Showing posts with label Audio Stream. Show all posts
Showing posts with label Audio Stream. Show all posts

Wednesday, December 10, 2014

John Gilmore Interview - The Wire July 1985


Val Wilmer, whose photographs have appeared in several Sun Ra releases, interviewed John Gilmore for the July 1985 issue of The Wire.  Some time later, the Hinds brothers printed and bound it for their Sun Ra Research project.






Friday, February 14, 2014

2nd Chance: Sun Ra - Dance of Innocent Passion (1981)


Dance of Innocent Passion was recorded at the Squat Theater in New York in 1980. The title cut is another one of those gloriously uplifting tunes that Sun Ra builds from the simplest of parts, and features a soaring tenor solo from John Gilmore. "Omnisonicism" features a creepy theremin-like synth sound and could be put to good use on Halloween. "Intensity" is just a series of solo features, and the album ends with "Cosmo-Intensity," a battle between Richard Williams' bass and Ra's synth. After starting very strong, Dance of Innocent Passion loses a bit of momentum, but should still please fans. The lack of availability of many of these Saturn titles places them mostly in the province of collectors anyway.
AMG review by Sean Westergaard

Dance of Innocent Passion



331. [260]  Sun Ra

Dance of Innocent Passion

Sun Ra (org, syn); Walter Miller (tp); Michael Ray (tp); Ronnie Brown (tp); Vincent Chancey (Fr hn); Ray Draper (tuba); Marshall Allen (as, fl, ob, perc); John Gilmore (ts, timb); Danny Ray Thompson (bars, fl, perc); James Jacson (bsn, fl, Inf-d); Skeeter McFarland (eg); Taylor Richardson (eg); Richard "Radu" Williams (b); Harry Wilson (vib); Damon Choice (vib); Luqman Ali (d); Samarai Celestial [Eric Walker] (d); Atakatune (cga, perc).
Squat Theatre, NYC, 1980

Intensity (Ra)
Cosmo Energy (Ra)
Dance of Innocent Passion (Ra)
Omnisonicism (Ra)

Saturn Sun Ra 1981, Dance of Innocent Passion, was released in 1981.  Location and date courtesy of Michael Shore.  Personnel derived from Stahl's discography, with some changes.  Ray Draper was identified by Shore, as was Samarai Celestial on drums (Stahl has Reg McDonald instead).  Tommy Hunter says that Ray Draper worked with the Arkestra for about a year (Craig Haynes says that Draper was a regular at the Squat but did not tour with the band) and that Samarai was the main drummer around this time; Samarai confirmed his presence here.  Michael Shore recalls that on another occasion the brass section consisted of Michael Ray (tp); Al Evans (flg); Ray Draper (tuba) … and Bill Davis (tuba).  ct believes that the trumpet soloist on "Dance of Innocent Passion" is neither Ray nor Miller, and that the same trumpeter is present on the Brixton Fridge tape from November 1985; most likely this was Ronnie Brown.

from Campbell / Trent  The Earthly Recordings 2nd ed.



Sun Ra and his Arkestra
Dance of Innocent Passion
Saturn Sun Ra 1981 - LP

A1  Dance of Innocent Passion   12:15
A2  Omnisonicism   6:28
B1  Intensity   6:17
B2  Cosmo-Energy   19:04

-FLAC-
FF

or

-320-

I absolutely love this album.  Thanks to Peaches and Black for requesting the 2nd Chance thereby giving me a chance to spend some more time with it!

Saturday, February 1, 2014

Sun Ra - Media Dream (1978)


Media Dream is a live recording of the Sun Ra Quartet, from January of 1978 in Italy (all the quartet recordings were done that month). It's a mostly free date, with "Constellation" and "Media Dreams" being the only tunes that seem to have been pre-composed (they are also the longest tracks on the album). The album starts with a keyboard showcase, with Ra supplying some super low tones along with some very queasy sounding organ. Then it's on to "Constellation" which has a great, really cheesy rhythm, courtesy of the Crumar Synthesizer/rhythm box, and excellent soloing from everyone, especially Gilmore. "Media Dreams" starts out really pretty, then gets progressively freakier. The rest of the tracks are basically soloing showcases for all the players.
AMG review by Sean Westergaard


 What is most notable about these live quartet recordings is how they transferred the Horo studio experiments to the stage. While he has been provided with decent pianos at these gigs, Sonny spends the bulk of his time with a variety of electronic keyboards, including a Moog synthesizer and a Crumar Mainmain organ. Media Dream opens up with “Saturn Research,” a three-minute blast of ominous, dissonant organ and synth, accompanied by dramatic drums and percussion—and Sonny is only just getting started. On “Constellation” (confusingly not the same composition found on Other Voices, Other Blues), Ra switches on the Mainman’s crude rhythm box, which plays a slowed-down cha-cha beat supplemented with a simple, synthesized bass line. Now, in anyone else’s hands, this would be unforgivably cheesy—yet Sonny somehow makes it work and the primitive Mainman organ gives these recordings a uniquely retro-futuristic feel. After a scribbly “Yera of the Sun” (whose Morse Code rhythms vaguely recall “Quest”), the Mainman gets another workout on “Media Dreams,” a thirteen minute tour de force. Starting out as a weirdly beautiful ballad form, with twittering organ, legato synth chords and all sorts of electronica effects, Michael Ray takes a long, warm-toned solo on trumpet, ably following Ra’s harmonic twists and turns. Then it devolves into Ra's wild, mad scientist display. At the ten-minute mark, John Gilmore comes in with a folk-like melody on tenor saxophone but just as Ra starts to heat things up again, the track quickly fades out. It sounds to me like this could have gone on forever.

Only the last two tracks on Media Dream... both feature Ra on acoustic piano. The curiously (mis)titled “Twigs at Twilight” is actually “Images,” but brutally edited, picking up about half-way through and beginning with Gilmore’s tenor solo. Although Gilmore takes many liberties with the tune, in retrospect, it is immediately recognizable as “Images.” Anyway, this is definitely another one of the all-time great Gilmore solos, not overly extended but still sublime. After a brief piano excursion and drum break, the track fades out before the return of the head, further obscuring its origins. Finally, “An Unbeknowneth Love” begins with rhapsodic piano and boom-chick trap-drumming from Luqman Ali – but someone (Gilmore?) is playing tympani, adding slippery and dramatic percussion effects: BOING! BOING! Ra gets into an aggressively dissonant, avant-garde mode before the drum solo, which fades out to end the album. Very interesting.

from NuVoid's Sun Ra Sunday review of Art Yard's 2-CD set Media Dreams

Twigs at Twilight

262. [215] Media Dream

Sun Ra (Crumar Mainman, keyb, org, p, voc); Michael Ray (tp, voc), John Gilmore (ts, timb, voc); Luqman Ali (d, voc).
Live in Italy, January 1978


The exact locations of the concerts are not known. 
Saturn LP 1978, Media Dream, was released in 1978.  It also has borne the title Saturn Research and the serial number 19783.  The matrix numbers are CMP 1978 C-A and CMP 1978 D-B.

The piece called "Constellation" here is completely different from the "Constellation" that was included in the previous entry (Other Voices, Other Blues).

from Campbell / Trent  The Earthly Recordings 2nd ed.



Sun Ra and his Arkestra
Media Dream (1978)

Recommended Records


1. Saturn Research   3:07
2. Constellation   13:33
3. Yera of the Sun   4:33
4. Media Dreams   13:36
5. Twigs at Twilight   7:20
6. An Unbeknowneth Love   4:37



Wednesday, January 22, 2014

Sun Ra - Other Strange Worlds (Sneak Peek)


Previously unissued Sun Ra LP to be released by Roaratorio

Early 2014 should see the release of a previously unissued Sun Ra LP from 1966, entitled “Other Strange Worlds”. It will be released by Roaratorio. It draws from the same sessions as “Strange Strings” – perhaps the most singular recording in Ra’s entire canon – but while that album featured a full size Arkestra, this one finds Ra exploring similar territory with a small ensemble.
via WeirdoMusic
Side A
Other Strange Worlds (4:20)
Celestial Beings (4:44)
Thence, Thus And Ethereal (10:00)
Voice Within The Stars (3:28)
side B
The Other Beings (11:22)
Journey Amongst The Stars (8:59)
Sun Ra : percussion, strings, celeste, kalimba
John Gilmore : percussion, shakerae, cymbals
Marshall Allen : kora, oboe, percussion
Ali Hasaan : trombone, percussion
Art Jenkins : space voice, percussion
recorded 25 May 1965

Many Thanks to El Hombre Invisible for the heads-up!

Friday, January 3, 2014

Sun Ra - Friendly Galaxy (1991)


In 1993 Leo Records released this wonderful 1991 Arkestra performance recorded at the Banlieus Blues Festival in Montreuil, France, a suburb of Paris.  A very "jazzy" performance including Sun Ra classics and standards like "Prelude to a Kiss" by Duke Ellington and Edgar Sampson's swinging "Blue Lou."  I hope you enjoy this excursion into the history of jazz encouraged by an ecstatic crowd.




 Alabama


705. [485]  Sun Ra Arkestra

Friendly Galaxy

Sun Ra (p, syn); Michael Ray (tp, voc); Ahmed Abdullah (tp, voc); Jothan Callins (flg); Tyrone Hill (tb); Marshall Allen (as, fl, perc); Noël Scott (as, perc); John Gilmore (ts, cl, voc); Charles Davis (bars); James Jacson (bsn, fl, Inf-d); Bruce Edwards (eg); John Ore (b); Buster Smith (d); Clifford Barbaro (d, perc); Elson Dos Santos Nascimento (surdo grande, perc); June Tyson (voc); Mr. TCIII (voc).
Banlieues Bleues, Salle des Fêtes-Mairie,
Montreuil, France, April 11, 1991

Intro Percussion (Ra)
Prelude to a Kiss (Ellington) [TCIII voc]
Blue Lou (Sampson)
Lights on a Satellite (Ra)
Nameless One #2 (Ra)
East of the Sun (Bowman) [JG voc]
Alabama (Callins)
Fate in a Pleasant Mood (Ra) [MR, JT, ens voc]
We Travel the Spaceways (Ra) [ens voc]
Space Is the Place (Ra) [JT, ens voc]
Saturn Rings (Ra) [JT, TCIII voc]/
Friendly Galaxy (Ra)

encore:
Melody / They'll Come Back (Ra)

Leo LR-188[CD], Friendly Galaxy, was released in 1993.  Date and personnel from the CD liner notes (though the musicians' names are artfully concealed, and their instruments are not mentioned).  An 86-minute audience tape includes the two unissued tracks; "Melody/They'll Come Back" is not on the audience tape and presumably was an encore.  Some items were also broadcast over French radio ("Saturn Rings" was edited at the beginning); thanks to ct for this information.  Exact location (the Salle des Fêtes-Mairie was on Place Jean-Juarès) supplied by Urs Berger; Leo neglects to say where Banlieues Bleues was.  John Szwed says that "Alabama" was composed by Jothan Callins, not by Ra as credited on the CD. 
from Campbell / Trent  The Earthly Recordings 2nd ed.


Sun Ra Arkestra
Friendly Galaxy (Live at Banlieues Bleues)
Leo Records CD LR 188 (CD) 1993


1.  Intro Percussion   4:18
2.  Prelude to a Kiss   6:18
3.  Blue Lou   5:00
4.  Lights on a Satellite   5:41
5.  Alabama   9:06
6.  Fate in a Pleasant Mood   6:58
7.  We Travel the Spaceways   11:10
8.  Space Is the Place   9:53
9.  Saturn Rings / Friendly Galaxy   12:14
10. Melody / They Will Come Back   6:06


-FLAC-

or

-320-

Saturday, December 7, 2013

Sun Ra - New Space Poetry Release (2013)



Norton Records has just released Volume 4 in their Sun Ra Space Poetry series, 'My Way Is The Spaceways.'  I got my copy from Dusty Grooves - you should get one, too.  Give it a listen and you'll see what I mean.


No downloads this time - just some streams of encouragement.


Friday, November 29, 2013

Sun Ra - Mayan Temples (1990)




One of the finest Sun Ra recordings from his final years, this effort is particularly recommended due to the many Ra keyboard solos and John Gilmore features, the latter of which include a tenor showcase on "Opus In Springtime." Trumpeters Michael Ray and Ahmed Abdullah, altoist Marshall Allen and singer June Tyson also have their spots, and the repertoire consists of ten Ra originals (including a remake of "El Is the Sound of Joy") and three standard ballads. Overall, this is a fine all-around studio set. Recommended.
AMG review by Scott Yanow


677. [446]  Sun Ra Arkestra

Mayan Temples


Sun Ra (p, syn, voc); Michael Ray (tp, voc); Ahmed Abdullah (tp, voc); Tyrone Hill (tb, voc); Marshall Allen (as, fl, perc); Noël Scott (as, perc); John Gilmore (ts, timb, voc); James Jacson (bsn, Inf-d, voc); Jothan Callins (eb); Buster Smith (d); Clifford Barbaro (d); Jorge Silva (repinique, perc); Elson Nascimento (surdo grande, perc); Ron McBee (cga, perc); June Tyson (voc).
Mondial Sound, Milano, Italy
July 24-25, 1990

from Campbell / Trent  The Earthly Recordings 2nd ed.

I think Michael Ray did an amazing job of mixing this LP.  I can't remember hearing another studio album that sounds as detailed and carefully crafted yet fully maintains the feel and energy of a live performance.




 Sun Ra Arkestra
Mayan Temples (1990)
Black Saint CD Reissue 120121-OD

2009

1.  Dance of the Language Barrier   3:58
2.  Bygone   5:16
3.  Discipline No. 1   4:58
4.  Alone Together   7:02
5.  Prelude To Stargazers   5:17
6.  Mayan Temples   7:40
7.  I'll Never Be The Same   4:57
8.  Stardust From Tomorrow   3:39
9.  El Is The Sound Of Joy   5:26
10. Time After Time   4:21
11. Opus In Springtime   6:42
12. Theme On The Stargazers   14:10
13. Sunset On The River Nile   5:43

-FLAC-
RS
Mega
FF

or

-320-
RS
Mega
FF



 
 Sun Ra Arkestra
Mayan Temples (1990)
Mo'Smog Records - 124020-1
2 x Vinyl, LP, Reissue
2002  Italy


 1.  A1 Sunset On The Night On The River Nile   5:42
2.  A2 Opus In Springtime   6:40
3.  A3 El Is The Sound Of Joy   5:23
4.  B1 Stardust From Tomorrow   3:39
5.  B2 Alone Together   7:01
6.  B3 Discipline No.1   4:54
7.  C1 Theme On The Stargazers   14:05
8.  C2 Time After Time   4:20
9.  D1 Dance Of The Language Barrier   3:57
10. D2 Mayan Temples   7:40
11. D3 Bygone   5:14


-FLAC-
RS
Mega
FF

or

-320-
RS
Mega
FF

Sunday, November 10, 2013

Rocket Number Nine?




I know, I know.  But it's better you learn this now than to hear about it on the street later...


Sunday, November 3, 2013

Sun Ra on WNYC and at Old Waldorf, San Francisco, October 11, 1980


Great mention of Ra on Halloween by WNYC archivist John Passmore.  Check it out.  It includes a short interview segment and this performance from Whitney Hall on January 7, 1981.




Will anyone with a copy of the January 7, 1981 show please share?  I would love to hear the entire broadcast.  Seeing the Waldorf poster in the article reminded me that Nikos shared a recording of the October 11, 1980 Old Waldorf concert with us back in 2011.


329. [258a]  Sun Ra Omniverse Arkestra

Sun Ra (p, syn, voc); Michael Ray (tp); Craig Harris (tb); Marshall Allen (as, fl, perc); Noël Scott (as, perc); John Gilmore (ts, cl, timb); James Jacson (bsn, fl, Inf-d, voc); Amo Chip (eb); June Tyson (voc); others unidentified.
Old Waldorf, San Francisco,
October 11, 1980

radio broadcast
untitled improvisation [tb]
Tapestry from an Asteroid (Ra) [JT voc]
untitled improvisation
[Scott, as; tbs and perc; Ray, tp]
The Sun Has Something to Say (Ra) [JT, ens voc]
The Sound Mirror (Ra) [SR, ens voc]
I, Pharaoh (Ra) [SR, ens voc]
Keep Your Sunnyside Up (Ra) [ens voc]
The Space Age Is Here to Stay (Ra) [ens voc]
unidentified title (Ra) [syn only]
Big John's Special (H. Henderson)
Limehouse Blues (Braham-Furber)
unidentified Swing tune
Why Don't You Do Me Right? (McCoy) [JJ, MR voc]
'Round Midnight (Hanighen-Monk-Williams)
Lady Bird (Dameron) / Half Nelson (Davis)
We'll Be Together Again (Fischer-Laine)
The Shadow World (Ra)

According to Graham Connah, an audience tape of excerpts from this concert was subsequently broadcast by KZSC-FM in Santa Cruz.  The audience tape is 75 minutes long; the whole concert lasted two to three hours.  All information from Connah.  Amo Chip (formerly Amo Dabney) states in the April 1995 issue of Cadence that he sat in on several of Ra's 1980 Bay Area concerts.  He has confirmed that he played electric bass at this concert.

"Why Don't You Do Right?" presumably comes from the repertoire of Lil Green; Sunny was in her band in 1946 and 1947. 
from Campbell / Trent  The Earthly Recordings 2nd ed. 



Sun Ra Omniverse Arkestra

Old Waldorf, SF
1980-10-11


audience recording

(NOT complete show, but all that is in circulation. Earthly book states
this was subsequently broadcast on KZSC-FM, Santa Cruz)

aud > ? > cdr in trade > EAC > FLAC

disc one:
01.  untitled improv
02.  untitled improv
03.  Tapestry From An Asteroid > improv
04.  The Sun has Something to Say
05.  The Sound Mirror
06.  I, Pharoah
07.  Keep Your Sunny Side Up
08.  The Space Age is Here To Stay
09.  untitled improv (SR syn solo)

disc two:
01.  Big John's Special
02.  Limehouse Blues
03.  Why Don't You Do Right ?
04.  'Round Midnight
05.  Lady Bird/Half Nelson
06.  We'll Be Together Again
07.  unidentified title
08.  The Shadow World


 
-FLAC-
Mega
RS


Tuesday, October 15, 2013

2nd Chance: Sun Ra - Song of the Stargazers (1979?)


Song of the Stargazers (Saturn 487 or sometimes 6161) was released in 1979 and is mostly a hodgepodge of various live recordings from the nineteen-seventies. But one track was obviously recorded much earlier, probably in 1967 or 1968, according to Prof. Campbell. Performed in a large, reverberant space in front of a sizable and enthusiastic audience, “Cosmo Dance” is an interesting quasi-modal composition featuring some evocative flute and oboe. Clacking wooden sticks set up a simple, repetitious rhythm with Boykins's bass and Pat Patrick’s “space lute” plucking out a droning three-note groove. Low horns and bowed bass enter with convulsively heaving whole-note fourths while flute and oboe and bass clarinet dance a medieval round. Flute and then oboe embark on expansive, Middle-Eastern sounding solos over the clacking sticks and throbbing bass/space lute, the audience bursting into spirited applause after each. Finally, the low horn/bowed bass whole-note fourths return, repeating several times before ending to more justifiably hearty ovation. Ra himself is not heard playing on this track, but the murky sound quality makes it hard to clearly make out who is doing what. Campbell says Marshall Allen is playing both flute and oboe, but that is impossible since both instruments are heard simultaneously during the ensemble section. So, is it Danny Davis on flute? It certainly sounds like him. There is also some talking barely audible throughout – is that Sun Ra lecturing the crowd or just random audience noise? In any event, this is a beautiful, prototypical Sun Ra composition of the period, perfectly realized by his Arkestra.
from NuVoid's Sun Ra Sunday (July 26, 2009)


135. [229d]  Sun Ra and his Arkestra

Song of the Stargazers

Marshall Allen (fl, ob); Robert Cummings (bcl); Pat Patrick (space lute); Ronnie Boykins (b); poss. John Gilmore (perc); unidentified (perc).
Live, 1967 or 1968

Cosmo Dance (Ra)

This is a late 1960s number; the bass clarinetist is not Eloe Omoe!  Personnel identified by rlc and Larry Nai.

Saturn LP 487, Song of the Stargazers, was the last new Saturn release on the Chicago label.  It was issued before 1981, most likely in 1979.  Some copies bear the serial number 6161 (NMY).  Mark Webber calls it a "mystery album."

289. [229]  Sun R and his Arkestra

Song of the Stargazers

Sun Ra (p, syn, org); prob. Michael Ray (tp); unidentified (tp); Craig Harris (tb); Tyrone Hill (tb -1); poss Vincent Chancey (Fr hn); Marshall Allen (as, fl, ob, picc, perc); Danny Davis (as, perc); John Gilmore (ts, perc); Eloe Omoe (bcl); Danny Ray Thompson (bars, perc); James Jacson (bsn, Inf-d); Damon Choice (vib); prob. Dale Williams (eg); poss. Luqman Ali [Edward Skinner] (d); unidentified (d); unidentified (cga); unidentified (sticks).
Live, 1979

The Others in Their World (Ra)
Galactic Synthesis (Ra) -1

…The only known copies of the LP are in Europe: "Maybe Saturn produced it in a very limited edition and they sold it while touring through Europe" (Geerken).  And all known copies are defective; Julien Vein says that the LP may have been mastered on only one stereo channel.

These particular items seem to be from the same live concert, and are similar in sound and conception to the free improvisations on the Soundscape sessions from November 1979.

The first discographical listing came from Tilman Stahl, who apparently took the misleading title "The Others in Their World" (which is not the 1960 composition) and the serial number 6161 to indicate that the album was recorded in Chicago in 1961!  Geerken and Hefele place the album in the late '60s and claim a 1970 release date.  The label, however, is a rather tattered El Saturn that was characteristic of the last Chicago pressings in the late 1970s.

290. [229a]  Sun Ra and his Arkestra

Song of the Star Gazers

Sun Ra (p.)
Studio recording, unknown date

Somewhere Out (Ra)

This rather unusual solo piano piece could have been recorded anywhere between the mid-1960s and the late 1970s.  No further information is available.

291. [229b]  Sun Ra and his Arkestra

Song of the Stargazers

Sun Ra (p.); unidentified (eg); unidentified (b); unidentified (perc).
Live, mid-1970s

Distant Stars (Ra)

This fragment from a live concert has a mid-1970s feel to it.  There is no connection with the 1960 or 1961 composition called "Distant Stars."

292. [229c]  Sun Ra and his Arkestra

Song of the Stargazers

poss. Atakatune [Stanley Morgan] (perc, voc); poss. Odun [Russell Branch] (perc, voc); poss. Chiea (perc, voc -1).
Studio recording, prob. 1970s

Duo (Ra)
Seven Points (Ra) -1 [ens voc]

These two numbers feature the same percussionists, playing in a manner that is unusual for Arkestra members.  On "Seven Points" they contribute some vocalizing as well.  "Seven Points" as a title is reminiscent of "The Place of Five Points," which was recorded in 1979.  If the percussionists are in fact Atakatune, Odun, and Chiea, a recording date in 1972 or 1973 is most likely.
from Campbell / Trent  The Earthly Recordings 2nd ed.

Duo


Sun Ra and his Arkestra
Song of the Stargazers

Saturn 487 or 6161 (unknown year, poss. 1979 - 1980)


1. The Others In Their World   10:14
2. Somewhere Out   4:40
3. Distant Stars   1:01
4. Duo   3:04
5. Seven Points   4:49
6. Cosmo Dance   6:31
7. Galactic Synthesis   9:52

-FLAC-

0r

-320-

Monday, September 30, 2013

2nd Chance: Sun Ra - St. Louis Blues (Solo Piano vol. 2) (1978)


In 1977 Sun Ra recorded two LPs of solo piano for the enterprising Improvising Artists label.  Of the two, I prefer Solo Piano Volume 2, St Louis Blues IAI373858, reissued on CD.  It is a live recording - a videotape release of the performance has also been available from IAI.  There is real purpose to the music here, from 'Ohosnisixaeht' (the recording venue spelt backwards!), to the closing 'Thoughts On Thoth'.
from Chris Trent's 'Another Shade of Blue'

 On July 3, 1977, Sun Ra shared a bill with Paul Bley at Axis-In-Soho as part of the Newport in New York Festival, which was recorded by Bley’s Improvising Artists label. A portion of Sun Ra’s set was released on LP in 1978 as St. Louis Blues: Solo Piano, Volume 2 (IAI 37.38.58) and reissued on CD in 1993 (IAI 123858) (Campbell & Trent pp.236-237). If Solo Piano, Volume 1 was an introspective studio album, Sun Ra is in an expansive, playful mood in front of a live audience. As Szwed points out in his biography, “Bley was surprised to see that once he was alone on stage, ‘Sonny was a ham who liked to clown and surprise the audience’” (Szwed p.343) and there is a bit of that to be found here.

Ra’s passagework is startlingly virtuosic, displaying an astonishing independence of fingers and hands and extreme sensitivity of touch, although it sometimes comes across a bit empty and showy. “Ohosnisixaeht” is a rhapsodic blues with impressively fleet soloing, but the music wanders rather than gets anywhere. W.C. Handy’s “St. Louis Blues” is better, updated with a complex, polytonal arrangement. The simple “Three Little Words,” a 1930s showtune by Harry Ruby and Bert Kalmar is given an over-the-top reinterpretation that borders on corny, full of melodramatic glissandos and skittering block chords but always returning to that sweet, sweet swing. Side one closes with a short, romantic rendition of “Honeysuckle Rose” that alternates between rubato schmaltz and breezy ragtime.

B1  Sky and Sun

Side two is more interesting, containing three originals that show off Sun Ra’s compositional skills as well as his brilliant keyboard work. “Sky and Sun” is onomatopoeic: drifting chords represent the sky and twinkling figures in the uppermost register represent the sun. This track is really quite evocative and it sounds he could do this sort of stuff all day long. Ra summons up an entire Arkestra on “I Am We Are,” from rumbling bass notes, scraping “strange strings” and  exquisitely voiced harmonies to outrageous, free-jazz scree, with moments of two-fisted aggression a la Cecil Taylor—a tour de force and probably the best thing on the album. “Thoughts On Thoth” ends the album with a slow space groove, articulated with remarkably fluid right-hand flourishes. It’s a brilliant display, but feels a little perfunctory to me.  
Continue Reading at Sun Ra Sundays

Just as his reputation on he synthesizer was growing, Sun Ra began to play more piano again, and in a style that reached back further in jazz tradition than most would have suspected.  But those who had known him for years understood that his origins were in the blues, and assumed that side of his playing: "Sun Ra could play the blues for twenty four hours without repeating a phrase," they claimed.  Though many recognized him as capable of playing bombastically, and of using the piano for color, few thought of him as a major player.  But Paul Bley, one of the two or three leading pianists of free jazz, believed that Sonny was a great piano player, so great that he didn't need a band.  If anything, he felt, the band was a cover for his insecurity.  Early in 1977 Bley convinced Sonny to do a series of piano duo performances with him in New York and Europe and to record for Bley's new audio and video company, Improvising Artists.  In Europe Bley was surprised to see that once he was alone on stage, "Sonny was a ham who liked to clown and surprise the audience -- as at Lake Como, where he shocked them by playing a cake walk!"  On May 20 Sun Ra went into the studio to record Solo Piano, and played a mixture of his own compositions and some unusually conceived standards, such as a very freely played "Sometimes I Feel Like A Motherless Child," or "Yesterdays" done in a brisk stride.  On July 3 he was recorded solo (St. Louis Blues) while playing at Axis-in-Soho as part of the Newport Jazz Festival, and again there were surprises: his "St. Louis Blues" aluded to Earl Hines's famous boogie-woogie version and a cheerful little love song like "Three Little Words" got turned into a melodrama.  But there were modest experiments in keyboard resources as well, such as "Sky and Sun," which stayed almost entirely within a small range at the top of the keyboard.
from Szwed - Space Is The Place p. 342-343



248. [204] Sun Ra

Sun Ra (p.).
The Axis-in-SoHo, NYC, July 3, 1977

Ohosinisixaeht (Ra)
Sometimes I Feel Like a Motherless Child
(trad.)
St. Louis Blues (Handy)
Three Little Words (Kalmar-Ruby)
Honeysuckle Rose (Waller-Razaf)
Sky and Sun (Ra)
I Am We Are I (Ra)
Thoughts on Thoth (Ra)

First Released in 1978 on Improvising Artists Inc. 37.38.58, St. Louis Blues: Solo Piano. All tracks reissued in 1993 on Improvising Artists Inc. 123858 [CD].

IAI V003 is a 40-minute video issued by Improvising Artists, which differs from the LP/CD (replacing "Ohosnisixaeht" with "Sometimes I Feel Like A Motherless Child") and has other minor editing differences from the LP and CD, but is basically a document of the same concert.  "Sometimes I Feel Like A Motherless Child" is a different performance from the one that was made at the previous session.  IAI V003 was available in the late 1970s through early 1980s and was restored to circulation in the 1990s (thanks to Michael Denton for information about the two IAI videos).  The video has also been available from Mastersession (MSN 5017).

This concert was part of the Newport in New York Festival; according to Allan Chase, Sun Ra appeared on a bill with Paul Bley.  According to Fred Conrad, the concert ended with "When There Is No Sun," on which Ra was joined by June Tyson (voc) and John Gilmore (voc).  It is not known whether this piece was recorded.

from Campbell/Trent The Earthly Recordings 2nd ed.




Sun Ra
St. Louis Blues - Solo Piano (1978)
Improvising Artists Records
IAI 37.38.58 (1978)


1. A1 Ohosnisixaeht   6:06
2. A2 St. Louis Blues   5:17
3. A3 Three Little Words   5:49
4. A4 Honeysuckle Rose   3:30
5. B1 Sky and Sun   6:18
6. B2 I Am We Are I   6:25
7. B3 Thoughts on Thoth   6:41


-FLAC-
RS
HF

or
-320k-
RS
HF






St. Louis Blues (Solo Piano vol. 2) CD
IAI 123858-2 (1993)

Ohosnisixaeht     6:09
St. Louis Blues     5:19
Three Little Words    5:56
Honeysuckle Rose    3:44
Sky And Sun    6:20
I Am We Are I    6:27
Thoughts On Thoth    6:41

-FLAC-
RS
HF

or
-320k-
RS
HF


Saturday, August 24, 2013

In Space: Trudy Morse

from the Saturn List
Dear Friends of Trudy,
It is with much sadness that I write to tell you that my mother passed this morning after a short illness.  I'm sorry about the impersonal way to inform you,  but some of you I only know from emails.  As you know, my mother was a force of nature; she embraced life and lived for every moment.  She was never shy, always willing to try new things and really the most optimistic and positive person I have ever known.  Her net of influence, as you well know, was huge.  Almost everywhere I go - in the States and the rest of the world, I run into people who know her.  

Even in her last days with her mind fading from dementia, she was a bright light.  At Arden Courts, she was known as the activity director and and was happy and content.

(edit)

May her memory be as a blessing,
with much love and sadness,
Sarah .


--
Sarah Morse

About Trudy, I just want to say that the Waitawhile compilation and publication of Sun Ra's poetry  would never have happened without her.



I met Trudy at a long-gone little bar in Washington, DC in the mid-90s, where somebody was putting on a free jazz show. Trudy saw me reading a book by Jacob Boehme and based on that, asked me if I would drive her up to NYC for a Sun Ra tribute show at the Knitting Factory. I did, bringing along some friends, and ended up doing lights (ineptly, I'm sure) for Trudy's part of the show. Throughout that weekend, she had more energy than all of us 20-somethings put together, leading us from bar to bar through lower Manhattan, discussing art, music, Israeli poiltics and everything else. When I brought her back home, she gave me a copy of The Immeasurable Equation, Vol. II. That gift inspired me to collect together all the Sun Ra poetry I could find. And because of this list-serv that project turned into the Waitawhile publication.



I'm sure I'm only one of many, many people whom Trudy had a powerful influence on. Spirits like hers are rare and beautiful beyond measure.


James 
James L. Wolf 


Trudy Morse reads Sun Ra's poetry
collected from the international waitawhile sun ra conventions



Trudy Morse
Poet, Musician, Humanitarian, Diarist, Grandmother
Poet, world traveler and performance artist, Trudy Morse, creates other-world performances in the spirit of the legendary Sun Ra. Expect a cosmic, ritual happening. - Earshot, Seattle WA
Trudy Morse has lived in Chevy Chase, MD for some forty years. Her late husband, Malcolm S. Morse, a prominent scientist with the National Bureau of Standards, worked on dynamic thermo-physical measurements in space, before his death in 1986.
Most of her life she was a political activist working on national and international policies, at the same time active in her home and community, while raising six children. Retired from her professional career as a land consultant she spent from four to six months each year travelling the world.
Her interest in her husband’s research on anomalous phenomena has taken her to all five continents. She recalls with particular interest her travels in Africa, Australia, Europe, India, China and New Zealand.
She has traveled extensively in the USA on frequent camping trips, cross-country, in National Parks from the East to the West coasts, as well as in Hawaii and Alaska.
Since the death of Malcolm Morse, Trudy has been travelling with jazz pianist Cecil Taylor, in Europe, Japan, and the USA. While on the road, Trudy wrote poetry, which was later published by Hermes Press.
Aside from regular travel on the road with Cecil Taylor, for the past few years, Trudy has been concentrating on the poetry of the legendary Sun Ra and his Arkestra. Working closely with John Szwed, Chairman of Music and Anthropology at Yale, Trudy has been collecting Sun Ra poetry. She performed with Sun Ra right up until his death, being with him when he left the planet at Birmingham, Alabama. 
Since his death, she has been planning and presenting Tributes to Sun Ra. She appears regularly on radio programs, reading Sun Ra poetry over the old Saturn records or new releases by Evidence.
Among many artists, she has most notably collaborated and performed with Kidd Jordan, Eddy Gale, George Russell, Anthony Braxton, Joe Maneri, Pozzi Escot, Pauline Oliveros, Stuart Dempster, George Lewis, Marshall Allen, India Cooke, Michael Monhart, Muhal Richard Abrams, Dave Burrell, Illuminati Big Band, Don Wherry Ensemble, Cosmic Krewe, Tone Scientists and Boris Raskin Trio.
The ubiquitous septuagenarian has 6 children, 20 grandchildren and 6 greats.
-from Deeplistening.org



*



videos collected from katzjustice.com





My Near Death Experiences by Trudy Morse
Trudy Morse
Hermes at the Crossroads
Hermes Press - 1996 Written September 9, 2000.

A NDE, as it is called today,
is a rather frightening ex-
perience, but since I have
been privileged to have
had three in my lifetime,
actually I feel blessed.

The first NDE was almost
50 years ago, while giving
birth to my son, Michael,
I found myself being twirled
through a dark tunnel, with
a bright light at the end.  I
woke up hysterical, I thought
the baby had died.
I was rather surprised when
the phenomenon was analyzed
many years later, it was I who
was near death, and not the
baby.

As a result of this startling
experience, "Training for Child-
birth" was pioneered in the
Washington, D.C. area with Sue
Patch, sister of Gloria Steinman,
President.  Trudy Morse, Treasurer.
My son, Dr. Melvin Morse,
pediatrician, who writes about
NDE's in children, was the
first baby born, under this new
program, over 40 years ago.

Our program was to train parents
in natural childbirth.  Dr. Dick Reid,
of the UK, was the leader of the
movement in those days.  We were the
first to bring fathers into the delivery
room, exercises for mothers, and
coaching lessons for fathers, to give
support for the mothers.

The second time I had a NDE,
I saw the pattern of
my whole life before me, and
repented, that before the NDE,
I hadn't been a really good cook.
Saying farewell, I asked Malcolm
to forgive me, before passing out
during an asthma attack.

And from that experience I learned
that it's very good to be ready to
meet your maker and a quick review
of your life is a strong probability!

I am still not a very good cook, but
don't feel guilty, since Malcolm
assured me that was not why he
married me.  The medics had revived
me at home, and I felt at peace that
Malcolm had forgiven me during my last
moments.

From that experience, I learned
that life is so fragile, I would try
to enjoy every moment of life with
an extraordinary husband, Malcolm
Morse, who was my partner for
some 40 years.

At the age of 55, when he was diag-
nosed as having cancer, I insisted
that he retire so that we may have
the last years of his life, roaming
the planet, so that he might have
a last look at every location he was
curious about, had read about in science,
literature, the Bible, politics and
even science fiction.  He remained
alive another 13 years.

A practicing Yoga, he died a Yoga's
death, in peace, in lotus position, and
I stayed over 3 hours, singing and
chanting, for an easy departure of the
soul.  I was at peace that I had helped
fulfill his mission of life.  He examined
anomalous phenomena for some six
months each year, all over the globe.

This last NDE at the senior age of 81
was an extraordinary revelation.  An
asthma victim almost all of my life,
I was unable to pull out of an asthma
attack at the home of one of my dearest
members of my extended family, GILA.

I had overdosed on medication, which
brought me deeper in the helpless
stage.  911 was called, the ambulance
appeared immediately, the medics
correctly diagnosed the incident as
pulmonary arrest, and were able to
revive me within the six minutes
before brain damage.  It was a quick,
efficient action that made for the
success of the treatment, every one
cool and collected to do what needed
to be done.

Now, what did I learn in the experience
during my twilight years?

The most touching was the miracle
of the assembly of the family.  They
arrived at the hospital shortly after
the ambulance, and were there with
complete support for me.

As important as modern life-supporting
machinery and professional help is, I
needed my dearest and most beloved
family.  Sarah never left my side and I
deeply felt her presence, as well as
Mary's, who never left Sarah.

Later, Dr. Serena Fox appeared.  She
works at the Trauma Center at Columbia
Hospital for Women, spent time with
the doctor on call, Dr. Remy.  He had
heard of her, by reputation, and with
continual telephone calls to my own
family doctor, Dr. Douglas Shumaker,
they were an extraordinary medical team
put together in this extreme emergency.

Needless to say the nurses are God's
gift of angels to care for us.  They told
me later, the incident took them by
complete shock.  The possibility of
brain damage loomed very large in
their minds.

Now what happened to the NDEer:
First, there was a black cage I was trying
to frantically trying to escape, banging
each corner post.  In despair, I finally
gave up:  "Well, if this is Hell, Heaven is
probably boring."  (This is what my son,
Alan, says I reported late Thursday night
of the discharge."

Although that vision appears to have come
first, what I remember vividly, is a white
casket with heavily clad manacled boots
thumping each corner tightly closed.

Perched on the ceiling, was the Raphael
angel, with lovely face cupped into hands,
watching the event, with much wonder,
watching the casket-thumping, admiring
its beautiful painting of stars, crescents,
and other beautiful colorful patterns,
covering the casket, gleaming, glowing
white, like a Rauschenberg painting.

The thumping of each corner finished,
the casket securely closed, the Raphael
angel perched on the ceiling watching
carefully, wondered:

"Well, which would have been better,
Heaven or Hell?"  And with a wry smile:
"Who knows?"

I had finally been restrained from
fighting the staff who were trying to
insert the indo-trachial tube directly into
the mouth, to hook up the lungs with
the support machine, necessary to get the
lungs working again.  Michael, who had
been helping the staff in their struggle, was
severely scratched, which was an agonizing.
moment for him. Everybody involved later
told me they went into complete shock after
this experience .

I was so determined to keep off the
machines!I had always said I would
rather die than be hooked up on a
machine, and I really meant it!

Now that it is all over, I feel truly
blessed again. With such a remarkable
family who by some miracle arrived,
without anybody knowing where to call
them! With such extraordinary extended
family giving further support.  And the
remark of the social worker really
moved me. When I asked her why
she was visiting me, she told me most
of the elderly patients have no one at
home to go to, and she provides volun-
teers and visiting nurses, meals on wheels.

What a wonderful feeling, to have Sarah
there every moment, demanding that I be
taken home at once, rather than the two
week period they suggested and David,
her husband, taking over all the chores of
the four children left at home during Sarah's
24 hour vigilance.

Sarah decided three days in the hospital
was enough. She demanded my release
at once, and armed with the X-rays, she
drove me to her home. Maurie was there
with a broad smile. Michael had already
left work, and was waiting to pick
me up.

Erica had decorated the front doorway:
"Welcome home". Lauren, who had
grown at least 12 inches during the
summer, had to lean over to embrace me.

And Mary was there with a dinner, eaten
outdoors, overlooking her glorious garden
and little pool with the waterfall creating
the sound of running water which I love.

Michael took me shopping for my bagels,
picked up my medicine. And Guy and Sheri
took over from there.  They explained the
medication, assuring me it was very mild
and only a short course. Dr. Shumaker
assured them it would not interfere with
the effective plendil I take for high blood
pressure.

Dr. Shumaker insisted I call him at home
to strongly advise against my trip to Syria
scheduled for the next day. I felt so much
had done for me, I better not let them
down and create new problems, so I can-
celled the trip. My beautiful extended
family member Paula, of Signature Travel,
got to work at once to assure that I get
money back for airfare.

I came away with the realization that
although I say I am ready to die, there's a
whole crew of people, medical and family,
who seemed to think it important that I
live a little longer.  Like the birth of a baby,
the rebirth of an adult requires instant
loving, nurturing for the health of the
new model.

My son, Dr. Melvin Morse, pediatrician,
who has pioneered in NDE with children,
presents, during his lectures, pictures that
children draw about their experience.
Some are pictures of Jesus, pets, teachers,
or parents, whom they have just seen.
They are usually told to return, depending
upon their belief system.

For me there was no such picture. No
persons, no Jesus, no favorite aunt, mother,
or spouse, only at first, a crude black cage
from which I was frantically pounding,
trying to escape.  In some disgust, I just
gave up, thinking: "Oh  well, Heaven would
probably be boring anyway!"

Then appeared a white casket, with
heavy manacled boots pounding each
corner tightly shut.  Beautiful and gleaming
white. Stars, crescents and colored figures
were painted on the lid, in Rauschenberg
style.  Above it all a Raphael angel watched
from the ceiling, finally wondering if
Heaven or Hell would be better!

Who knows?

WHAT DO I MAKE OF ALL OF THIS?

Our holiest prayer in Judaism is the Shma Yisroel,
Adonoi Elehanu, Adonoi Echod. Hear oh Israel,
The Lord our God, The Lord is one.

The Adonoi is a Hebrew Tetragrammaton,
having four Hebrew Letters, usually transliterated
YHWH or JHVH, that forms a biblical proper
name of God.  Reb Shneyer has told us that
Adonoi means past, present, and future.

I feel a deep sadness that my departed partner,
Malcolm was not witness to this. An internationally
recognized engineer, he was also a Polymath.
Equally as versed in Philosophy, Poetry, Plato,
Plotinus, Literature, Eastern and Western Religions.

In raising our six children, he constantly reminded
me that when the child is born, images of his past,
present, and future are embodied on the brain.

Since I saw no persons, heard no voices, I personally
conclude that it was the high tech machinery, and
the total high level family and medical support
that brought about the return. Maybe, this return
was guided by either the images of the brain
already imprinted at birth:  maybe, God whom Jung
defines as SELF, maybe, just plain GILA.

Death is not Real
But Birth to a
New Life
We go on and on
To higher planes
For eons and aeons
Of Time

The Universe is
Our Home
We explore the
Farthest Recesses
We dwell in the
Finite Mind
Of The All

I die gladly
So I may Know
The Whole Truth
Of Being
At One with
The ALL
from ChicagoIANDS.org