2nd Chance: Sun Ra - Lanquidity (Acetate, LP, & CD) (1978)

Original LP Artwork (sold at Arkestra concerts)

For years Lanquidity (1978) was practically a myth - a thing of legends that Sun Ra collectors could only dream of one day hearing.  This changed when Evidence issued their HDCD-Remastered edition in 2000.  Since that time it has become recognized as one of Ra's most accessible and unique albums in a catalog of music that is seldom easily accessible but always unique.  This amazing album has found its way around the www more than a few times so to bring something special to you, I decided to offer 3 rips from three unique sources:  The Lanquidity Acetate, an LP rip from the 180g reissue, and the CD.  I hope you enjoy the opportunity to compare and contrast the sonic delights that each offers.

277. [223]  Sun Ra

Sun Ra (ARP, Fender Rhodes ep, Yamaha org, Hammond B3 org, Mini-Moog syn, p, orchestral bells, Crumar Mainman, voc); Eddie Gale (tp); Michael Ray (tp, flg); Marshall Allen (as, ob, fl); Danny Davis (as, fl); John Gilmore (ts); Danny Ray Thompson (bars, fl); Julian Pressley (bars); James Jacson (bsn, fl, ob, ethnic voice); Eloe Omoe (bcl, fl); Dale Williams (eg); Disco Kid (eg); Richard Williams (b, eb); Luqman Ali (d, perc); Atakatune (cga, tymp); Michael Anderson (perc); June Tyson (ethnic voice); Edde Tahmahs [Eddie Thomas] (ethnic voice).

Blank Tapes, NYC, July 17, 1978

Philly Jazz PJ 666, Lanquidity, was released in 1978.  All information from the album jacket.  Much overdubbing was used on this album.  According to Rick Barry of Philly Jazz, Ra requested that Omoe's name be listed as "Ego Omoe" on the jacket.  Dale Williams says that Disco Kid's first name was Greg; Disco Kid was responsible for the "straight" guitar playing, while Williams handled the wa-wa and other effects.

A test pressing for this LP was recently discovered by Gilbert Hsiao.  The matrix numbers are PJ1006A/B, and the date incised in the vinyl is 9/14/78.  Two tracks are somewhat different on the test pressing.   "Twin Stars of Thence" has another 10 seconds of guitar introduction with horns.  "That's How I Feel" contains another four minutes of music beyond the issued version, which fades after Ra's solo -- there is a baritone sax solo, perhaps by Danny Ray Thompson, and a return of the head.

According to Armin Büttner and Peter Roberts, "When Pathways Meet" was re-released in 1994 on Swiss Luv'n'Haight LH-010, a 12" 33-rpm maxi single.  A track by Viva Brazil is on the other side.  The same Ra track also appeared on a sampler LP/CD on the same label titled Brotherhood, LHLP/LHCD-018.

from The Earthly Recordings 2nd ed.

Unfortunately, I have virtually no other info whatsoever on the Acetate (the 'test pressing').  Our generous Anonymous reader offered this to me and of course I jumped at the chance to hear and share it.  He believes this rip is a generation or two removed from the original.  Perhaps it is actually the 'test pressing' mentioned above?  "Where Pathways Meet" was released on a 2010 compilation titled The Blank Generation: Blank Tapes NYC 1975-1987.

When Pathways Meet (Acetate Mix) from

The Blank Generation

Original Foil Cover

While one can't quite call it the Sun Ra dance album, this 1978 recording, made for a tiny Philadelphia record label, finds the Sun Ra Arkestra's rhythm section settling into a steady groove on each of the lengthy tracks, while horns, reeds, guitars, and Sun Ra's keyboards solo in overlapping patterns on top. The title number recalls Charles Mingus' "Goodbye Porkpie Hat" in its slow pace and elegiac tone, while the middle three tracks have livelier beats with playing that often answers to the style of fusion played by many jazz groups in the late '70s. "There Are Other Worlds (They Have Not Told You Of)," the nearly 11-minute concluding tune, is the closest to more familiar 1960s and early-'70s Sun Ra, with its less cohesive lead work and the "ethnic voices" that speak, sing, and whisper about outer space. Lanquidity was extremely rare in its original vinyl pressing. It was reissued by Evidence Music on September 26, 2000, with liner notes in which John Dilberto discussed Sun Ra's 25-year residence in Philadelphia and Tom Buchler, who organized the recording session, discussed the making of the album.

AMG review by William Ruhlmann

This 1978 session, coming relatively late in Sun Ra's creative history, is another extraordinary venture into uncharted musical terrain. As the name suggests, it's a liquid and languid musical state, from the lounge area of Ra's cosmos, but it can also be resiliently funky and subtly dissonant in ways unheard outside the orchestra's precincts. The rhythm section of electric bass, two guitars, and three drummers creates deep pulsing grooves for Sun Ra's assortment of ethereal organs and synthesizers and a horn complement of two trumpets and five reeds that are used sparingly for maximal effect. There are some elements of commercial crossover funk and even Miles Davis's electric period, but this is highly original music, an acid jazz prototype in which groove and electronica intersect with muted brass and a heady assortment of reeds and percussion. Sudden squiggles of funk guitar mix with strong improvisation from Sun Ra and his regular soloists, like saxophonists John Gilmore and Marshall Allen, who are always ready to bend the music into some new pitch zone. The lyrical title track bears a resemblance to Mingus's "Goodbye Pork Pie Hat," and "There Are Other Worlds" is supplemented by overdubbed "Ethnic Voices" and additional percussion and electronics, creating an eerily engaging tapestry. Recorded in a New York studio with the sound further improved by Evidence, this is unusually well recorded for Sun Ra music of the period, a warm bath in music both lush and exotic. Amazon Review by --Stuart Broomer

1978’s Lanquidity (now re-issued by Evidence) features a silver and purple cover image of Ra that begs the question: Has Sun Ra made a fusion album? This thought at first seems merely ridiculous, then after further consideration becomes a bit surreal, and then upon hearing becomes downright disturbing. As with any Ra project, a simple description such as “Ra does fusion” serves no justice in truly describing the actual music. Ra was a master at twisting known musical idioms into his idiosyncratic vision, and Lanquidity proves to be a stirring, mesmerizing example of this vision.

All of the tunes generally follow the same basic structure: the Arkestra riffs on dark, bluesy motifs; the bass and percussion create an interlocking, unchanging groove; and behind it all Ra, on piano and synthesizers, and the two guitarists (a rarely used instrument in Ra’s music), fill in the space with ethereal chords and disembodied riffs.

On the title track the Arkestra pieces together a creeping, mournful melody with shifting combinations of the two-trumpet and five-reed horn section. Against this, Ra plays wistful fragments on his Rhodes, while Richard Williams provides the glue with a sparse electric bass line. This funk-stuck-in-slow-motion points to an uncomfortable dread waiting below the surface.

The rhythm section opens “Twin Stars of Thence”, setting up a hypnotic, dragging pulse. Acoustic bass, guitar, traps and tympani lock in while Ra muses methodically on organ. The horns materialize out of nothingness and Gilmore weaves abstract blues lines into the mixture. A guitar solo, then the baritone saxophone takes a spare turn that lags behind the beat, while behind Ra incorporates lines from the guitarist’s solo into the background. Combined, these elements disorient and displace the listener. You feel as if this music should go down easy, but the candy coating turns out to be a sticky, unescapable molasses.

The Arkestra finally drags you where they want you on “There Are Other Worlds (they have not told you of)” A sleepy, barely noticeable hi-hat beats perpetually, soon joined by a low-register chorus of humming. Ra’s synthesizer and piano textures threaten to overtake the other instruments, pushing the piece toward disintegration. Towards the end the atmosphere ge s downright spooky, with breathy, whispering voices materializing, chanting the title over and over again. All the while flutes, then synthesizer, then dissonant piano chords, then saxophone swirl about, until they all dissipate like some phantom, leaving you wondering if what you just heard was really there at all.

On Lanquidity Ra turns the idea of disco and funk on its head: the repetitive beats, which usually make one feel like they know where the next step will land, instead leave one warily hanging on every moment. The music leads us in an unsettling direction, to a secret world where the lumbering grooves at first seduce with their simplicity, then intoxicate with their richness, until finally the darker sound textures overtake you and drop you in a place you had not imagined before.

 All About Jazz review by Matthew Wuethrich

Another foil cover

Sun Ra is one of the most challenging and innovative composers of the 20th century. He has a stupefyingly enormous discography, he espoused an enigmatic philosophy of cosmic proportions, and his music is often full of dense and unconventional sounds. Knowing where to start can be difficult, digesting his more experimental recordings even more so. For these reasons, and because of its once rare status, 1978's Lanquidity has long been among the most coveted Sun Ra records. It blends the Arkestra's characteristically obtuse performances and noisy tendencies with strong melodies, fat bass lines, and relatively straightforward rhythms. It's an excellent record for beginners and maybe the most accessible Sun Ra album ever recorded.

Because of previous encounters with Sun Ra's music, I was surprised by what I heard in the opening moments of Lanquidity. The title song features a plodding rhythm beat out by percussionist Michael Anderson, horn solos cool enough for an early Miles Davis record, and space enough to identify the many fractured tones that materialize around Richard Williams' weighty bass line. It is impressive that, with more than 14 Arkestra members on board, nearly every one of them gets the chance to speak up before the first song is out. Keyboards, synthesizer noise, oboe, flute, bassoon, and various horns (one of them played by Eddie Gale) take turns chattering or singing over the foundation of Anderson and Williams' somnambulistic rhythm section. The Arkestra's ingenious blending of simple rhythms and melodies with angular bursts of noise and interwoven phrases makes concentrating on the music's many complexities easier. The sometimes jarring juxtapositions of sax honking and squealing woodwinds are transformed into colorful, ecstatic, and pleasing expressions, like fireworks exploding over a familiar scene. And the often vibrant, strongly melodic solos are made that much more attractive by the atonal harmonies and contrasting elements that swirl throughout the song. Each musician plays off the other musician in such an effortless and easy-sounding way that I'm tempted to think Sun Ra notated each and every last note of the song, right down to the most nuanced dynamics. "Lanquidity" is a masterwork of arrangement and performance, and one of the best opening songs to an album that I've ever heard.

But things only get better from there. "Where Pathways Meet" is brisk and far more upbeat, almost danceable. Williams' bass, Sun Ra's piano, and a baritone sax combine to form a basic melodic pattern with a boastful, heavy swagger while a trio saxophones bluster a melody over it that swings so hard it rocks. Michael Anderson and second percussionist Artaukatune slam out a sample-worthy backbeat that is met by more blaring horns, a pair of dueling electric guitars, and a from-the-gut trumpet solo so emotive it outshines everything the Arkestra and both guitarists can pump out together. On each of the following songs, the same basic idea is employed: Sun Ra combines attractive and catchy melodies and rhythms with spaced out, often impressionistic instrumental voices that are more painterly than they are musical. It is astonishing that the Arkestra keeps this same basic formula compelling throughout the entire album. The rhythms, melodies, solos, and tapestry-like arrangements on each song are all memorable, layered, and exciting, and they've yet to get old, though I've played this record countless times in the last couple of months. Whether or not anyone could dance to this stuff, the music commands the body just as well as it commands the imagination, and I think that is one of the reasons it is so enduring.

"There Are Other Worlds (They Have Not Told You Of)" concludes the album in a more abstract and disjointed way. A constant rhythm section still leads the song, at least at first. But, Sun Ra adds more synthesizer, wandering piano, and atonality to the proceedings. Eventually, whispering voices are added to the mix, which speak of space, music, secret knowledge, and mysterious worlds beyond our own. From start to finish, the music becomes increasingly fractured, until it is broken down into primal piano and synthesizer utterances, like a radio communication received from afar. These final moments lead naturally into Sun Ra's more abstract and difficult music, as if the album were made to prepare listeners for what comes next, whether it be a record like Interstellar Low Ways or Heliocentric Worlds Vol. 2. My natural inclination once the album has finished is to put more Ra on and follow him further into the outer reaches of music.

For those curious about the man's music Lanquidity is an excellent place to begin. More than that, it's a stupendous album that marries Sun Ra's more adventurous ideas with a soulful and catchy sound anyone can appreciate.

Brainwashed.com review

Lanquidity (Acetate)

01 - Lanquidity   8:25
02 - Where Pathways Meet   6:36
03 - That's How I Feel   12:22
04 - Twin Stars of Thence   10:01
05 - There Are Other Worlds (They Have Not Told You Of)   9:29

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Lanquidity LP

01 - Lanquidity   8:19
02 - Where Pathways Meet   6:31
03 - That's How I Feel   8:01
04 - Twin Stars of Thence   9:32
05 - There Are Other Worlds (They Have Not Told You Of)   10:40

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Lanquidity CD

01 - Lanquidity   8:22
02 - Where Pathways Meet   6:33
03 - That's How I Feel   8:06
04 - Twin Stars of Thence   9:34
05 - There Are Other Worlds (They Have Not Told You Of)   10:57

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Original Post

2nd Chance: Sub Underground (1974)

The appropriately titled Sub-Underground (also known as Cosmo-Earth Fantasy and Temple U.) is another super-rare artifact, badly in need of upgrade and reissue. Originally released as Saturn 92074 in late 1974, Prof. Campbell posits side one was recorded at Variety Recorders in New York City sometime in September while side two was recorded live at Temple University in Philadelphia, possibly on September 20 (Campbell & Trent p.214-215). Yet, as usual with Sun Ra, there is much confusion and uncertainty regarding the details of this recording and, after careful listening, I’m not sure I agree with our discographer in all respects. Unfortunately, the sound quality is somewhat murky and my less-than-perfect transfer of the original LP does not help to clarify much. Despite (or perhaps because of) its difficulties, Sub-Underground a fascinating record.

Side one is taken up with “Cosmo-Earth Fantasy,” an epic, twenty-two minute improvisation, obviously recorded in the studio. It begins with Arkestra scrubbing, scraping and plucking a variety of zithers, harps, guitars and other “Strange Strings” while Ra strums the interior of a piano. I love it! Enervated bass octaves come and go. Is this electric bass? (Prof. Campbell thinks so.) Or is it Ra on some sort of keyboard? Maybe—it’s hard to tell. Anyway, the spacey exotica goes on for about seven minutes before Ra fingers an ominous chord sequence on Clavinet, signaling Marshall Allen to pick up the oboe and echo Ra’s insistently repeated figures. Sonny continues to hold down a pedal point and outline upper-register harmonies while Allen keenly elaborates on the simple theme. Just lovely. Then the oboe drops out and there’s more “bass,” with what sounds like a melodica wheezing around the corner. At the half-way mark, a high-pitched marimba (Ra?) starts clattering away, Chinese-style, eventually joined by Allen on flute. Then the texture starts to thicken (possibly through the use of overdubbing) as multiple flutes, “bass,” Clavinet and percussion build up a spiky, Messiaenic din. Wild! After some slow, held chords, the piece comes to a definite, satisfying conclusion. Prof. Campbell lists additional instrumentalists, including John Gilmore on tenor sax, Eloe Omoe on bass clarinet and (possibly) Dale Williams on guitar (Id.), but I just don’t hear them on this track. Regardless, “Cosmo-Earth Fantasy” is a classic.

Love is For Always

Side two begins with “Love Is For Always,” another impossibly romantic piano ballad featuring Gilmore’s creamy and delicious tenor saxophone—yes, it’s another incredible Gilmore solo! This beautiful Ra composition was, apparently, only performed one time. What a shame! The distant and boomy drums indicate it was indeed recorded live, although, curiously, any applause has been deftly edited from the end of the track.

(Continue reading at NuVoid's Sun Ra Sunday)

220. [192] Sun Ra and his Arkestra

Sub Underground

Sun Ra (p, Mini-Moog, syn, keyb, marimba); Marshall Allen (as, fl, ob); John Gilmore (ts, perc); Eloe Omoe (bcl); poss. Dale Williams (eg); unidentified (b); poss. Tommy Hunter (d); prob. Atakatune (cga, perc); prob. Odun (cga, perc).

Variety Recording Studio,

NYC, September 1974

Cosmo-Earth Fantasy (Ra)

Released in 1974 as Side A of Philadelphia Saturn LP 92074, Sub Underground.  The title is confusing because other, unrelated LPs were marketed at one time or another as being in the "Sub Underground Series."  Also known as Cosmo-Earth Fantasy and Temple U.

According to Glen Jones, the Arkestra arrived late at the Five Spot for a gig one night in the fall of 1974 because they had been recording in a studio.  This is audibly a studio recording, and Variety Recording Studio was used regularly by Ra during the '70s.  Personnel identified by rlc.  Gilbert Hsaio points out that a marimba can be heard on this session; very likely the instrument was played by Sunny himself, as on "Crystal Spears" from 1973.  John Szwed thinks that overdubbing was used on this session (it definitely was on some Variety sessions from the late 1970s) and that an electric guitarist was also present.

221. [193]

Sun Ra (p, Mii-Moog, syn, org); Marshall Allen (as, fl, ob); John Gilmore (ts, perc); Eloe Omoe (bcl); unidentified (b); poss. Tommy Hunter (d); prob. Atakatune [Stanley Morgan] (cga, perc); prob. Odun [Russell Branch] (cga, perc); Eddie Thomas [Thomas Thaddeus] (voc -1); unidentified male (voc -1); June Tyson (voc -2); poss. Cheryl Banks (voc -2).

Temple University, Philadelphia,

poss. September 20, 1974

Love Is for Always (Ra)
The Song of Drums (Ra) -1
The World of Africa (Ra) -2

Released in 1974 as Side B of Saturn LP 92074, Sub Underground.  Some copies are titled Sub Underground #2.  This LP is also known as Cosmo-Earth Fantasy.  The location for these performances, clearly from a live session, is suggested by still another title, Temple U.  Alden Kimbrough's copy has "Live at Temple University 1974" written on the back cover.

From Campbell / Trent  The Earthly Recordings of Sun Ra 2nd ed.

 

Sub Underground (1974)

1. Cosmo - Earth fantasy    21:26 

2. Love is for always    6:49 

3. The song of drums    6:07 

4. The world of Africa    3:03

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Another amazing LP rip courtesy of our friend, Paul W.
Originally posted 18 January 2011

King Britt on Sun Ra - Noise from the 18th Floor

Cosmic Culture: A Sonic Journey into Afrofuturism

2007 Pew Fellow King Britt has had numerous influences during his international career as a DJ, performer, and composer.  For this program of African-American music inspired by science fiction, the Grammy Award-nominated artist has selected performances by those who seem to have a spiritual connection with a greater force. In part one, titled “Yesterday,” Britt’s mix of 10 compositions includes the mystical Sun Ra in a live performance of “Space Is the Place” with an overlay of an interview with Britt’s mother Pearl and “Feel” by George Duke, which, according to King, “just takes you there.” The journey continues with “Today,” a mega-mix of over two-dozen pieces. From Los Angeles-based band Build an Ark, which has kept Sun Ra’s spiritual message alive with songs such as “The Stars Are Singing Too,” to Afrika Bambaataa’s “Planet Rock,” which Britt describes as an “anthem of our generation,” this collection is a reflection of his artistic vision. Cosmic Culture also features the music of jazz greats Dee Dee Bridgewater, Herbie Hancock, and many more, and closes with a third installment, “Tomorrow,” which features a new composition, “Beyond the Sun,” written by Britt especially for this program under his pseudonym Fhloston Paradigm. The program is produced and hosted by Tracey Tanenbaum with Rodney Whittenberg of Melodyvision as sound engineer. Photo by Donna Burch.

Jump to site.

 The Pew Fellowship site offers a pdf of the below playlist and a free download of the Fhloston Paradigm track!

Current Schedule (all times listed in EST):

Cosmic Culture: A Sonic Journey Into Afrofuturism with King Britt: 8 a.m., 10 a.m., noon, 10 p.m., midnight, 2 a.m.

King Britt Playlist:

Cosmic Culture: A Sonic Journey into Afrofuturism

Part 1: Yesterday



“Kawaida”

Kawaida



“Gamla Stan”

Don Cherry

plus: an interview with Alondra Nelson



“Ostinato”

Herbie Hancock (as Mwandishi)



“John McLaughlin”

Miles Davis



"Space Is the Place (Live)"

Sun Ra

plus: an interview with Pearl Britt



“Feel”

George Duke



“Rien Neva Plus”

Funk Factory



“Cabral”

Mtume feat. Dee Dee Bridgewater



“Radhe Shyam”

Alice Coltrane

plus: an interview with Sun Ra

Part 2: Today (Megamix)



“African Roots”

King Tubby



“Eyjafjallajokul”

Mad Professor



“Zodiac Shit”

Flying Lotus



“Ahoulaghuine Akaline (King Britt Remix)”

Bombino



“Teleport”

Headless Headhunters



“Nights Over Nantes”

Jneiro Jarel



“Castles”

HouseShoes feat. Jimetta Rose



“Brgundy”

MndDsgn



“Connect”

Some Other Ship



“All in Forms (Leatherette Remix)”

Bonobo



“Light Odyssey”

Union



“Planetary Analysis”

King Britt feat. Rich Media



“Discipline 3”

Ras G

plus: an interview with Sun Ra

“Heritage Ship”

Madlib



“Emotional Quotient Deringer of Chiek Anta Diop”

King Britt feat. Rilners Jouegck



“New Wave”

Common feat. Stereolab



“The Stars Are Singing Too”

Build an Ark



“Bug in the Bassbin”

Innerzone Orchestra



“Raven”

Actress



“Voodoo Ray”

A Guy Called Gerald



“Dem Young Scones”

Moodymann



“Flower (King Britt’s Underwater Garden Dub Remix)”

Soul Dhamma



“Planet Rock”

Afrika Bambaataa



“Mozaik”

Zomby



“Endgame”

Antipop Consortium



“Loveless”

4Hero feat. Ursula Rucker

Part 3: Tomorrow



“Beyond the Sun (Live)”

Fhloston Paradigm



“Endeavors for Never

(The Last Time We Spoke You Said You Were Not Here. I Saw You Though.)”

Shabazz Palaces

Noise from the 18th Floor: Behind the scenes with King Britt from Pew Center for Arts & Heritage on Vimeo.

A Sun Ra Story - via The Brain Police

Robert Mugge's 'A Joyful Noise' is what first drew me drew and bound me into Sun Ra's orbit.  I had heard his name, read of his band, and knew of his influence upon George Clinton and the Parliament Funkadelic for years but had never delved deeper until I found this documentary on sale at a local bookstore in the late '90s.  Ra's ruminations on balancing equations, the Black/White House, and his brief take on Monk's 'Round Midnight floored me and I was hooked forever.  Today,  I found this wonderful blog entry on our favorite Saturnian and felt it should be shared here.  Please stop by The Brain Police and leave a note of thanks for the following interesting anecdote.

 A Joyful Noise.

A documentary directed by Robert Mugge in 1980. I am continuously inspired and uplifted by the creative energy of a man who was born Herman Poole Blount in Birmingham, Alabama on May 22, 1914, but decided that he did not choose to be a mere earthling and he could be what ever he wanted. Herman, who was self taught pianist and orchestral arranger, self evolved into a being called Sun Ra. He even convinced the United States Government to issue him a passport as Sun Ra, who, as we all know was born on the planet Saturn. He traveled the Earth for decades and still travels the Spaceways as Sun Ra. He wrote and performed music that transcended the past, the present and encompassed a future we will probably never know. Money? Record labels? Heck, he pressed his own records and sold them out of the back of car. He invented his own mythology and made it real by recycling the cast offs of your affluence. He invented his own systems of logic and knowledge. He basically kept the same group of musicians who ranged from musical illiterates to absolute genius together for almost 35 years. He was first jazz pianist to use electric keyboards, one of the first artists to use Moog synthesizers and yet was able to integrate the big band feel of Fletcher Henderson, african tribal chants and beats and egyptian solar mythology into the same performance, creating some of the most original and brilliant music I have ever heard. He made an absolutely brilliant record in the 1960's by acquiring a collection of Asian stringed instruments and giving them to his band, who had no idea as to how they were tuned or how they were supposed to be played and then recorded a guided improvised musical journey...He made movies unlike anything you have ever seen with no budget, he published books of poetry and philosophy. He left the planet physically in 1993.
So, last night, I had dinner with my friend Brian who is a musician and record producer. Brian was a friend in NYC, but has a house outside of Fleurac...in a forested valley above the Grotte de Rouffignac with his wife, Melinda  and son, Harry. Interesting, we lived a few blocks from each other in New York but now see each other more here in the Dordogne. Brian wanted to lend me a book, Space Is The Place...the biography of Sun Ra witten by John F. Zwed. I thanked him, but I have owned the book since the 1990s, when it was published...we started to talk about Sun Ra and Brian told me this story about a musician he had produced that wrote songs that reminded him of the work of Stephen Foster. He was so intrigued by the Steophen Foster references in the mans work that he decided that he wanted to do a project of completely "outside" artists performing the works of Stephen Foster. He spoke to Ornette Coleman, Tom Waits, Leonard Cohen and a few other artists and they were enthusiastic. Then he approached Sun Ra. Sun Ra was enthusiastic and was going to record his version of The Camp Town Races, but Sun Ra had a reservation...he demanded to see a sample of Stephen Fosters hand writing. He said he had to see his penmanship to determine if Mr. Foster was a racist....
(The story continues at The Brain Police)

2nd Chance: Sun Ra - Astro Black (1973)

 Re-posted by Re-Quest.

If you have never heard this album.  You need this now.  I believe it to be one of Ra's most stunningly beautiful albums, adventurous and sublime.

According to the jacket of Astro Black, Sun Ra’s first new recording for ABC/Impulse! was made at “El Saturn Studio” in Chicago on May 7, 1972, but that date is questionable since the Arkestra was just leaving California in May -- and the studio name is “strictly mythic” (Campbell & Trent p.186) Whatever the date or actual location, it was clearly made in a professional recording studio as the sound quality is exceptionally good. Sun Ra was obviously determined to take advantage of the mass exposure a major label could bring, producing one his finest albums. Notably, Ronnie Boykins makes a welcome return on bass after a long absence and he is prominently featured here, driving the band to great heights. The Arkestra is augmented with both Akh Tal Ebah and Kwami Hadi on trumpets, Charles Stephens on trombone, Alzo Wright on violin and viola, along with several conga players, who give much of this record its avant-exotica feel. But Boykins’s clearly inspires Sonny and his fluent explorations on organ and synthesizer throughout the album demonstrate a consummate mastery of electronic instruments. Astro Black is, in my opinion, one of Sun Ra’s crowning recorded achievements.

(continue reading at Rodger Coleman's fantastic NuVoid - Sun Ra Sundays blog)

Impulse AS-9255, Astro Black, was released in 1973.  Personnel and date from the Impulse jacket; the location was identified as "El Saturn Studio," but that is strictly mythic.  There is some question about the precise date as well, because the Arkestra was just leaving Oakland in May 1972.  "The Cosmo-Fire, Part II" also appeared on an Impulse Sampler LP, ASD-9267, titled No Energy Crisis.  "Astro Black" also appeared in abridged form on an Impulse sampler called Impulsively!, Impulse 1973 or AS-9266.  The "mistro-clarinet" was presumably an alto model.

From The Earthly Recordings of Sun Ra 2nd ed.

Discipline "99"

Sun Ra (Mini-Moog syn, e-vib, org); Akh Tal Ebah (tp); Lamont McClamb [Kwame Hadi] (tp); Charles Stephens (tb); Marshall Allen (as); Danny Davis (as); John Gilmore (ts, perc); Danny Ray Thompson (bars); Eloe Omoe (bcl); Pat Patrick (mistro-cl); Alzo Wright (vln, vla); Ronnie Boykins (b); Tommy Hunter (d); Atakatume [Stanley Morgan] (cga); Odun [Russell Branch] (cga); Chica (cga); Ruth Wright (voc); June Tyson (voc).

Studio Recording, Chicago, May 7, 1972

Astro Black
Sun Ra (with Arkestra)

1. Astro Black    10:53 

2. Discipline "99"    3:41 

3. Hidden Spheres    8:05 

4. The Cosmo-Fire (part 1)    6:57 

5. The Cosmo-Fire (part 2)    7:08 

6. The Cosmo-Fire (part 3)    4:17

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If They Push that Button...

Inner-Space Entryway?
Myco-mythic meal of inner exploration?
Jungian Eucharist for intergalactic assimilation?

or

Nuclear War?
(It's After the End of the World)

(with Thanks to CB, David Morrison, and the undulating counters of Keokuk's collections)

Sun Ra Side Dish (cosmo-condiment)

Images of Arkestral Abandon 2011 - 2012

Two collections of audience photos from recent Sun Ra Arkestra performances.  First from Melbourne, Australia in June 2011 from our friend, TimN, (via Mona) of Exile on Moan Street, followed by a link to images from the February 11, 2012 performance at the SESC Pompeia in Sao Paolo, Brazil via Les Mains Noires.

 

 

HUGE Thanks to TimN!

(112) Full Resolution Pics

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Marshall Allen on EVI
Melbourne June 2011

Saturn

Sao Paolo 10 Feb 2012

A Stunning collection of

Images from 11 Feb 2012
via Les Mains Noires

 

Sun Ra Arkestra - Points on a Space Age (video)

This film offers rare insight of the Arkestra and examines their current work (in the physical absence of Sun Ra) under the direction of Marshall Allen.

This wonderful video is available for sale at a very reasonable price at various sites online.  I had forgotten how much I enjoy watching it and hope that Marshall et al. are enjoying some profits from its release.

POINTS ON A SPACE AGE, filmed between Spring’06 and Spring ’07, explores the recent activity of the remaining members of the influential Sun Ra Arkestra.

The film examines the work the Arkestra in the physical absence of Sun Ra. After Sun Ra "left the planet" direction of the band was left to his most faithful musician and companion Marshall Allen (a member of the band since to mid 1950's). Since the passing of Ra, the band under the direction of Allen (now age 86) continues to maintain an active touring schedule and continues to recruit younger members into the Sun Ra lifestyle. A lifestyle committed to human development through the disciples of Music and Spirituality.

For director and producer Ephraim Asili, the fascination with the Arkestra began one day during the summer of ‘98 in Philadelphia:

It was a warm, clear, and sunny summer day. The Arkestra was giving a free concert in a park near their collective home/rehearsal space. Then it happened... Clear skies turned grey and a thunderstorm broke out. The audience evaporated. In the midst of all of this I stood in the rain as band members began jumping off of the bandstand, instruments in hand. I thought to myself “That’s it… Time to go”. Just as I began to leave I realized that the band was not running from the rain, they were starting some sort of procession through the park. The members began weaving through the storm and remaining spectators while at the same time playing some of the most beautiful and bizarre music that I had ever heard…
Complete transcript: below.

POINTS ON A SPACE AGE uses an approach as experimental as the band and functions to give those who have already seen the Arkestra an opportunity to experience them yet again, and for those that have not seen them it offers some insight into one of the most influential bands of the 20th Century.

The Arkestra, is an experimental big band formed in the mid 1950's around the teachings of, musician, philosopher, and spiritualist Sun Ra. Sun Ra, according to himself and his disciples believed that he was sent to this planet to prepare human beings for the world for the future, a future centered around space travel, and the human capacity to evolve with ever changing demands of a highly technological world. The members of Ra's band were not only band mates they were also disciples, students, and companions to their Guru bandleader. All band members where required to learn the philosophy of Ra, and many members lived with him as well. It was common for the band to practice of eight hours, only breaking for teachings, and then go out and play gigs. The band continued in this manner for approximately thirty years until Sun Ra "left the planet" in 1993. 

(2009 press release from PRlog)

 

Ephram Asili:

During the summer after graduating from high school I had my first encounter with the Sun Ra Arkestra. It was 1998. I was 18 years old. I had heard of Sun Ra but that was about it. It was a warm, clear, and sunny summer day. The Arkestra was giving a free concert in a park near their collective home/rehearsal space. When I arrived at the concert the first thing that I noticed was the lack of a piano or keyboard (Sun Ra’s instruments).  I soon learned that Sun Ra “left the planet” in 1993. When the band took the stage I was amazed by

1.     The number of musicians.

2.     The wild outfits.

3.     The diversity of age of the players.

4.     The passion contained within the playing.

Then it happened.

 Clear skies turned grey.

A thunderstorm broke out.

The audience evaporated.

      In the midst of all of this I stood in the rain as band members began jumping off of the bandstand, instruments in hand. I thought to myself “That’s it. Time to go”. Just as I began to leave I realized that the band was not running from the rain, they were starting some sort of procession through the park. The members began weaving through the storm and remaining spectators while at the same time playing some of the most beautiful and bizarre music that I had ever heard.

The rain didn’t let up.

The band continued to walk/dance/ play.

I was soaked (no umbrella).

I left the band played.

I returned home wondering if the band was still out there.

Walking/strolling/ playing.

Another year would go by before I got another chance to see the band.  The next concert I saw was another free concert in Philadelphia, this time in Rittenhouse Square. The experience was equally wonderful and I knew then that I had to look into the mysterious Sun Ra and his Arkestra. Years passed and I made it a point to see them play at least once a year, I bought some of their albums (of which there are hundreds), and I became increasingly interested in the philosophical and spiritual teachings of Sun Ra.

Seven years after seeing the band for the first time it occurred to me to make a video with the remaining members of the Arkestra. I was 25 and studying film at Temple University in Philadelphia.  I had access to equipment, loads of inspiration and absolutely no contact with the band at all. I spent weeks figuring out a way to get close to the band with no success. I continued my film studies and began making short films at school. One weekend I picked up a camera and hopped on the subway to go home. When I got situated on the train with my stuff I looked to my left, and guess who is sitting right next to me? Tyrone Hill (long time trombone player from the Arkestra, and a close friend of Sun Ra).

We “got to talking” and he told me that he played on street corners sometimes and that he was on his way to City Hall to play. He noticed my camera and offered to let me tape him playing. I did of course, and that was the beginning of my relationship with the Arkesra. About a week after meeting Tyrone he invited me to shoot at another gig he was playing. It was Marshall Allen’s 83^rd birthday party, and in true Marshall Allen fashion he was playing a concert for everyone else. That night Tyrone introduced me to Marshall and several other Arkestra members. Soon after I began hanging out at the Sun Ra House/Community/Rehearsal space. It was also at that time that we began shooting what eventually became Points on a Space Age.

Unfortunately Tyrone Hill did not live to see the completion of the project. He “left the planet” on March 11, 2007. I finished production shortly after, edited the work with coeditor Dan Kremer, and that was that.

It is worth noting that Tyrone Hill appears throughout the video, and there is actually footage from his memorial service in the video as well. Tyrone’s story as played out in the video can be viewed on the one hand as a metaphor for the Arkestra itself. On the other it can be seen as a metaphor of the great music culture that gave birth to bands like the Arkestra, and visionaries like Sun Ra. Quoting a line from the video “ the final chapter is being written right now”. Points on a Space Age is a glimpse into this final chapter.

Picture Infinity: Marshall Allen & The Sun Ra Arkestra

 

I highly recommend this wonderful book.  The small, hardcover edition is filled with candid photos of the Arkestra and includes a fair number of brief articles, each well written and interesting.  My copy arrived two weeks ago and each time I pick it up, I find myself savoring every page.  Perhaps the best purchase I've made this year.

Picture Infinity: Marshall Allen & The Sun Ra Arkestra
Sibylle Zerr
152 pages, paperback
ISBN: 978-3-00-035497-7
Self Published
2011

Half a dozen books covering the life, times and music of enigmatic big band leader Sun Ra have appeared since his death in 1993, aged 79. Detailed biography, collections of interviews, early writings, poetry and street corner pamphlets give substantial insight into his artistic and philosophical roots. Weightier, academic tomes have studied the impact of jazz's most prolific composer on American history and culture.

What these studies have in common—and the very thing that sets Sibylle Zerr's book apart—is that they tend to treat Sun Ra's death as the end of the line, a full stop in the history of the Arkestra, the big band Ra formed in the early 1950s. But as Zerr relates, the band barely paused for breath, continuing under tenor saxophonist John Gilmore until he passed away two years later in 1995. And for the past 17 years the Sun Ra Arkestra has continued to plot its unique course under the leadership of alto saxophonist Marshall Allen.

Zerr—a cultural anthropologist and journalist—has been following Sun Ra's Arkestra since 2003, and brings something of an insider's view into the workings of the big band, and, by extension, the continuing, self-perpetuating legacy of Sun Ra.

At 152 pages, of which 86 are photographs, this is neither a comprehensive history of Sun Ra's Arkestra, nor of Allen. Instead, Zerr weaves the observations and thoughts of Allen and current Arkestra members into the text of carefully crafted essays. A number of Sun Ra's colorful quotations and philosophical utterances-cum-poetry serve as a backdrop to these thoughts and Zerr's own insightful observations. These threads combine to create a vivid picture of a unique musical institution, one sustained by the musical vision and enduring myth of Sun Ra.

"I'm actually painting pictures of infinity with my music," Ra said in 1970, "that's why a lot of people can't understand it." What many people couldn't understand was Ra's esoteric cosmic philosophy, his claim to have been born on Saturn, his self-created myth, and the Arkestra's dressing-up in sequined robes that are part-Pharonic and part-Flash Gordon props. This mixture of Egyptology, cosmology, Afro-Futurism and the neo-hippy message of love and peace probably caused way more confusion than the sweeping musical reach of Ra's Arkestra. Zerr, as an unabashed acolyte, rationalizes this aspect of the Arkestra's personality in relatively convincing terms.

The colorful regalia and seemingly New Age universal view partly explains the Arkestra's continuing cult following, but it also underlines—though not intentionally on the author's part—why Sun Ra remains something of a controversial figure. It's almost impossible to consider Sun Ra's music without the image, myth and countless space metaphors getting in the way. Zerr states—without the slightest hint of irony—"Until today, the musical genius of Sun Ra is clouded in an astral nebula of misunderstanding." Ra, however, was not without a sense of humor, once informing President Richard Nixon he had "24 hours to get off the planet."

In the Arkestra's personal idiom band members are not born but "arrive" on the planet and later "depart." Deceased members are referred to as "ancestors." The Arkestra doesn't arrive for a concert; it "docks" at "4pm terrestrial time." Zerr recounts how some of the Arkestra members believe that current pianist Farid Barron was chosen by Sun Ra, a dozen years after the leader departed. Barron himself says: "I feel that I have been initiated into a sacred fraternal order." Allen's house—and home to Arkestra members since 1968—is called The Ark.

The real strength of the book lies in Zerr's vivid descriptions of the Arkestra on stage and her astute comparisons between Ra's dictatorial running of the band and Allen's more accommodating—though no less focused—approach. This provides a very real sense of the Arkestra's evolution and continuing growth. The musicians' devotion to Ra's musical ethos leaps off the pages and will convince even the most skeptical reader that this is no ghost band, but a thriving organism.

Whilst Zerr refers to the tremendous breadth and almost unparalleled scope of the Arkestra's music, interestingly, the Arkestra members do not readily identify with the term "free jazz": "Sun Ra did not like the word freedom," explains trombonist Tyrone Hill. "He liked discipline. It takes a lot of discipline to play this music. You have to know when to play it free and when not to." 

(continue reading at All About Jazz)

Sun Ra at BWBW

Check out Miles' new Sun Ra compilation over at the always diverse and fascinating

Birds With Broken Wings

Thanks, Miles!!

Sun Ra - The Complete Nothing Is... (1966, released 2010)

ESP-Disk’ recently unearthed over ninety minutes of unreleased material from the May 18, 1966 concert at St. Lawrence University in Potsdam, New York and has released the whole shebang on a two-CD set entitled, College Tour Vol.1: The Complete Nothing Is…The discovery of previously unreleased Sun Ra music from the ‘Sixties is reason enough to celebrate, but this release exceeds all expectations. Of course, Nothing Is… is a perfect album in itself, but it was skillfully edited to showcase the more out-there extremes of the Arkestra’s live act. This expanded edition restores the concert’s proper sequence, including some of the old-timey swing numbers and groovy space chants which were omitted from the original album; to hear this edition of Arkestra rip through some of the ‘Fifties-era material such as, “Advice for Medics” and “Space Aura,” is a rare delight indeed! And the second disc is truly revelatory, opening with an unusually expansive, contemplative version of “The Satellites Are Spinning” and going on from there.

This was one of the best bands Sonny ever assembled: Ronnie Boykins and Clifford Jarvis in the rhythm section (along with James Jacson and Carl Nimrod on percussion); John Gilmore, Marshall Allen, Pat Patrick, and Robert Cummings filling out the reeds; and, instead of the more usual trumpets on top, there are the trombonists, Teddy Nance and Ali Hasan, who give the ensemble sections are darker, mellower tone while also being strong soloists in their own right. My only complaint is the interminable drum solos—why, oh why, did Sun Ra indulge Jarvis so? It’s not that I have anything against drum solos per se (although I generally think they’re a bad idea); it’s just that Jarvis always just plays a bunch of flashy bullshit. Excuse my language, but it’s the most appropriate term. Every time he goes off like that, he abandons the truth of the music for the lie of empty technical displays. Usually, Sonny has to finally cut him mid-paradiddle so as to get things back on track. Left to his own devices, I swear he would go on forever.

But I quibble. Disc two includes almost thirty-five minutes of the evening’s soundcheck/rehearsal featuring two previously unknown compositions: “Nothing Is,” a floating, rhapsodic kind of blues, propelled by Ra’s wandering piano, is sometimes countered by long-toned horns while “Is Is Eternal” sets angular piano chords amidst cascading, rubato rhythms over which the horns heave and sigh in densely orchestrated harmony. Brief solo statements break the surface here and there, but this is very much a through-composed ensemble piece that was, apparently, never performed. Interesting. A leisurely romp through the riff-happy “State Street” follows, featuring dueling bari-saxes in the lead and “The Exotic Forest” concludes the disc in what sounds like a rehearsal but, curiously, applause can be heard at the end. Is it merely tacked on? Who knows? Regardless, College Tour Vol.1 is a most welcome addition to the Sun Ra discography, an essential document from this most fertile period.

from NuVoid's Sun Ra Sundays

Advice to Medics

Dancing Shadows

122. [108]  Sun Ra and his Arkestra

Nothing Is

(Sun Ra (p, Clavioline); Ali Hassan (tb); Teddy Nance (tb); Marshall Allen (as, fl, picc, ob); John Gilmore (ts, perc); Pat Patrick (bars, fl, perc); Robert Cummings (bcl, perc); James Jacson (fl, log drums); Ronnie Boykins (b, tuba); Clifford Jarvis (d); Roger Blank or Jimmy Johnson (d); Carl Nimrod [Carl S. Malone] (sun horn, gong). 

Tour of New York State colleges,
early May 1966

ESP-Disk' 1045, Nothing Is,  was released in 1969.  According to Henry Weld, it was also available on 8-Track tape from ESP in the 1970s.

All tracks were reissued on Base ESPS-1045 (Italy, c. 1981), Boots 2416 (1982), German ZYX ESP 1045 [CD, 1992] and Japanese ESP TKCZ-79126 [CD].  There are two German bootleg reissues: Happy Bird B 90130 from 1983 and Magic Music 30013 [CD, 1990], both using the title Dancing Shadows.  Marco Melaragni points out a French bootleg on ESP Explosive 538.106 (c. 1970).

A bootleg LP reissue of Nothing Is came out in Italy on Get Back GET 1007.

"Dancing Shadows" was also reissued in 1983 on a Saturn anthology LP Just Friends (Saturn XI).

Personnel and date from the ESP jacket.  The second trap drummer (according to Tommy Hunter, the Arkestra often worked with two drummers around this time) is clearly audible but not mentioned in the credits; John Gilmore suggested that it might be Roger Blank or Jimmy Johnson.  According to Patty Waters, the tour included SUNY Buffalo and Syracuse University.

The ESP catalog of 1969 listed a fourth Ra album on ESP 1046.  This never materialized.  According to Bernard Stollman, Ra promised, but did not deliver, a concert recording; no tapes ever came into the possession of the label.
from The Earthly Recordings 2nd ed. Campbell/Trent

College Tour Vol. 1: The Complete Nothing Is...
Sun Ra and his Arkestra
May 18, 1966
St. Lawrence University, Potsdam, NY
ESP 4060 [CD] 2010

1.  Burton Greene Introduction   2:03
2.  Sun Ra And His Band From Outer Space   11:59
3.  The Shadow World   4:40
4.  Interpolation   2:18
5.  The Satellites Are Spinning   1:17
6.  Advice to Medics   2:51
7.  Velvet   8:16
8.  Space Aura   10:26
9.  The Exotic Forest   9:43
10. Theme of the Star Gazers   1:52
11. Outer Space Ways Incorporated   2:24
12. Dancing Shadows   9:45
13. Imagination   0:40
14. The Second Stop Is Jupiter   1:12
15. The Next Stop Mars   0:41
16. The Satellites Are Spinning   9:08
17. Velvet   7:10
18. Interplanetary Chaos   4:35
19. Theme of the Star Gazers No. 2   1:30
20. The Second Stop Is Jupiter No. 2   11:16
21. We Travel the Spaceways   1:42
22. Nothing Is   6:13
23. Is It Eternal   12:37
24. State Street   8:21
25. The Exotic Forest No. 2   4:32

-FLAC-

RS1 + RS2 + RS3

HF1 + HF2 + HF3

or


 -320-

RS

HF

Sun Ra - We Are In The Future (1984)

In 1984, Savoy Jazz reissued Sun Ra's landmark album, The Futuristic Sounds of Sun Ra under a new title and with new cover art.  For additional information about The Futuristic Sounds of Sun Ra, please revisit this post.

 

click to enlarge

76. [65]  Sun Ra and his Arkestra

The Futuristic Sounds of Sun Ra

Sun RA (p, perc); Bernard McKinney [Kiane Zawadi] (tb, euph); Marshall Allen (as, fl, mor, perc); John Gilmore (ts, bcl, perc); Pat Patrick (bars, perc); Ronnie Boykins (b, perc); Willie Jones (d); Leah Ananda (cga); Ricky Murray (voc); Perc included bells from India, Chinese wind chimes, wood blocks, maracas, claves, scratchers, gongs, cowbells, Turkish cymbals, castanets.

Medallion Studio, Newark, NJ,
October 10, 1961

Recorded in stereo but released only in mono in 1961 on Savoy MG12169, The Futuristic Sounds of Sun Ra.  Bootlegged in France around 1970 on BYG 529.111 (mono).  Reissued in stereo on Japanese Savoy SV 0213 [CD] in 1993.

A 1984 LP reissue on Savoy SJL 1141 was retitled We Are in the Future; Japanese Savoy COCY 75440 [CD], released c. 1990, also used this title.

Also issued on Concert Hall I-1348 (French) under the title Sun Ra during the 1970s.  "New Day" and "China Gate" appeared on Side 3 of the bootleg double LP Monkey MY 40014 (French, 1970s).  "Where Is Tomorrow?" also appeared on the BYG album History of Jazz Volume 9, along with other material pirated from Savoy.  "Jet Flight" also appeared on Franklin Mint 098, a 4-LP collection called Greatest Jazz Recordings of All Time, in the "Contemporary Currents" volume.

On the label of the original issue, "Of Sounds" was misprinted "Of Wounds."  In a truly silly bit of literalism, Savoy SV 0213 [CD] retains the misprint. [this was later corrected - my copies do not retain the misprint.  yotte]

According to Phil Cohran, the morrow was an instrument Marshall Allen built in 1960, before leaving Chicago.  It grafted a clarinet mouthpiece onto a shakuhachi body, producing ancient reed-pipe sounds, bent notes, and siren-like glissandi.

Ricky Murray returned to Chicago after this session.  Willie Jones did not remain with the Arkestra; his place was quickly taken by Sunny's old associate from the early Chicago days, Tommy Hunter.
from Campbell/Trent The Earthly Recordings 2nd ed.

We Are In The Future (1984)

Savoy LP Reissue of The Futuristic Sounds of Sun Ra (1961)
Sun Ra
Savoy Jazz SJL 1141

1.  A1 Bassism   4:01

2.  A2 Of Sounds And Something Else   2:53

3.  A3 What's That?   2:13

4.  A4 Where Is Tomorrow   2:49

5.  A5 The Beginning   6:28

6.  A6 China Gate   3:06

7.  B1 New Day   5:50

8.  B2 Tapestry From An Asteroid   3:02

9.  B3 Jet Flight   3:14

10. B4 Looking Outward   2:49

11. B5 Space Jazz Reverie   4:53

-FLAC-

RS

HF

or

-320-

RS

HF