulse issues. Charles Davis left the Arkestra some months before going on the road with Dinah Washington's band; by 1959 he was in New York. Lucious Randolph confirms his presence on this cut.
57. [41] Sun Ra and his Myth Science Arkestra
Lady with the Golden Stockings
(The Nubians of Plutonia)
Sun Ra (p, Wurlitzer ep); Lucious Randolph (tp); Marshall Allen (as); John Gilmore (ts); Pat Patrick (bars); Ronnie Boykins (b); Robert Barry (d).
Lucious Randolph is not sure whether he was present here, but Phil Cohran (the other trumpeter credited by Saturn and Impulse) was not in the band at this time.
58. [42] Sun Ra (Wurlitzer ep); Lucious Randolph (tp); Marshall Allen (fl, perc); James Spaulding (as, perc); John Gilmore (ts, perc); Ronnie Boykins (b); Robert Barry (perc); Jim Herndon (perc); prob. Pat Patrick (bgo).
Retitled "The Golden Lady" on the jacket (but not the label) of the later Saturn releases and on Evidence 22066 [CD]. The Saturn label (but not the jacket) refers to the band as "Sun Ra and his Solar Arkestra."
59. [43] Sun Ra (Wurlitzer ep, bells); Ronnie Boykins (b); Robert Barry (d); Jim Herndon (cga, tymp, timb, perc); John Gilmore (Nigerian bells).
60. [44] Sun Ra (Wurlitzer ep); Nate Pryor (tb); Marshall Allen (fl); James Spaulding (as, poss. voc); poss. Charles Davis (bars); Pat Patrick (spae lute, voc); Ronnie Boykins (b, voc); Robert Barry (d, perc, voc); Jim Herndon (timb, perc); John Gilmore (voc).
This listing has been somewhat revised from the first edition of the discography. Careful listening to the CD release, with its superior sonics, reveals that the baritone sax and the space lute are being played simultaneously (for instance, at the beginning of the track). The baritone work is rather "outside" for Charles Davis; it could be that Patrick played baritone sax and another Arkestran was entrusted with the space lute (which is prominent in the arrangement). Also, Spaulding's alto sax can be heard in the background near the end of the piece. Meanwhile, Marshall Allen's flute work is too continuous for him to be contributing to the vocal ensemble.
The vocal ensemble is clearly an arranged one for (most likely four) males singing and humming wordlessly. John Gilmore is almost certainly among them (and, contrary to what was said in the first edition, his tenor sax is not audible anywhere in this piece). The other vocal identifications are guesses. Although the arrangement is more complicated than those of "space chants" like "Interplanetary Music," the vocal group is definitely not the Cosmic Rays, and it doesn't sound much like the Five Joys minus Juanita Rogers. When Sun Ra copyrighted "Africa" in October 1960, it had lyrics (the same ones used on the December 31, 1980, concert in Detroit).
61. [45] Sun Ra (p.); William Fielder (tp); Marshall Allen (as); John Gilmore (ts); Ronnie Boykins (b); Robert Barry (d, perc); prob. Jim Herndon (perc); prob. Pat Patrick (perc).
The trumpet player is clearly not Hobart Dotson, and Lucious Randolph, Phil Cohran, and Everett Turner do not remember playing this piece. Bill Fielder does remember playing it. Tommy Hunter and Richard Wilkinson claim that "Watusi" was written by Ronnie Boykins. Research at the Library of Congress has revealed that "Watusi" (which Sun Ra got around to copyrighting in 1967) was composed by André Pitts and Terri Vanne Sherrill (perhaps a dance team?) and arranged by Sun Ra. Its name was changed to "Watusa" on its first Saturn release, and it was incorrectly attributed to Ra thereafter.
62. [46] Sun Ra (p.); Lucious Randolph (tp); Nate Pryor (tb); Marshall Allen (as, fl); John Gilmore (ts, bells); Pat Patrick (bars, bells); Robert Barry (d); Jim Herndon (timb, perc); unidentified (tambourine).
Lucious Randolph recalls recording this piece in a club with bad acoustics; "The mike was on the other end." On the Saturn label this title is recast as "A Ie Tho Pia."
69. [54] Sun Ra and his Myth Science Arkestra
Angels and Demons at Play
Sun Ra (cosmic tone org); Ronnie Boykins (b); Phil Cohran (violin-uke); Jon Hardy (d).
All tracks with Phil Cohran's violin-uke must date from 1960; he purchased the instrument on January 22 of that year. Cohran identified Hardy as the drummer on this track. First issued in 1965 on side A of Saturn SR 9956-2-O/P, Angels and Demons at Play.
71. [56] Sun Ra and his Myth Science Arkestra
Angels and Demons at Play
Sun Ra (p.); poss. Bo Bailey (tb); John Gilmore (ts); Marshall Allen (as); Ronnie Boykins (b); poss. Robert Barry (d); unidentified (wood blocks).
The trombonist is definitely not Nate Pryor; Ra used Bo Bailey or Eddie King when Pryor wasn't available. Ra also used John Avant on rare occasions, though it is not known if he was still doing so at this time. Dick Griffin has said that he played with Sun Ra in 1961, but this track may be too early for him. It was first issued in 1965 on side A of Saturn SR 9956-2-O/P, Angels and Demons at Play.
72. [61] Sun Ra and his Myth Science Arkestra
Fate in a Pleasant Mood /
Holiday for Soul Dance /
Angels and Demons at Play /
We Travel the Spaceways /
Rocket Number Nine Take Off for the Planet Venus
(Interstellar Low Ways) /
The Singles
Sun Ra (bells, perc, gong -1, p -2); Phil Cohran (violin-uke -3, ctn -4, perc, voc); Nate Pryor (tb, bells -5); John Gilmore (cl -7, perc, voc); Marshall Allen (fl -9, bells, voc); Ronnie Boykins (b, voc); John Hardy (d, perc, gong).
(+ many more not included on Angels and Demons at Play)
Saturn LP 9956-2-O/P, Angels and Demons at Play, was released in 1965 and given the catalog number 407 in 1967; these two tracks appeared on Side A. Ronnie Boykins claimed "Tiny Pyramids," and Gilmore also ascribes "Angels and Demons at Play" to him. In fact, James Wolf has discovered that Boykins copyrighted "Tiny Pyramids" on June 27, 1960. And Sun Ra copyrighted "Angels and Demons" (music by Boykins and Allen, words [!] by Sun Ra) in 1967.
from The Earthly Recordings 2nd ed. Campbell/Trent
Angels and Demons at Play
Sun Ra (Wurlitzer ep -1, p); Art Hoyle (tp); Julian Priester (tb); John Gilmore (ts); Laurdine "Pat" Patrick (bars); Wilburn Green (eb); Robert Barry (d); Jim Herndon (tymp -1).
RCA Studios, Chicago,
around February 1956
around February 1956
G7OW-5258 Medicine for a Nightmare (Ra) -1 Saturn Z222A
G7OW-5261 Urnack (Priester) Saturn Z222B
Saturn Z222 was a 45-rpm single with black print on gold and the Saturn logo in block letters across the top (information courtesy of Glenn Jones; see the cover of this volume). It is sometimes said that it was the Arkestra's first release; in any event it was issued in 1956. Sun Ra maintained that there was an "equation of sound-similarity" between "kest" and "kist," but in later years he did not respell the name of the Arkestra in this fashion.
These same tracks reappeared in 1965 on Side B of Saturn SR 9956-2-O/P, Angels and Demons at Play. In 1967 it was given the catalog number 407. All titles from this LP were reissued on Impulse AS 9245 in 1974 and on Evidence 22066 [CD] in 1993. "Medicine for a Nightmare" was reissued in 1997 on a Japanese Sun Ra sampler, Sun Ra Came Down to the Earth on Paddle Wheel KICJ 315. Personnel from the Impulse release, except that Impulse lists Victor Sproles on bass, who is not present; Art Hoyle was in the Arkestra from Christmas 1955 till around the end of 1956.
30. [17] Le Sun-Ra and his Arkistra
Angels and Demons at Play /
The Singles
Sun Ra (Wurlitzer ep -1, p); Art Hoyle (tp); Julian Priester (tb); John Gilmore (ts); Pat Patrick (bars); Wilburn Green (eb); Robert Barry (d); Jim Herndon (tymp -1).
RCA Studios, Chicago,
around February 1956
around February 1956
A Call for All Demons (Ra) -1
Demon's Lullaby (Ra)
Saturn (Ra)
Supersonic Jazz (Ra) -1
"A Call for All Demons" and "Demon's Lullaby" were first issued in 1956 on a 45 rpm Saturn single. Raben's discography, a 1961 Saturn press release that lists these two tracks as appearing on singles, and Art Hoyle's recollections all support this. Julian Priester also believes that "Call" appeared on a single. No pressings of the single have yet been located, however. Both tracks later appeared on side B of Saturn SR 9956-2-O/P, Angels and Demons at Play. In 1967 it was given the catalog number 407.
According to Alton Abraham, "Saturn" was released on one of the first Saturn singles; this version (the earliest known recording of the piece, and one that was not used on any Saturn LPs) was found during research on the master tapes of the Saturn singles. "Supersonic Jazz" was found at the same time. It is similar to "Super Blonde": both are blues with the same opening riff and virtually identical solo lineups; however, in "Supersonic Jazz" the central ensemble passage is replaced with a tympani break by Jim Herndon. A pressing of this single still needs to be located. Both tracks were reissued in September 1996 on The Singles, Evidence 22164 [a 2-CD set]. "Saturn" is also on Sun Ra Came Down to the Earth, a Japanese sampler, derived from Evidence releases, which appeared in 1997 on Paddle Wheel KICJ 315.
54. [39] Sun Ra and his Myth Science Arkestra
Lady with the Golden Stockings
(The Nubians of Plutonia)
Sun Ra (p.); Lucious Randolph (tp); Nate Pryor (tb); James Spaulding (as solo); Marshall Allen (as); John Gilmore (ts); Pat Patrick (bs solo); Charles Davis (bars); Ronnie Boykins (b); Robert Barry (d); Jim Herndon (timb, perc).
Rehearsal, Chicago, 1958
Star Time (Ra)
Initially released (in a generic Tonal View of Times Tomorrow cover) by Saturn in 1966 as SR 9956-11E/F, Lady with the Golden Stockings. In 1967 this album was given the catalog number 406; by the end of 1967 (according to Vein), it was retitled The Nubians of Plutonia, and by 1969 given a new cover by Richard Pedreguera. Subsequent reissues (on Impulse AS-9242 in 1974 and Evidence 22066 [CD] in 1993) have used the later title. Personnel from the 1969 Saturn and Impulse issues. Charles Davis left the Arkestra some months before going on the road with Dinah Washington's band; by 1959 he was in New York. Lucious Randolph confirms his presence on this cut.
Lady with the Golden Stockings
(The Nubians of Plutonia)
Sun Ra (p, Wurlitzer ep); Lucious Randolph (tp); Marshall Allen (as); John Gilmore (ts); Pat Patrick (bars); Ronnie Boykins (b); Robert Barry (d).
Rehearsal, Chicago, 1958 or 1959
Plutonian Nights (Ra)
Lucious Randolph is not sure whether he was present here, but Phil Cohran (the other trumpeter credited by Saturn and Impulse) was not in the band at this time.
58. [42] Sun Ra (Wurlitzer ep); Lucious Randolph (tp); Marshall Allen (fl, perc); James Spaulding (as, perc); John Gilmore (ts, perc); Ronnie Boykins (b); Robert Barry (perc); Jim Herndon (perc); prob. Pat Patrick (bgo).
Rehearsal, Chicago, 1958 or 1959
(The) Lady with the Golden Stockings (Ra)
Retitled "The Golden Lady" on the jacket (but not the label) of the later Saturn releases and on Evidence 22066 [CD]. The Saturn label (but not the jacket) refers to the band as "Sun Ra and his Solar Arkestra."
59. [43] Sun Ra (Wurlitzer ep, bells); Ronnie Boykins (b); Robert Barry (d); Jim Herndon (cga, tymp, timb, perc); John Gilmore (Nigerian bells).
Rehearsal, Chicago, 1958 or 1959
Nubia (Ra)
60. [44] Sun Ra (Wurlitzer ep); Nate Pryor (tb); Marshall Allen (fl); James Spaulding (as, poss. voc); poss. Charles Davis (bars); Pat Patrick (spae lute, voc); Ronnie Boykins (b, voc); Robert Barry (d, perc, voc); Jim Herndon (timb, perc); John Gilmore (voc).
Rehearsal, Chicago, 1958 or 1959
Africa (Ra)
This listing has been somewhat revised from the first edition of the discography. Careful listening to the CD release, with its superior sonics, reveals that the baritone sax and the space lute are being played simultaneously (for instance, at the beginning of the track). The baritone work is rather "outside" for Charles Davis; it could be that Patrick played baritone sax and another Arkestran was entrusted with the space lute (which is prominent in the arrangement). Also, Spaulding's alto sax can be heard in the background near the end of the piece. Meanwhile, Marshall Allen's flute work is too continuous for him to be contributing to the vocal ensemble.
The vocal ensemble is clearly an arranged one for (most likely four) males singing and humming wordlessly. John Gilmore is almost certainly among them (and, contrary to what was said in the first edition, his tenor sax is not audible anywhere in this piece). The other vocal identifications are guesses. Although the arrangement is more complicated than those of "space chants" like "Interplanetary Music," the vocal group is definitely not the Cosmic Rays, and it doesn't sound much like the Five Joys minus Juanita Rogers. When Sun Ra copyrighted "Africa" in October 1960, it had lyrics (the same ones used on the December 31, 1980, concert in Detroit).
Rehearsal, Chicago, 1958 or 1959
Watusa [Watusi] (Pitts-Sherrill; arr. Ra)
The trumpet player is clearly not Hobart Dotson, and Lucious Randolph, Phil Cohran, and Everett Turner do not remember playing this piece. Bill Fielder does remember playing it. Tommy Hunter and Richard Wilkinson claim that "Watusi" was written by Ronnie Boykins. Research at the Library of Congress has revealed that "Watusi" (which Sun Ra got around to copyrighting in 1967) was composed by André Pitts and Terri Vanne Sherrill (perhaps a dance team?) and arranged by Sun Ra. Its name was changed to "Watusa" on its first Saturn release, and it was incorrectly attributed to Ra thereafter.
62. [46] Sun Ra (p.); Lucious Randolph (tp); Nate Pryor (tb); Marshall Allen (as, fl); John Gilmore (ts, bells); Pat Patrick (bars, bells); Robert Barry (d); Jim Herndon (timb, perc); unidentified (tambourine).
Rehearsal, Chicago, 1958 or 1959
Aiethopia (Ra)
Lucious Randolph recalls recording this piece in a club with bad acoustics; "The mike was on the other end." On the Saturn label this title is recast as "A Ie Tho Pia."
69. [54] Sun Ra and his Myth Science Arkestra
Angels and Demons at Play
Sun Ra (cosmic tone org); Ronnie Boykins (b); Phil Cohran (violin-uke); Jon Hardy (d).
Rehearsal, Chicago, 1960
Music from the World Tomorrow (Ra)
All tracks with Phil Cohran's violin-uke must date from 1960; he purchased the instrument on January 22 of that year. Cohran identified Hardy as the drummer on this track. First issued in 1965 on side A of Saturn SR 9956-2-O/P, Angels and Demons at Play.
71. [56] Sun Ra and his Myth Science Arkestra
Angels and Demons at Play
Sun Ra (p.); poss. Bo Bailey (tb); John Gilmore (ts); Marshall Allen (as); Ronnie Boykins (b); poss. Robert Barry (d); unidentified (wood blocks).
Rehearsal, Chicago, 1960
Between Two Worlds (Ra)
The trombonist is definitely not Nate Pryor; Ra used Bo Bailey or Eddie King when Pryor wasn't available. Ra also used John Avant on rare occasions, though it is not known if he was still doing so at this time. Dick Griffin has said that he played with Sun Ra in 1961, but this track may be too early for him. It was first issued in 1965 on side A of Saturn SR 9956-2-O/P, Angels and Demons at Play.
72. [61] Sun Ra and his Myth Science Arkestra
Fate in a Pleasant Mood /
Holiday for Soul Dance /
Angels and Demons at Play /
We Travel the Spaceways /
Rocket Number Nine Take Off for the Planet Venus
(Interstellar Low Ways) /
The Singles
Sun Ra (bells, perc, gong -1, p -2); Phil Cohran (violin-uke -3, ctn -4, perc, voc); Nate Pryor (tb, bells -5); John Gilmore (cl -7, perc, voc); Marshall Allen (fl -9, bells, voc); Ronnie Boykins (b, voc); John Hardy (d, perc, gong).
RCA Studios, Chicago,
around June 17, 1960
around June 17, 1960
Tiny Pyramids (Boykins) -2, 4, 5, 7,
Angels and Demons at Play (Boykins-Allen) -1, 3, 9
(+ many more not included on Angels and Demons at Play)
Saturn LP 9956-2-O/P, Angels and Demons at Play, was released in 1965 and given the catalog number 407 in 1967; these two tracks appeared on Side A. Ronnie Boykins claimed "Tiny Pyramids," and Gilmore also ascribes "Angels and Demons at Play" to him. In fact, James Wolf has discovered that Boykins copyrighted "Tiny Pyramids" on June 27, 1960. And Sun Ra copyrighted "Angels and Demons" (music by Boykins and Allen, words [!] by Sun Ra) in 1967.
from The Earthly Recordings 2nd ed. Campbell/Trent
Sun Ra and his Myth Science Arkestra
Angels and Demons at Play + The Nubians of Plutonia
Evidence ECD 22066-2 CD
1. Tiny Pyramids 3:41
2. Between Two Worlds 2:00
3. Music From The World Tomorrow 2:24
4. Angels And Demons At Play 2:54
5. Urnack 3:50
6. Medicine For A Nightmare 2:20
7. A Call For All Demons 4:16
8. Demon's Lullaby 2:39
9. Plutonian Nights 4:23
10. The Golden Lady 7:43
11. Star Time 4:19
12. Nubia 8:16
13. Africa 5:07
14. Watusa 2:39
15. Aiethopia 7:11
-FLAC-
RS
HF
or
-320-
RS
HF
Angels and Demons at Play
Saturn 407 180g reissue LP
1. A1 Tiny Pyramids 3:40
2. A2 Between Two Worlds 1:59
3. A3 Music From The World Tomorrow 2:23
4. A4 Angels and Demons at Play 2:53
5. B1 Urnack 3:49
6. B2 Medicine for a Nightmare 2:19
7. B3 A Call for All Demons 4:14
8. B4 Demon's Lullaby 2:37
-FLAC-
RS
HF
or
-320-
RS
HF
Angels and Demons at Play
Impulse Records AS-9245 (1974) LP
1. A1 Tiny Pyramids 3:38
2. A2 Between Two Worlds 1:56
3. A3 Music From The World Tomorrow 2:18
4. A4 Angels and Demons at Play 2:55
5. B1 Urnack 3:45
6. B2 Medicine for a Nightmare 2:15
7. B3 A Call for All Demons 4:10
8. B4 Demon's Lullaby 2:36
Angels and Demons at Play + The Nubians of Plutonia
Evidence ECD 22066-2 CD
1. Tiny Pyramids 3:41
2. Between Two Worlds 2:00
3. Music From The World Tomorrow 2:24
4. Angels And Demons At Play 2:54
5. Urnack 3:50
6. Medicine For A Nightmare 2:20
7. A Call For All Demons 4:16
8. Demon's Lullaby 2:39
9. Plutonian Nights 4:23
10. The Golden Lady 7:43
11. Star Time 4:19
12. Nubia 8:16
13. Africa 5:07
14. Watusa 2:39
15. Aiethopia 7:11
-FLAC-
RS
HF
or
-320-
RS
HF
Saturn 407 180g reissue LP
1. A1 Tiny Pyramids 3:40
2. A2 Between Two Worlds 1:59
3. A3 Music From The World Tomorrow 2:23
4. A4 Angels and Demons at Play 2:53
5. B1 Urnack 3:49
6. B2 Medicine for a Nightmare 2:19
7. B3 A Call for All Demons 4:14
8. B4 Demon's Lullaby 2:37
-FLAC-
RS
HF
or
-320-
RS
HF
Angels and Demons at Play
Impulse Records AS-9245 (1974) LP
1. A1 Tiny Pyramids 3:38
2. A2 Between Two Worlds 1:56
3. A3 Music From The World Tomorrow 2:18
4. A4 Angels and Demons at Play 2:55
5. B1 Urnack 3:45
6. B2 Medicine for a Nightmare 2:15
7. B3 A Call for All Demons 4:10
8. B4 Demon's Lullaby 2:36
A truly wonderful submittal, Yotte. And excellent background as always.
ReplyDeleteMany Thanks
Jim
thanks, yotte - thanksgiving music!
ReplyDeleteI-)
In a sort of variation on the Indian raga tradition, I’ve always tended to match albums with a time of year, a holiday or a kind of weather (sunny, rain, snow, etc.). I’ve not considered it before, but now that Anonymous mentions it, these two would indeed make great records for Thanksgiving. I rekkin this year will be the first. And kudos to Yotte. I love it that you’re posting several different issues and formats of these albums. I didn’t think it possible, but this year’s reposts are even better than last year’s originals!
ReplyDeleteThanks guys! Special thanks to I-) who reminded me that I had not yet posted 'Angels & Demons.'
ReplyDeleteThis one was a l o t of work so I'm very happy to know you're enjoying it.
Rev.b, I never would have put 'thanksgiving music' together with ragas. That's so great - and so appropriate. Kinda puts my holiday favorites in a whole new light.
Happy Thanksgiving Yotte! Many thanks to you!!!
ReplyDeleteoh for some fresh links...I just love vinyl...ya gotta believe! :)
ReplyDelete