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| The Will Come, Is Now |
| Ronnie Boykins |
| első megjelenés éve: 1975 |
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| (2009)
[ DIGIPACK ]
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CD |
| 4.401 Ft
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| 1. | The Will Come, Is Now
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| 2. | Starlight at the Wonder Inn
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| 3. | Demon's Dance
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| 4. | Dawn Is Evening, Afternoon
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| 5. | Tipping on Heels
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| 6. | The Third I
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Jazz / Modern Creative, Avant-Garde, Free Jazz, Avant-Garde Jazz
Ronnie Boykins (bass, sousaphone , bells, shaker)
Marzette Watts (engineer)
Joe Ferguson (flute, soprano sax, tenor sax, shaker)
Art Lewis (percussion, drums, bells, shaker)
Jimmy Vass (flute, alto sax, soprano sax, bells, shaker
Monty Waters (alto, soprano, bells, shaker)
George Avaloz (conga, bells, shaker)
Daoud Haroom (trombone, bells, shaker)
Legendary Sun Ra-bassist Ronnie Boykins stepped out on his own for his first and only release as a leader on, "The Will Come, Is Now". He was invited by ESP in 1964 to record his own album, and in February 1974, he told ESP that he was finally ready, and the session took place later that month. This recording not only features Boykins' solid abilities as a bassist, including his marvelous arco work, but also his talents as a composer and arranger. In addition, one is treated to an all-natural bass sound, a rare sound during this particular era of jazz history. In septet format, Boykins' six originals create a variety of moods and textures that not only evokes the music of Sun Ra but also reflects Boykins' own sensibilities as an artist.
All compositions by Ronnie Boykins.
Engineered by Marzette Watts
Original cover photograph by Gyda Droscher
Production Manager: Tom Abbs
Digitally remastered by Douglas McGregor
Design & Layout by Miles Bachman, Michael Sanzone and Fumi Tomita.
Ronnie Boykins is best known for his work as bassist with Sun Ra (between 1958 and 1966), but the odd meters and horn arrangements in this 1975 septet session for ESP (the last release on the mythic free jazz label before it dipped out of sight a year later) recall Mingus more than they do Boykins' former employer. The opening title track features some solid soloing from James Vass (on soprano), but the recording throughout is oddly mixed (well, pristine sound quality never was a priority for ESP) and several horn solos sound alarmingly far away. More upsettingly, some of the heads and bridges are rather scrappily executed and/or edited (notably "Demon's Dance"), and the accompaniment behind Boykins' extended bowed feature "Starlight at the Wonder Inn" sounds somewhat lackluster. Ra's influence is more evident, as its title might suggest, on the final "The Third I," where ensemble members double up on percussion for an energetic polyrhythmic romp. Lively and entertaining it may be, but Heliocentric Worlds it definitely is not. ~ Dan Warburton, All Music Guide
Ronnie Boykins
Active Decades: '60s, '70s and '80s
Born: 1935
Died: Apr 20, 1980
Genre: Jazz
Styles: Modern Creative, Avant-Garde, Free Jazz, Avant-Garde Jazz
Boykins is best known for his work with pianist/bandleader Sun Ra, although he had played with such disparate musicians as Muddy Waters, Johnny Griffin, and Jimmy Witherspoon prior to joining Sun Ra's Arkestra. He was a regular member of Sun Ra's band from 1958 until 1966, and occasionally thereafter. His percussive bass style inspired and formed the foundation of many Ra compositions. Like his fellow Sun Ra bandmates, John Gilmore and Pat Patrick, Boykins attended Chicago's DuSable High School and studied under its famed music teacher "Captain" Walter Dyett. He also studied with Ernie Shepard, who would later work with Duke Ellington. Before joining Ra, Boykins had joined with a trombonist friend to open a private club -- The House of Culture -- with the intent of promoting black culture. Boykins' arco solo on Sun Ra's "Rocket No. 9 Take Off for Planet Venus" from 1959 may be the first recorded example of the bass being played in a horn-like manner within a relatively free context, predating similar work by Alan Silva and David Izenzon. Boykins worked with both free and straight-ahead musicians. In 1962, he recorded with the hard bop tenor saxophonist Bill Barron and, the next year, with pianist Elmo Hope. Boykins worked with tenor saxophonist Archie Shepp's New York Contemporary Five in 1964. Boykins left Ra in 1966, ostensibly to pursue more lucrative opportunities; Ra had a difficult time finding a replacement, at times settling for playing his own bass lines on keyboard. In 1967, Boykins played on Rahsaan Roland Kirk's Rip, Rig and Panic LP. In the late '60s, he formed his own group, the Free Jazz Society, which included the pianist John Hicks. In the '70s, Boykins played with the Melodic Art-tet, a cooperative free jazz ensemble that also included drummer Roger Blank, saxophonist Charles Brackeen, and trumpeter Ahmed Abdullah. In 1975, the bassist led a session for ESP Disk that produced the self-titled LP, Ronnie Boykins. In the course of his career, Boykins also worked with Mary Lou Williams, Marion Brown, and Sarah Vaughan, among others.
---Chris Kelsey, All Music Guide |
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