Sun Ra - Music of the Future (reconstructed)

A lost hybrid!  A few weeks ago, astute reader, Rev.b noticed some interesting remarks in the Campbell/Trent entry for Holiday for Soul Dance.  Rev.b's curiosity proved contagious... it spread to I-), who passed it on to me... and ultimately (I hope) to you.  As always, many thanks to I-) for  taking a good idea and expanding upon it.  Rev.b and I-), this place just wouldn't be the same without you guys!

Below is the text that caught Rev.b's keen eye followed by an offering of a compilation of the tracks culled from the Evidence CDs, Fate in a Pleasant Mood and Holiday for Soul Dance.  The artwork I included is a drawing by Claude Dangerfield who created the covers for several Saturn releases from the 1950's and '60s.  I also re-titled the tracks to match the test pressing.  Keep scrolling after the links for a bit of urban musical arkeology.


72. [61]  Sun Ra and his Myth Science Arkestra

...confirmation of the common origin of many of these tracks is provided by a Saturn test pressing found in a Montréal record store by François Lamarche.  The test pressing was made at Sheldon Recording Studios (aka the Chess studios in Chicago) and titled simply, Music of the Future by Sun Ra Arkestra.  Side A contained "Space Mates," "But Not for Me," and "The Others in There [sic] World."  Side B had "Lights on the [sic] Satellite," "Day by Day," "Ankhnaton," and "Holiday for Strings."  The pressing contains Alton Abraham's old address at 4115 South Drexel -- and gives a Montréal address and phone number for Sun Ra.  It was therefore cut in the summer or early fall of 1961.  However, Saturn did not actually issue any LPs from this session until 1965, and when they began to appear, the tracks had been redistributed.

Sun Ra and his Myth Science Arkestra
Sun Ra and his Astro Infinity Arkestra

Music of the Future (reconstructed)
compiled from the Evidence CDs:
Fate in a Pleasant Mood / When Sun Comes Out
Holiday for Soul Dance

1. A1 Space Mates   7:12
2. A2 But Not For Me   4:11
3. A3 The Others In There World   2:18
4. A4 Lights On The Satellite   3:43

5. B1 Day By Day   3:40
6. B2 Ankhnaton   3:29
7. B3 Holiday For Strings   4:09

-FLAC-

RS

HF

or

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I-) created some CD Artwork celebrate the Music of the Future!
THANKS, I-)
RS  HF
Here are three covers as inserts for a CD case.  i offer two
versions - one with the correct titles and one with the misspelled
titles.

the first one shows the info that i was able to find  (text
description only, i am afraid) that appeared on the test pressing.  as
you can imagine on a test pressing, there may have been a typed sheet,
or it could have been handwritten in the sleeve or ???.  i took that
info and made up a typed sheet of what it may have looked like.
have fun with these!

Here is another interesting bit of Sun Ra history recently introduced to the Saturn List (outerspaceways.info) by rlc.  Below are excerpts of the discussion:

rlc:

Subject: Urban musical archeology

A jazz buff named David Bramble has a significant discovery to report.

At 315 East 35th Street in Chicago, Meyers Ace Hardware occupies the building that once housed a celebrated old-fashioned nightclub, the Grand Terrace.

Incredibly, the mural that was on the wall behind the bandstand during the Terrace's last active years (1955-1957) is still partly preserved.

So one thing we now know for sure is that the black and white photo of Sunny with Richard Evans, John Gilmore, Pat Patrick, and Robert Barry was taken at the Grand Terrace between early October and early December 1955.  Most of the mural can be seen behind and above them; a little is cut off at the top of the photo, and to the far left and far right.

With permission from the owner and the manager, David Bramble was able to take a few color photos three remaining pieces.  They are now located in the manager's office, in the stairwell leading up to the manager's office, and in what looks like a bathroom.

rlc

PS. The owner, David Meyers, recently found an old signboard in the attic or the basement, advertising Sunny's gig at the Grand Terrace.

mgd:

About the "old signboard in the attic or the basement advertising Sunny's gig at the Grand Terrace," does anyone know anything about the other person advertised on the signboard, Dorres [?] Burrage?  Drummer Ronnie Burrage is interested.  I forwarded him a copy of the signboard photo, and he replied, "Thank you, I will have to look into this.  My family in Chicago played, but I only knew about the Sanders side.  My grandmother's brother, father, uncles?"   About Ronnie, he has played music with Richard Davis, John Hicks, Andrew Hill, Jackie McLean, David Murray, Jaco Pastorius, Sonny Rollins, Woody Shaw, McCoy Tyner, Reggie Workman, et al.

rlc:

What happened is that blues/soul singer Harold Burrage was originally on the bill (along with Rudy Crier, the show producer, he is prominently billed in Chicago Defender advertisements for the gig).

At some point before the show closed (in early December 1955), it looks as though Harold Burrage left and was replaced by another performer named Dorrres something.  The sticker has completely peeled off the right half of the sign, so we don't know the last name.

With some time to look back through Chicago Defenders from late 1955, I may be able to identify Dorres.  Almost certainly not connected with Harold Burrage, though.

Ihor:

it was not a sticker - it is a piece of painted wood that was nailed over harold burrage's name on the board.  the 'dorres' part, on the left, remains nailed on.  the right part, which had covered 'burrage', is missing.  you can see it in detail here.

nd:

Don't know if this was noted before but I found a reference to related info here. 

That links leads to another photo of the same sign and (wikipedia) indicates that the Grand Terrace closed in 1950 which would make this very early Ra indeed!

rlc:

Nou,
In the photo you linked to, the signboard has been set up in front of the largest surviving part of the mural.  Which enables us to see the "Mambo Night" at the bottom.

The Wikipedia article, like many of its offerings on music history, needs correcting.  The Grand Terrace closed and reopened many times.  The Fall 1955 show, which was advertised in the Chicago Defender, was the third that year, there were two attempts to mount shows at the club in 1956, and the last gasp was in the fall of 1957.  The Terrace's final closure came just a few months before the Club DeLisa went out of business.

David Bramble told me that the store gets occasionally visits from people who know that the Sunset Café was once located there.

Also, he told me that a European website referred a few years ago to the remnants of the mural.

One error in the article: the date at which the mural was painted still needs to be established, but there's no way that this kind of Afro-futurism was up behind the stage when Earl Hines played there, let alone in the Sunset Café days.

It actually looks as though it was painted for the Sun Ra engagement.  I kind of wonder what King Kolax, Elmore James, and Tom Archia (who played in the Terrace's last shows, in 1956 and 1957) thought about it.

2nd Chance: Sun Ra - Holiday for Soul Dance (rec. 1960, rel. 1970)

This collection is somewhat of an oddity in that there are no original compositions from Sun Ra. That said, cornet player Phil Cohran contributes "Dorothy's Dance." As the album initially surfaced in the early '70s, many presumed the recordings reflected Ra's concurrent combo and sound, which couldn't have been further from the truth. Scholars have since placed 1960 or 1961 as a closer estimation of when these sides were documented, using the rare inclusion of Ricky Murry (vocals) as sonic evidence, coupled with the fact that the effort was cut prior to the band's relocation to New York City from Chicago at the beginning of the decade. The primary (and most notable) Arkestra centered on Ra, Marshall Allen (alto sax), John Gilmore (tenor sax), Phil Cohran (cornet), Ronnie Boykins (bass), and Jon Hardy (drums). The bounty of pop standards and memorable melodies showcase Ra's spectacularly intricate and often underappreciated arrangements. The spry take of George Gershwin's "But Not for Me" is rephrased to spotlight the soloists' remarkable improvisational skills behind tight support from the compact and swinging rhythm section. Boykins and Hardy's brooding introduction to "Day by Day" immediately suggests the uneasy and inquisitive score that has been completely overhauled to express Ra's newly adopted sense of the avant-garde as well as his free jazz leanings. Seemingly disparate tunes and time signatures fuse into a free-wheeling affair that contains all the flair of Sun Ra with much of the same romantic charm of more familiar readings, such as Jo Stafford's (vocals) hit version. "Holiday for Strings" can also be recommended because of the highly stylized rendering. Rather than the mile-a-minute staccato "plinking" that often identifies the piece, Ra gives it a cool post-bop workout that discerns it for those otherwise unfamiliar with the song. "Early Autumn" is interesting from the perspective of the dearth of singers that Ra accompanied. Murry's robust voice proves a bit overwhelming, as if he might break into an operatic vocalization at any moment. Arguably the most memorable selection on Holiday for Soul Dance is the gorgeous take of "I Loves You, Porgy," incorporating a languid swing that gently drives the backbeat, ably supporting the scintillating adaptation.

AMG Review by Lindsay Planer

Dorothy's Dance (Cohran)

72. [61]  Sun Ra and his Myth Science Arkestra

Fate in a Pleasant Mood /
Holiday for Soul Dance /
Angels and Demons at Play /
We Travel the Spaceways /
Rocket Number Nine Take Off for the Planet Venus
(Interstellar Low Ways) /
The Singles

Sun Ra (bells, perc, p -2); Phil Cohran (cnt -4), perc, voc); Nate Pryor (tb, bells -5); John Gilmore (ts -6; perc, voc); Marshall Allen (as -8, fl -9, bells, voc); Ronnie Boykins (b, voc); John Hardy (d, perc, gong).

RCA Studios, Chicago,
around June 17, 1960

But Not for Me (Gershwin) -2, 4, 6, 8
Day by Day (Cahn-Stordahl-Weston) -2, 4, 5, 6, 8
Holiday for Strings (Rose-Gallo) -2, 5
Dorothy's Dance (Cohran) -2, 4, 6, 8
I Loves You Porgy
(Gershwin-Gershwin-Heyward) -2, 4, 6, 9
Body and Soul (Green-Heyman-Sour-Eyton) -2, 6
Keep Your Sunny Side Up (DeSylva-Brown) -2, 4, 6, 8

(Plus MANY MORE not included on Holiday for Soul Dance)

According to Phil Cohran, this session was an all-day marathon at which 30 to 40 tunes were recorded.  All tracks were identified by Cohran as coming from this session or have a similar ambiance to those he identified.  Cohran places this session at Hall Recording Co. (but see below).  Cohran has said that he copyrighted "Dorothy's Dance" "within a week" after the session; "Dorothy's Dance" was registered on June 24, 1960.  Sun Ra followed Cohran to the Library of Congress with a suite (consisting of "Space Loneliness," "Fate in a Pleasant Mood," "Lights on a Satellite," and "State Street") on July 8, and "The Blue Set" on July 21 (James Wolf).

Alton Abraham says that the studio at Hall Recording Co. was too small for the Arkestra and that he normally used it for mastering only.  This was the smallest Arkestra to make a studio recording during the Chicago period; however, Abraham's suggestion that the session was done at RCA Studios does seem more plausible.  The actual recording order is unknown, except that "Velvet" was the last track of the day.  Personnel courtesy of Phil Cohran; the drummer, Jon Hardy, was not mentioned on any of the Saturn record jackets, though his name appears in the 1967 catalog in connection with We Travel the Spaceways.

Further confirmation of the common origin of many of these tracks is provided by a Saturn test pressing found in a Montréal record store by François Lamarche.  The test pressing was made at Sheldon Recording Studios (aka the Chess studios in Chicago) and titled simply, Music of the Future by Sun Ra Arkestra.  Side A contained "Space Mates," "But Not for Me," and "The Others in There [sic] World."  Side B had "Lights on the [sic] Satellite," "Day by Day," "Ankhnaton," and "Holiday for Strings."  The pressing contains Alton Abraham's old address at 4115 South Drexel -- and gives a Montréal address and phone number for Sun Ra.  It was therefore cut in the summer or early fall of 1961.  However, Saturn did not actually issue any LPs from this session until 1965, and when they began to appear, the tracks had been redistributed.

At least 22 tracks from this date were issued, on two Saturn singles and five different LPs.
Saturn ESR 508, Holiday for Soul Dance, was released in 1970, credited to "Sun Ra and his Intergalactic Arkestra."  The album was reissued on Evidence 22011 [CD] in 1992.

[the above entry in Campbell/Trent's The Earthly Recordings 2nd ed. has been truncated to include only info pertinent to Holiday for Soul Dance - yotte]




74. [63]  Sun Ra and his Intergalactic Arkestra

Holiday for Soul Dance

Sun Ra (p.); Marshall Allen (as, fl); John Gilmore (ts); Ronnie Boykins (b); Jon Hardy (d); Ricky Murray (voc).

Wonder Inn, Chicago,
around July 30, 1960

Early Autumn (Herman-Mercer-Burns)

Ricky Murray does not remember the June studio session and suggests that this track was made at the Wonder Inn (at 75th and Cottage Grove).  A brief item in the Chicago Defender mentions "a special added attraction" at the Wonder Inn for July 30, 1960:  Sun Ra and his "recording band."

This track was initially released in 1970 on Saturn ESR 508, Holiday for Soul Dance, and reissued in 1992 on Evidence 2201 [CD].  Though Murray is listed as the vocalist, the personnel listing on the Saturn jacket is otherwise completely wrong, giving a 14-piece ensemble from around 1969!

from Campbell/Trent  The Earthly Recordings 2nd ed.

Sun Ra and his Astro Infinity Arkestra
Holiday for Soul Dance

(Saturn reissue LP rip)

1. But Not For Me (Gershwin)   4:09
2. Day By Day (Cahn-Sordahl-Weston)   3:39
3. Holiday For Strings (Rose-Gallo)   4:08
4. Dorothy's Dance (Cohran)   3:14

5. Early Autumn (Vocal by R. Murray) (Herman-Mercer-Burns)   4:51
6. I Loves You Porgy (Gershwin-Gershwin-Heyward)   3:34
7. Body And Soul (Green-Heyman-Sour-Eyton)   5:58
8. Keep Your Sunny Side Up (DeSylva-Brown)   2:12

LP
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-320-
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Or for those who prefer a CD rip...

Holiday for Soul Dance
(Evidence CD rip)

1. But Not For Me   4:11
2. Day By Day   3:40
3. Holiday For Strings   4:09
4. Dorothy's Dance   3:19
5. Early Autumn   4:53
6. I Loves You, Porgy   3:35
7. Body And Soul   6:00
8. Keep Your Sunny Side Up   2:12


CD
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RS
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I-) found these scans of an original LP online somewhere.  If you look closely, you'll see that the back cover seems to be decorated with black cut-outs glued to the jacket.  I wonder if it may be the original from which the Saturn Reissue LP cover was made.  Thanks for sharing, I-) !

Sun Ra - Atlantis (1969)

 

"At a concert at the newly opened Olatunji Center of African Culture Atlantis was recorded, a twenty-one-minute epic, with Sun Ra on Clavioline and ‘Solar Sound Organ’ (a Gibson Kalamazoo Organ, a copy of the original Farfissa combo organ used by pop groups). The piece began ominously with sonar beeps from the organ, and as it developed, Sun Ra rolled his hands on the keys, pressing his forearm along the keyboard, played with his hands upside down, slashing and beating the keyboard, spinning around and around, his hands windmilling at the keys—a virtual sonic representation of the flooding of Atlantis; it was a great smear of a solo, Sun Ra’s ‘Toccata and Fugue.’ Five minutes later the brass entered, and then a rather conventionally notated swing saxophone-section melody surface to be undercut first by brutal bursts from the organ and then by the brass and drums. The weight, the sheer gravity of the piece which developed was almost unbearable. And then suddenly the Arkestra shifted to the ‘Sun Ra and his Band from Outer Space are here to entertain you’ chant, as if “Atlantis” had just been another pop song in an evening’s dance band repertoire."

- Szwed, John F. Space is the Place: The Lives and Times of Sun Ra. New York: De Capo Press, 1997. Print. 248.

Thanks to rocket number ten for the quote!

Featuring the Astro Infinity Arkestra, Atlantis reveals two very distinct sides of Sun Ra's music. The first consists of shorter works Ra presumably constructed for presentation on the Hohner clavinet. Not only is the electric keyboard dominantly featured, but also it presumably offered Ra somewhat of a novelty as it had only been on the market for less than a year. The second side consists of the epic 21-minute title track and features an additional seven-man augmentation to the brass/woodwind section of the Astro Infinity Arkestra. Tracks featuring the smaller combo reveal an almost introspective Arkestra. The stark contrast between the clavinet -- which Ra dubbed the "Solar Sound Instrument" -- and the hand-held African congas on "Mu" and "Bimini" reveal polar opposite styles and emphasis. However, Ra enthusiasts should rarely be surprised at his experiments in divergence. "Mu" is presented at a lethargic tempo snaking in and around solos from Ra and a raga-influenced tenor sax solo from John Gilmore. "Bimini" is actually captured in progress. The first sound listeners hear is the positioning of the microphone as a conga fury commences in the background. Likewise, on "Yucatan (Impulse Version)" a doorbell quickly impedes what might have been a more organic conclusion to the performance. The original issue of Atlantis was on the small independent Saturn label. Thus the composition titled "Yucatan (Saturn Version)" appeared on that pressing. When the disc was reissued in 1973 on Impulse!, the track was replaced by a completely different composition -- as opposed to an alternate performance of the same work. The second side contains one of Ra's most epic pieces, which is free or "space" jazz at its most invigorating. While virtually indescribable, the sonic churnings and juxtaposed images reveal a brilliant display of textures and tonalities set against an ocean of occasional rhythms. Its diversity alone makes this is an essential entry in the voluminous Sun Ra catalog.  

AMG Review by Lindsay Planer

 

There are changes afoot in the band’s sound: always an early adopter of technology, Ra can be heard on side one playing exclusively a Hohner Clavinet, a recently released electronic keyboard that was later popularized by Stevie Wonder (see e.g. "Superstition” in 1972). Ra renames it the “Solar Sound Instrument” and plays it in his own inimitable fashion. Recorded in rehearsal at the Sun Studio (the Arkestra’s rented townhouse located at 48 East Third Street in Manhattan’s Lower East Side), these tracks feature a bare-bones Arkestra: Gilmore can be heard from time to time on tenor saxophone, but these pieces mostly feature Ra’s clavinet over beds of percussion and sound more like sonic experiments than full-fledged compositions. But what interesting experiments!

“Mu” is a slow, 5/4 clavinet vamp with Gilmore tentatively outlining an up and down melody. “Lemuria” is another 5/4 boogie with Gilmore laying down some heavy duty riffing on top of Ra’s extra-funky clavinet. “Yucatan” is a dreamy, modal ballad wherein Ra demonstrates his remarkably sensitive touch on the primitive electronic keyboard. Hartmut Geerken points out in the discography that what sounds like electric bass us actually “two tightly interlaced African drum patterns!” (2nd ed., p.136). “Bimini” consists of roiling polyrhythmic percussion with Ra interjecting some jabbing chords on the clavinet. The Evidence CD also includes an alternate version of “Yucatan” that mistakenly appeared on the 1973 reissue of Atlantis on Impulse! Actually, this track has nothing to do with the other composition of the same name, but is rather another noisy percussion-fest interspersed with Ra’s distinctive clavinet chording. A telephone rings signaling a quick cadence to end.

 Continue reading at NuVoid's Sun Ra Sundays

131. [115]  Sun Ra and his Astro Infinity Arkestra

Atlantis

Sun Ra (solar sound [Gibson Kalamazoo] org, Clavioline); Wayne Harris (tp); poss. Jothan Callins (tp); Ali Hassan (tb); Charles Stephens (tb); Robert Northern (Fr hn); Danny Ray Thompson (as); John Gilmore (ts, perc); Danny Davis (as); Pat Patrick (bars, fl); Marshall Allen (as, ob, Jupiterian fl); Robert Cummings (bcl); James Jacson (log drums); Robert Barry (d, lightning drum); Clifford Jarvis (d).

Olatunji Center of African Culture,
NYC, 1967

 Atlantis (Ra)/
[Sun Ra and his Band from Outer Space (Ra) [ens voc]]

Issued in 1969 on Side B of Saturn ESR 507, Atlantis.  All tracks from this LP were reissued in 1973 on Impulse AS-929 and in 1993 on Evidence 22067 [CD].  "Atlantis" is edited on the Saturn.  There are copies of the Impulse LP that replace this Side B with Side B of The Magic City.  At the end of the performance (included on Impulse and Evidence, edited out on Saturn), the Arkestra sings "Sun Ra and His Band from Outer Space," and, as Michael Shore points out, Sun Ra starts playing the bass line of "We Travel the Spaceways" on the organ -- clearly a live performance.

John Gilmore recalled that the concert took place at the Olatunji Center of African Culture, which was located at 43 East 125th Street.  According to J.C. Thomas in Chasin' the Trane, the Center opened on March 27, 1967; other sources say that it remained open for musical performances through some point in 1968.  Danny Ray Thompson joined the Arkestra in 1967.  A poster reproduced in C.O. Simpkins' Coltrane biography advertises the inaugural concert at the center (by Trane's group) and other forthcoming events through May 14, 1967; clearly, the Arkestra's appearance took place after that.

Then personnel credits from Saturn jacket; however, Saturn and Impulse credit Akh Tal Ebah (who didn't join the band until 1969!) as the second trumpet player.  Jothan Callins was introduced to Sun Ra by Walter Miller and was in the Arkestra "off and on" from 1966 till the first trip to Europe in 1970.

 132. [116]  Sun Ra and his Astro Infinity Arkestra

Atlantis/
The Singles

Sun Ra (solar sound instrument [Hohner Clavinet]); John Gilmore (ts -1; perc -2, 3, 4; d, voc -5); Pat Patrick (perc -2, 3, 4; voc -5); prob. Robert Barry (d, perc except -5); Clifford Jarvis (d, perc except -5); Marshall Allen (perc -4, voc -5); James Jacson (perc -4, voc -5).

Sun Studios, NYC, 1967 or 1968

Mu (Ra) -1
Lemuria (Ra) -1
Yucatan (Ra) -2
Yucatan [alt] (Ra) -3
Bimini (Ra) -4

Blues on Planet Mars (Ra) -3
Saturn Moon (Ra) -5

The first five tracks (except for "Yucatan [alt]") were first released in 1969 on Side A of Saturn ESR 507, Atlantis.  All tracks from this LP were reissued in 1973 on Impulse AS-9239 (except that the alternate version of "Yucatan" was substituted) and in 1993 on Evidence 22067 [CD], which includes both versions of "Yucatan" (these are completely different compositions; the Saturn "Yucatan" uses the same thematic material as the version of "Spontaneous Simplicity" on 169).  According to Peter Roberts, some copies of the Impulse Atlantis are hybrids with "Mu," "Lemuria," "Yucatan [alt]" and "Bimini" on Side A (matrix 9239-A) and Side B of The Magic City on Side B (Matrix 9239-B!).  "Yucatan [Impulse version]" was also used on a Sun Ra sampler released in 1997 by Paddle Wheel Records in Japan KICJ 315, Sun Ra Came Down to the Earth.

According to Michael Fitzgerald, the Hohner Clavinet was put on the market in 1967.  The personnel taken primarily from the Saturn jacket.  As for the location, a telephone can be heard ringing at the end of the alternate version of "Yucatan."  Hartmut Geerken points out that "Mu" was ineptly edited on the Impulse reissue and runs slightly longer there.  Geerken also says that what Michael Shore and others thought was an electric bass on "Yucatan" (original version) is actually two tightly interlaced African drum patterns!

The last two tracks were released around 1969 on Saturn 911-AR, a 45-rpm single by Sun Ra and his Astro-Solar-Infinity Arkestra.  The label mentions Inhfinity Incorporated, which was chartered in 1967.  The personnel were identified by ear by rlc.  The two tracks from the single were reissued in September 1996 on The Singles, Evidence 22164 [2 CDs].

Jothan Callins says that the Arkestra's rehearsals from 1966 through the move to Philadelphia (fall 1968) all took place at the Sun Studio at 48 East 3rd Street.

from Campbell / Trent  The Earthly Recordings 2nd ed

Atlantis
Impulse LP AS-929

1. Mu   4:51
2. Lemuria   4:59 
3. Yucatan   3:44
4. Bimini   5:54

5. Atlantis   22:36

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RS

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or

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Atlantis
Evidence CD ECD 22067-2

1. Mu   4:36
2. Lemuria   5:08
3. Yucatan (Saturn Version)   5:33
4. Yucatan (Impulse Version)   3:44
5. Bimini   5:51
6. Atlantis   21:52

-FLAC-

RS

MF

or

-320-

RS

MF

Sun Ra - Sound Sun Pleasure!! (1970)

The first half-dozen cuts on Sound Sun Pleasure (1970) are thought to have been documented between 1958 and 1960, during Sun Ra and his Astro Infinity Arkestra's residency in Chicago. Although Ra's arrangements are as intricate and involved as any from the era, the song list draws heavily upon standards. That said, it might be recommended as a starting point for parties not acclimated to the artist's later and exceedingly aggressive free and avant-garde leanings. Hatty Randolph (vocals) joins the combo for a pair of refined vocals on the covers of "'Round Midnight" and "Back in Your Own Backyard." The Arkestra complement Randolph's full-bodied delivery with such finesse, it is a wonder there isn't evidence of more frequent collaborations like this. She adds a bluesy melancholia that nicely offsets the instrumentation. "You Never Told Me That You Care" -- co-written by Ra and Hobart Dotson (trumpet) -- stunningly demonstrates Ra's unmatched scoring and superlative sense of melody. The sweeping and languid tempo allows the tune to unravel organically. "Enlightenment" -- another co-composition by the pair -- is slightly more indicative of Ra's complex approach, as well as the style that would inform his later work, noted by the band's stridency around the comparatively progressive harmonics. When Sound Sun Pleasure was issued on compact disc in 1992, an additional seven selections were included. Chronologically, they are among the earliest known from Sun Ra, recorded at various times and locations between 1953 and 1956, yielding understandably sporadic sound quality. "Deep Purple" -- from a session held in Ra's apartment -- features contributions by Stuff Smith, while Wilbur Ware (bass) duets on an emotive "Can This Be Love." Arthur Hoyle (trumpet) makes one of his first Arkestra appearances on the bouncy post-bop original "Dreams Come True" that also sports a rare Clyde Williams vocal. 

AMG Review by Lindsay Planer

5. [5]  Sonny Blount and Stuff Smith

Herman "Sonny" Blount (p. Solovox); Stuff Smith (vln).

Sonny Blount's apartment, Chicago,
between November 1948 and mid-1949

Deep Purple (DeRose-Parish)

Saturn 485 (released in 1973) was an LP titled Deep Purple (on some copies, Dreams Come True).  The artists on this collection were billed as "Sun Ra and his Arkestra featuring Stuff Smith on Violin."  All of Side A of this LP was reissued on Evidence 22014, Sound Sun Pleasure!!, a CD from 1992.

The Solovox was an early electronic keyboard instrument (already in Sonny's possession as early as 1941; it can be seen attached to his piano in a photograph that was reprinted in John F. Szwed's book Space Is the Place).  When asked for a session date, members of the Arkestra told Bob Rusch "pre-1953," which meant before John Gilmore joined the band (an event that actually took place in 1954); previous discographies have generally said 1953.  However, Anthony Barnett, author of Desert Sands: The Recordings and Performances of Stuff Smith, says that Smith probably left Chicago by the end of 1952, and had relocated to New York by February 1953 at the latest.  Tommy Hunter recalls recording this get-together (supposedly, just one tune because Sonny was running out of tape) in 1948 or 1949.  Sonny Blount had traveled to Cleveland earlier in 1948 to purchase an early model recorder that used paper tapes.

From May 19, 1947 (after the departure of Fletcher Henderson), till the Club De Lisa closed in the spring of 1958, the house band was led by Theodore "Red" Saunders (who had previously held down the job with a smaller unit from late 1937 until June 1945).  Saunders (1912-1981) was a spectacular Swing drummer, much enamored of the Count Basie sound of the late 1930s (Basie was, in fact, a personal friend).  The Saunders outfit was a versatile aggregation which was expected to back guest acts and provide functional music for floor shows.  For a detailed discography of Red Saunders, see http://hubcap.clemson.edu/~campber/saunders.html.

Sonny Blount led the off-night band at the De Lisa for a number of years, functioned as a rehearsal pianist for acts that appeared there, and reportedly wrote arrangements for the Saunders band.  Tommy Hunter confirms that Sonny rewrote Saunders' arrangements on a regular basis.  Some believe that Sunny sat in with Saunders on piano, though Hunter denies this.

Sun Ra never spoke of the arrangements he wrote for Saunders in interviews, so his involvement has had to be identified by ear alone.  Nonetheless, it seems clear that he contributed a good deal to the recordings made by Saunders between 1949 and 1954.  In the earlier years, his job was most often to retouch arrangements by others, some of whom, like Johnny Pate, were no slouches at arranging to begin with.  Toward the end of his involvement with the Saunders band, Sunny contributed original arrangements in his own evolving style (as is apparent on several of Red's sessions from 1953).



24. [13]  Sun Ra

Sun Ra (p.); Wilbur Ware (b -1).

Sun Ra's apartment, Chicago,
around 1955

Piano Interlude (Ra)
Can This Be Love? (Smith-James) -1

According to Julian Vein, these two tracks were sold to Black Lion/Freedom in 1971, along with what is now The Invisible Shield, side B, but were not issued at the time. 

38. [24]  Sun Ra and the Arkestra
Sound of Joy/
Sun Ra Visits Planet Earth/
Deep Purple

Sun Ra (p, Wurlitzer ep, announcement); Art Hoyle (tp, perc); Pat Patrick (as, bars, perc); John Gilmore (ts, perc); Charles Davis (bars,  perc); Victor Sproles (b); William Cochran (d); Jim Herndon (tymp); Clyde Williams (voc).

Unidentified studio, Chicago,
November 1, 1956

Dreams Come True (Ra-Mayo)

Also reissued on in 1983 on the Saturn anthology LP, Just Friends (Saturn XI).  Hoyle is listed as "Arthur Horn" on the jacket of Saturn 485; Robert Barry is incorrectly given there as the drummer.

All tunes from the session were finally united on one disk in 1994 as Delmark DD-414 (a CD again titled Sound of Joy).  On the Delmark CD, the 6-second piano introduction to "Dreams Come True" is included for the first time (it was edited out of the other issues).

41. [27]  Sun Ra and his Arkestra
Deep Purple

Sun Ra (p.); Victor Sproles (b); Tito (cga); Hattie Randolph (voc).

Budland, Chicago, early 1957

Don't Blame Me (McHugh-Fields)
'S Wonderful (Gershwin-Gershwin)
Lover Come Back to Me (Romberg-Hammerstein)

Hattie Randolph says these tracks were made live at Budland (Cadillac Bob's club in the basement of the Pershing Hotel -- formerly Birdland, before that the Beige Room) after Art Hoyle left the band.  The bassist is not Ronnie Boykins; Victor Sproles was credited on the Saturn LP jacket.  Tito is the only known conga player to have worked with Ra during this period.  Initially released in 1973 on Side A of Saturn LP 485, Deep Purple (some copies titled Dreams Come True).  All tracks from Side A reissued on Evidence 22014 [CD, 1992].

According to Leroy Cooper (who played baritone sax briefly with Sun Ra in 1957), Ra at the time was arranging for singer Lorenz Alexandria (see As Serious as Your Life by Val Wilmer).  Through Ronald Wilson, who was also a member of the Arkestra for a time, played on her first LP for King Records, we have no evidence of Ra arrangements on Alexandria's recordings from this period (she recorded for the King label in Chicago twice in 1957 and again in 1959, but it appears that pianist King Fleming was responsible for all arrangements).

Hattie Randolph recalled a version of "Saturn" featuring her brother Lucious on trumpet.  Although such a thing could have been recorded rather easily, none of the three known versions of "Saturn" from the Chicago period includes Lucious Randolph.  And there has been no confirmation of such a release on the Saturn label.

53. [38]  Sun Ra and his Astro Infinity Arkestra 

Sound Sun Pleasure!!

Sun Ra (celeste -1, p); Hobart Dotson (tp); James Spaulding (as); Marshall Allen (as, fl); John Gilmore (ts, cl); Pat Patrick (bars, as, fl); Charles Davis (bars); Ronnie Boykins (b); Robert Barry (d); Hattie Randolph (voc -2).

Studio Recording, Chicago, late 1958

'Round Midnight (Hanighen-Monk-Williams) -2
You Never Told Me That You Care (Dotson)
Hour of Parting (Schiffer-Spoliansky)
Back in Your Own Backyard (Jolson-Rose-Dreyer) -1, 2
I Could Have Danced All Night (Lerner-Loewe)

Alton Abraham has said that "'Round Midnight" and "Back in Your Own Backyard" were initially released on a Saturn Single; further information unknown.  Otherwise, this material was first issued on the LP Sound Sun Pleasure!! (Saturn SR 512) in 1970.  All tracks from that LP were reissued in 1992 on Evidence 22014 [CD].  "Back in Your Own Backyard" was also reissued in 1983 on the Saturn anthology LP, Just Friends (Saturn XI).  "'Round Midnight" is included in the 1997 Japanese Sun Ra sampler, Sun Ra Came Down to the Earth, on Paddle Wheel KICJ 315.

The personnel list for the Saturn issue was a ball of confusion: 15 performers were listed, mostly from the late 1960s.  The presence of Hobart Dotson nails down the date firmly, though according to Hattie Randolph, this was not the same session as Jazz in Silhouette; she also recalls Robert Barry as the drummer on the date.  According to Lucious Randolph, "You Never Told Me That You Care" was wholly written and arranged by Hobart Dotson.  Allan Chase's master's thesis gives a more detailed analysis of the scoring on each piece.

from Campbell / Trent  The Earthly Recordings 2nd ed.

Sound Sun Pleasure!!
Sun Ra and his Astro Infinity Arkestra
Evidence ECD 22014-2 [CD]

1.  'Round Midnight   3:55
2.  You Never Told Me That You Care   5:37
3.  Hour Of Parting   4:53
4.  Back In Our Own Backyard   2:07
5.  Enlightenment   5:09
6.  I Could Have Danced All Night   3:11
7.  Deep Purple   4:03
8.  Piano Interlude   1:56
9.  Can This Be Love   6:01
10. Dreams Come True   3:08
11. Don't Blame Me   2:53
12. 'S Wonderful   2:18
13. Lover Come Back To Me   2:49

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Many Thanks to I-) for sharing pics found 'round the web

Sun Ra - Holiday for Soul Dance (rec. 1960, rel. 1970)

This collection is somewhat of an oddity in that there are no original compositions from Sun Ra. That said, cornet player Phil Cohran contributes "Dorothy's Dance." As the album initially surfaced in the early '70s, many presumed the recordings reflected Ra's concurrent combo and sound, which couldn't have been further from the truth. Scholars have since placed 1960 or 1961 as a closer estimation of when these sides were documented, using the rare inclusion of Ricky Murry (vocals) as sonic evidence, coupled with the fact that the effort was cut prior to the band's relocation to New York City from Chicago at the beginning of the decade. The primary (and most notable) Arkestra centered on Ra, Marshall Allen (alto sax), John Gilmore (tenor sax), Phil Cohran (cornet), Ronnie Boykins (bass), and Jon Hardy (drums). The bounty of pop standards and memorable melodies showcase Ra's spectacularly intricate and often underappreciated arrangements. The spry take of George Gershwin's "But Not for Me" is rephrased to spotlight the soloists' remarkable improvisational skills behind tight support from the compact and swinging rhythm section. Boykins and Hardy's brooding introduction to "Day by Day" immediately suggests the uneasy and inquisitive score that has been completely overhauled to express Ra's newly adopted sense of the avant-garde as well as his free jazz leanings. Seemingly disparate tunes and time signatures fuse into a free-wheeling affair that contains all the flair of Sun Ra with much of the same romantic charm of more familiar readings, such as Jo Stafford's (vocals) hit version. "Holiday for Strings" can also be recommended because of the highly stylized rendering. Rather than the mile-a-minute staccato "plinking" that often identifies the piece, Ra gives it a cool post-bop workout that discerns it for those otherwise unfamiliar with the song. "Early Autumn" is interesting from the perspective of the dearth of singers that Ra accompanied. Murry's robust voice proves a bit overwhelming, as if he might break into an operatic vocalization at any moment. Arguably the most memorable selection on Holiday for Soul Dance is the gorgeous take of "I Loves You, Porgy," incorporating a languid swing that gently drives the backbeat, ably supporting the scintillating adaptation.

AMG Review by Lindsay Planer

72. [61]  Sun Ra and his Myth Science Arkestra

Fate in a Pleasant Mood /
Holiday for Soul Dance /
Angels and Demons at Play /
We Travel the Spaceways /
Rocket Number Nine Take Off for the Planet Venus
(Interstellar Low Ways) /
The Singles

Sun Ra (bells, perc, p -2); Phil Cohran (cnt -4), perc, voc); Nate Pryor (tb, bells -5); John Gilmore (ts -6; perc, voc); Marshall Allen (as -8, fl -9, bells, voc); Ronnie Boykins (b, voc); John Hardy (d, perc, gong).

RCA Studios, Chicago,
around June 17, 1960

But Not for Me (Gershwin) -2, 4, 6, 8
Day by Day (Cahn-Stordahl-Weston) -2, 4, 5, 6, 8
Holiday for Strings (Rose-Gallo) -2, 5
Dorothy's Dance (Cohran) -2, 4, 6, 8
I Loves You Porgy
(Gershwin-Gershwin-Heyward) -2, 4, 6, 9
Body and Soul (Green-Heyman-Sour-Eyton) -2, 6
Keep Your Sunny Side Up (DeSylva-Brown) -2, 4, 6, 8

(Plus MANY MORE not included on Holiday for Soul Dance)

According to Phil Cohran, this session was an all-day marathon at which 30 to 40 tunes were recorded.  All tracks were identified by Cohran as coming from this session or have a similar ambiance to those he identified.  Cohran places this session at Hall Recording Co. (but see below).  Cohran has said that he copyrighted "Dorothy's Dance" "within a week" after the session; "Dorothy's Dance" was registered on June 24, 1960.  Sun Ra followed Cohran to the Library of Congress with a suite (consisting of "Space Loneliness," "Fate in a Pleasant Mood," "Lights on a Satellite," and "State Street") on July 8, and "The Blue Set" on July 21 (James Wolf).

Alton Abraham says that the studio at Hall Recording Co. was too small for the Arkestra and that he normally used it for mastering only.  This was the smallest Arkestra to make a studio recording during the Chicago period; however, Abraham's suggestion that the session was done at RCA Studios does seem more plausible.  The actual recording order is unknown, except that "Velvet" was the last track of the day.  Personnel courtesy of Phil Cohran; the drummer, Jon Hardy, was not mentioned on any of the Saturn record jackets, though his name appears in the 1967 catalog in connection with We Travel the Spaceways.

Further confirmation of the common origin of many of these tracks is provided by a Saturn test pressing found in a Montréal record store by François Lamarche.  The test pressing was made at Sheldon Recording Studios (aka the Chess studios in Chicago) and titled simply, Music of the Future by Sun Ra Arkestra.  Side A contained "Space Mates," "But Not for Me," and "The Others in There [sic] World."  Side B had "Lights on the [sic] Satellite," "Day by Day," "Ankhnaton," and "Holiday for Strings."  The pressing contains Alton Abraham's old address at 4115 South Drexel -- and gives a Montréal address and phone number for Sun Ra.  It was therefore cut in the summer or early fall of 1961.  However, Saturn did not actually issue any LPs from this session until 1965, and when they began to appear, the tracks had been redistributed.

At least 22 tracks from this date were issued, on two Saturn singles and five different LPs.
Saturn ESR 508, Holiday for Soul Dance, was released in 1970, credited to "Sun Ra and his Intergalactic Arkestra."  The album was reissued on Evidence 22011 [CD] in 1992.

[the above entry in Campbell/Trent's The Earthly Recordings 2nd ed. has been truncated to include only info pertinent to Holiday for Soul Dance - yotte]




74. [63]  Sun Ra and his Intergalactic Arkestra

Holiday for Soul Dance

Sun Ra (p.); Marshall Allen (as, fl); John Gilmore (ts); Ronnie Boykins (b); Jon Hardy (d); Ricky Murray (voc).

Wonder Inn, Chicago,
around July 30, 1960

Early Autumn (Herman-Mercer-Burns)

Ricky Murray does not remember the June studio session and suggests that this track was made at the Wonder Inn (at 75th and Cottage Grove).  A brief item in the Chicago Defender mentions "a special added attraction" at the Wonder Inn for July 30, 1960:  Sun Ra and his "recording band."

This track was initially released in 1970 on Saturn ESR 508, Holiday for Soul Dance, and reissued in 1992 on Evidence 2201 [CD].  Though Murray is listed as the vocalist, the personnel listing on the Saturn jacket is otherwise completely wrong, giving a 14-piece ensemble from around 1969!

from Campbell/Trent  The Earthly Recordings 2nd ed.

Sun Ra and his Astro Infinity Arkestra
Holiday for Soul Dance

(Saturn reissue LP rip)

1. But Not For Me (Gershwin)   4:09
2. Day By Day (Cahn-Sordahl-Weston)   3:39
3. Holiday For Strings (Rose-Gallo)   4:08
4. Dorothy's Dance (Cohran)   3:14

5. Early Autumn (Vocal by R. Murray) (Herman-Mercer-Burns)   4:51
6. I Loves You Porgy (Gershwin-Gershwin-Heyward)   3:34
7. Body And Soul (Green-Heyman-Sour-Eyton)   5:58
8. Keep Your Sunny Side Up (DeSylva-Brown)   2:12

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Holiday for Soul Dance (Evidence CD rip)

1. But Not For Me   4:11
2. Day By Day   3:40
3. Holiday For Strings   4:09
4. Dorothy's Dance   3:19
5. Early Autumn   4:53
6. I Loves You, Porgy   3:35
7. Body And Soul   6:00
8. Keep Your Sunny Side Up   2:12


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I-) found these scans of an original LP online somewhere.  If you look closely, you'll see that the back cover seems to be decorated with black cut-outs glued to the jacket.  I wonder if it may be the original from which the Saturn Reissue LP cover was made.  Thanks for sharing, I-) !

Sun Ra - Pathways to Unknown Worlds + Friendly Love (1973)

Pathways to Unknown Worlds was released by Impulse! in 1975 but was soon deleted along with the rest of the catalog licensed from El Saturn Records. That meant literally cutting off the corners of the jackets and dumping the remaining stock below wholesale, thereby cutting off Sun Ra from any royalties that would have otherwise been due (see Szwed p.333). For a brief period in the mid-1970s, Sun Ra records could be found in the sale bins of mom-and-pop record stores across America, but they quickly disappeared for good and, by the end of the end of the decade, had become rare, expensive collectables. It wasn’t until the Evidence label began reissuing Sun Ra’s music on compact disc in the early-1990s that Ra’s most obscure discography was again readily available. In 2000, Evidence concluded their reissue campaign with the resurrection of two Great Lost Sun Ra Albums recorded for Impulse! which were originally conceived as part of a proposed trilogy that would have progressed from earthy blues of Cymbals (AS-9296) through the hyper-modern jazz of Crystal Spears (AS-9297) and on to the improvised outer-space music of Pathways to Unknown Worlds (AS-9298) (see Campbell & Trent pp.194-196).

Shorn from its intended context, Pathways to Unknown Worlds must have appeared a puzzling artifact for the very few people who heard it back in 1975. Mixed to primitive Quadrophonic Sound, almost no one owned the expensive Sansui QS decoder and extra pair of speakers required—and those who did probably wondered why it was being deployed for a mere twenty-seven minutes of skronky free-jazz-noise (even so, I would be very interested in hearing these original “surround sound” mixes!). In 2000, Evidence remixed the album to stereo from the multitrack tapes and, in the process, discovered an additional (untitled) track that was omitted from the original LP, expanding it to a (slightly) more reasonable thirty-four minutes of music.

The pieces on Pathways to Unknown Worlds are all “guided improvisations,” with Sun Ra directing the flow of music from his bank of electric keyboards. Ronnie Boykins is back, anchoring the proceedings with his rock-solid bass, accompanied by the indomitable Clifford Jarvis on drums, who plays with admirable restraint here. This was by far the most fluent and supple rhythm section Ra would ever enjoy (sadly, it was intermittent at best and ultimately short lived). Joined by a full complement of horn players, this was an Arkestra particularly sensitized to Ra’s vision and well suited to realize his most exploratory music.

A blow-by-blow description seems rather pointless; I can only say that the music is a model of tightly controlled chaos and this album stands with the best of that lineage of long form improvisations, like Magic City and Other Planes of There. Sun Ra disdained the excesses of the “free jazz” scene and his group improvisations are as thoughtfully constructed as any of his written compositions, full of startling dynamic contrasts and unusual instrumental textures, fueled by his own endlessly inventive approach to electronic keyboards. Kwami Hadi is present on trumpet joined by Akh Tal Ebah on mellophone (a cross between a trumpet and a French horn), making it possible to really compare them side-by-side. Sometimes, Ebah shoves a contrabassoon reed into the mouthpiece to create the “Space dimension mellophone,” rendering an earth-shattering blast of sound akin to the Neputunian libflecto (a bassoon with either a French horn or alto saxophone mouthpiece attached).

(Continue reading at NuVoid's Sun Ra Sundays)

201. [179]  Sun Ra and his Astro Infinity Arkestra

Pathways to Unknown Worlds

Sun Ra (e-vib, org -1, 2; Mini-Moog syn, org -1, 3); Akh Tal Ebah (mell, sp-mell -1); Lamont McClamb [Kwame Hadi] (muted tp -1; tp -2, 3); Marshall Allen (ob -1; as -2); Danny Davis (as -2); John Gilmore (ts -3; timb -2); Danny Thompson (bars -1); Leroy Taylor [Eloe Omoe] (bcl -1, 2); Ronnie Boykins (b); Clifford Jarvis (d); unidentified (d -2, 3); Russell Branch [Odun] or Stanley Morgan [Atakatune] (cga, bgo, perc); James Jacson (Inf-d -2, 3).

Variety Recording Studio,
NYC, 1973

pathways to Unknown Worlds (Ra) -1
Extension Out (Ra) -2
Cosmo-Media (Ra) -3

Impulse ASD-9298, Pathways to Unknown Worlds, was issued in 1975.  The album liners announce a Saturn release on LP 564, but this can now be understood as a pro forma catalog number.  (On the master tape reel, the Saturn number is given as 569.)  As on so many recordings done for Saturn, the mythical "El Saturn Studio" in Chicago is given as the location on the Impulse jacket.  In the absence of evidence to the contrary, it's wisest to assume that Sunny's studio recordings during the 1970s were made at Variety (and if Jacson, who was living in New York City and often not touring with the band, is really present, that would make Variety even more likely).

The personnel list is largely as taken from the Impulse liners, but some corrections are necessary.  There is never more than one conga player on any of the three tracks, while Impulse lists three; we are assuming that Sunny went with his usual percussion duo (during this period) of Atakatune and Odun.  Meanwhile, a second trap drummer (not John Gilmore) can be heard on "Extension Out" and "Cosmo-Media," yet none is credited.  And Jacson's Infinity Drum can be heard in the background on two tracks -- what is more, Jacson supplied the contrabassoon reeds for Ebah's space-dimension mellophone.  Yet Jacson's name does not appear in the Impulse liners.  Bill Davis is not present on bass, as claimed by the liners; all bass work is obviously by Ronnie Boykins.  And on "Pathways," Hadi can be heard on the left channel while Ebah is on the right.  The track-by-track breakdown is sue to careful listening by Seth Markow, with some refinements by rlc.

According to Seth Markow, four more LPs were recorded by Saturn and offered to Impulse, but not released by either:  Across the Border of Time (Saturn LLP 576) -- Impulse is known to have rejected this; Friendly Love (Saturn LP 565); Flight to Mars (Saturn LP 547); and Tone Poem (Saturn LP 672).  It is, of course, likely that material originally destined for these LPs appeared on other Saturn releases; nothing further is known about these items.  One does wonder whether some of the mysterious items on Song of the Stargazers (such as the percussion duo and trio, which sound like the work of Atakatune, Odun, and Chica) might have been salvaged from these projects.

from Campbell/Trent  The Earthly Recordings 2nd ed.

Pathways to Unknown Worlds + Friendly Love

1. Pathways To Unknown Worlds   12:35
2. Untitled   5:27
3. Extension Out   7:38
4. Cosmo-Media   7:07
5. Friendly Love I   5:47
6. Friendly Love II   13:00
7. Friendly Love III   6:31
8. Friendly Love IV   12:51

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Sun Ra - My Brother the Wind (1971)

Should I mention that this album has never been issued on CD?

The advent of the transistor enabled Robert Moog (1934-2005) to develop the first modular synthesizer in the early nineteen-sixties and by late-1969, a truly portable synthesizer, the now legendary Minimoog, was already in development. Sun Ra was naturally intrigued by the instrument, with its cutting edge technology and ability to make truly otherworldly sounds. But in a 1970 Down Beat interview, Ra emphasized that synthesizers were not just weird noise machines or souped-up organs:

The Moog synthesizer in its potential and application to and for the future is tremendous in scope, particularly for those who are creative naturals. It most certainly is worthy of a place in music. There are many effects on it which at present are not upon any other instrument. On one of my compositions, “My Brother the Wind,” the Moog is a perfect projective voice. Of course, like other electronic keyboard instruments, it will require a different technical approach, touch and otherwise in most efforts of behavior. It is a challenge to the music scene…The main point concerning the synthesizer is the same as in all other instruments, that is, its capacity for the projection of feeling. This will not be determined in a large degree just by the instrument itself, but as always in music, by the musician who plays the instrument (quoted in Szwed, p.277)

Indeed, Ra’s approach to the Moog synthesizer was altogether different than the instrument’s later popularizers. In late 1969, and with the financial support of T.S. Mims, Jr., Ra obtained two prototype models (in order to achieve two-voice polyphony from the monophonic instruments) and booked time at Variety Recording Studio in New York City. He brought along only Gilmore (who mostly plays drums), Marshall Allen, and Danny Davis for the occasion. In addition, pianist/synthesist, Gershon Kingsley, was hired to program the synthesizer according to Ra’s wishes. According to Mims, “It was a duel between Kingsley programming and Sun Ra playing” (quoted in Campbell, 2nd ed., p.152).

The title track consists of two wildly contrasting Moog voices: a breathy whistle in the high register and a thick, reedy interval in the bass with Gilmore supplying some credible free drums. Ra’s two-hand independence and control of the highly differentiated textures is really quite remarkable. “Intergalactic II” pits the boing-boing-ing Moogs against braying horns. Gilmore turns in another typically riveting solo before hopping back on the drums to propel a dual alto sax extravaganza. Hypnotic synthesizer interludes set up some misty textures for the horns at the end. “To Nature’s God” features resonant, bell-like sounds on one Moog while the other rumbles around with a rounded, woody bass tone. Meanwhile, Allen and Davis twirl around on piccolo and flute and Gilmore lays down lurching, asymmetrical funk beats.

(Continue reading at NuVoid's Sun Ra Sundays)

My Brother the Wind is actually more a companion piece to Night of the Purple Moon than its Vol. 2 namesake. My Brother the Wind, Vol. 2 is split between Ra's solo Moog workouts and full Arkestra proceedings, while My Brother the Wind shares the same lineup as Night of the Purple Moon, with Marshall Allen's alto, piccolo, and flute substituting for Stafford James' electric bass. Ra plays two Mini-Moogs instead of Mini-Moog and Rocksichord, with Danny Davis on alto and clarinet and John Gilmore on drums. But while the focus on Night of the Purple Moon was on composed numbers, My Brother the Wind is a much freer session. 

 The title cut is just Ra on his two Mini-Moogs and Gilmore on drums. One Moog has a bass type setting, while the other sounds something like whistling white noise (wind?). "Intergalaxtic II" is a full freakout session, with both altos going crazy in the right channel, Gilmore's drums in the left channel, and the Mini-Moogs in the center. "To Nature's God" is just Ra and Gilmore again. "The Code of Interdependence" has Ra really putting the Moogs through their paces, although Gilmore also gets some tenor space (with Danny Davis moving to the drums, presumably). If you're into the "out" side of Sun Ra, and like his singular and unorthodox Moog playing, try to find a copy of My Brother the Wind.

AMG Review by Sean Westergaard

156. [144]  Sun Ra and his Astro-Solar Arkestra

My Brother The Wind

Sun Ra (two prototype Mini-Moog sins); John Gilmore (d; ts, d -2); Marshall Allen (picc -3; as -2, 4); Danny Davis (as -2; acl -4); Gershon Kingsley (syn programming).

Variety Recording Studios, NYC,
late 1969

My Brother the Wind (Ra) -1
Intergalactic II (Ra) -2
To Nature's God (Ra) -3
The Code of Interdependence (Ra) -4

Saturn LP 521, My Brother the Wind, was released before May 1970 (date from Stephen Ramirez).  It also circulated as Saturn ESR 521 and Saturn ESR 1970.  Date and location from Richard Wilkinson.  Personnel from the Saturn jacket, with minor corrections by rlc, and further refinements by Seth Markow.  T.S. Mims Jr. provided financial backing for the session and was listed as producer.  According to Richard Wilkinson, this session was made before My Brother the Wind II and featured Ra's very first encounter with the synthesizer.  Wilkinson gives 1970 as the date; Mims says 1969.  According to Mims, the synthesizers were  prototypes (predating Sunny's early-model Mini-Moog), and were being programmed by Gershon Kingsley as the session went along:  "It was a duel between Kingsley programming and Sun Ra playing."

According to Jerry Gordon, there is a false start on the master tape from this session, and the first two tracks appear in opposite order from the LP.  In addition, "The Code of Interdependence" was deliberately speeded up when the LP was mastered, and the LP was mastered out of phase on this track. 

from Campbell/Trent The Earthly Recordings 2nd ed.

 

My Brother the Wind (180g reissue LP rip)

1. My Brother The Wind   2:45
2. Intergalactic II   8:50
3. To Nature's God   4:33

4. The Code of Interdependence   16:34

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