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Sun Ra Featuring Pharoah Sanders & Black Harold [ ÉLŐ ]
Sun Ra
első megjelenés éve: 1972
46 perc
(2009)   [ DIGIPACK ]

CD
Kérjen
árajánlatot!
TÖRÖLT!
Kosaramba teszem
1.  Cosmic Interpretation
2.  The Other World
3.  The Second Stop Is Jupiter
4.  The Now Tomorrow
5.  Discipline 9
6.  Gods on a Safari
7.  The World Shadow
8.  Rocket Number 9
9.  The Voice of Pan
10.  Dawn Over Israel
11.  Space Mates
Jazz / Free Jazz, Avant-Garde Jazz, Experimental Big Band

Recorded: December 31, 1964, Judson Hall, New York

Sun Ra: keyboards
Art Jenkins: space vocals
Pharoah Sanders: tenor
Black Harold: flute & percussion
Marshall Allen: alto saxophone
Danny Davis: alto saxophone
Pat Patrick: baritone
Chris Capers: trumpet
Al Evans: trumpet, flugelhorn
Teddy Nance: trombone
Bernard Pettaway: bass trombone
Robert Cummings: bass clarinet
Alan Silva: bass
Clifford Jarvis: drums

Tracks 1-5 - Stereo - Previously unreleased
Tracks 6-11 - Mono - Issued as El Saturn - JHNY - 165
All compositos Enterplanetary Koncepts

In 1964, Sun Ra asked the young tenor saxophonist Pharoah Sanders to join him, while Arkestra mainstay John Gilmore was busy working with Paul Bley, Andrew Hill, and Art Blakey. Before the recording's original release in 1976, Sun Ra stated: "It should be very interesting to the world to show what the pre-Coltrane Pharoah Sanders was like." Also appearing on "Featuring Pharoah Sanders & Black Harold" is the little-heard flautist, Black Harold (Harold Murray), who takes the lead on the track "The Voice of Pan," continuing into "Dawn over Israel." Bassist Alan Silva (ESP 1091) also does some fine bass work on the release.

Presented by the Jazz Composers Guild's Four Days In December
Photo by Raymond Ross

Music research and compilation by Michael D. Anderson
Production Manager: Tom Abbs
Digital remastering by Douglas McGregor
Design & layout by Miles Bachman & Fumi Tomita

"Featuring Pharoah Sanders & Black Harold" is notable not only for its unique lineup, but also for the first known recording of the composition "The Shadow World," here titled "The World Shadow," which was featured on later Arkestra albums. This release contains an additional 45 minutes and 36 seconds of unreleased material.


If you already own the original El Saturn label LP by Sun Ra bearing this title, you will still desire a copy of this item from ESP-Disk for several reasons. It does in fact contain the initially issued live recordings Ra did featuring Black Harold Murray and Pharoah Sanders, but also includes 45 minutes of previously unreleased music, and is accurately annotated with the full and correct personnel listing, plus updated liner notes by Russ Musto. In addition, it states this recording of the 12-piece Arkestra was documented, not at the series of October Revolution performances, but two months later on New Year's Eve at Judson Hall in New York City during what was called the Four Days in December festival, presented by the Jazz Composer's Guild that also produced the legendary October event. Sanders, who had been hired as a door greeter for Arkestra performances and was a cook at the restaurant downstairs from Judson, tried repeatedly to join the band, and was finally granted admission when John Gilmore left the group briefly to go on the road with Art Blakey's Jazz Messengers. Murray adds a certain exotic element to the ensemble, playing flute, and on occasion log drums. At this time the group was merging into the direction of its operatic space themes, though the leader still played acoustic piano, and sometimes celeste. Aside from the historical significance of this disc, the music is terrific and altogether riveting. Famous material shows up like "The World Shadow" (it appears that "The Shadow World" was also a Ra title), ranging from cascading piano to dense, counterpointed free bop and chaotic discourse to ritual African drumming. The immortal hard bop/rhythm & blues epic workout "Rocket Number 9" is here in full regalia, as well as a prosaic "The Second Stop Is Jupiter" (aka "On Jupiter"), and the horn section yearns in unity as the renowned chant of "We Travel the Spaceways" is emphasized during the straight blues "Discipline 9."

The astonishing symmetry and deep understanding between Sanders, alto saxophonist Marshall Allen, and baritone saxophonist Pat Patrick leap out of the speakers during the 20-minute magnum opus blowing session "The Other World." Coalescing with the strident bowed bass of Ronnie Boykins and Ra's sporadic piano chords, the band shatters all semblance of static rhythm, especially when drummers Clifford Jarvis and Jimmhi Johnson are given their head in a heated, lengthy, dueling duet. Another spontaneous composition, "The Now Tomorrow" could also be titled "The New Tomorrow" with its futuristic dirge and Thelonious Monk-like angular themes merging into as many as three flutes (Sanders, Patrick, and Murray?) with an unidentified shenai or musette, Ra's crashing two-fisted piano, and vocals from Art Jenkins, all in no time. Short pieces like the atmospheric bass/flute exploration "The Voice of Pan," Ra's wandering piano with elephantine horns wailing during "Gods on a Safari," and the pure imagery conjured in high drama on the song of awakening "Down Over Israel" and the spiritual piece "Space Mates," with chiming piano and celeste, make you aware of the total extrasensory experience this band offers like nobody else. It's also well recorded and transferred to the digital format faithfully. It's possible that only a few (save the critics in the house) knew a piece of history was in the making during this incredible performance that all Sun Ra fans can easily savor and treasure for lifetimes beyond this mortal coil. ~ Michael G. Nastos, All Music Guide



Sun Ra

Active Decades: '40s, '50s, '60s, '70s, '80s and '90s
Born: May 22, 1914 in Birmingham, AL
Died: May 30, 1993 in Birmingham, AL
Genre: Jazz
Styles: Avant-Garde, Progressive Big Band, Swing, Early Creative, Free Jazz, Mainstream Jazz, Progressive Jazz, Avant-Garde Jazz, Mixed Media, African Jazz, Experimental Big Band

Of all the jazz musicians, Sun Ra was probably the most controversial. He did not make it easy for people to take him seriously, for he surrounded his adventurous music with costumes and mythology that both looked backward toward ancient Egypt and forward into science fiction. In addition, Ra documented his music in very erratic fashion on his Saturn label, generally not listing recording dates and giving inaccurate personnel information, so one could not really tell how advanced some of his innovations were. It has taken a lot of time to sort it all out (although Robert L. Campbell's Sun Ra discography has done a miraculous job). In addition, while there were times when Sun Ra's aggregation performed brilliantly, on other occasions they were badly out of tune and showcasing absurd vocals. Near the end of his life, Ra was featuring plate twirlers and fire eaters in his colorful show as a sort of Ed Sullivan for the 1980s.
But despite all of the trappings, Sun Ra was a major innovator. Born Herman Sonny Blount in Birmingham, AL (although he claimed he was from another planet), Ra led his own band for the first time in 1934. He freelanced at a variety of jobs in the Midwest, working as a pianist/arranger with Fletcher Henderson in 1946-1947. He appeared on some obscure records as early as 1948, but really got started around 1953. Leading a big band (which he called the Arkestra) in Chicago, Ra started off playing advanced bop, but early on was open to the influences of other cultures, experimenting with primitive electric keyboards, and playing free long before the avant-garde got established.
After moving to New York in 1961, Ra performed some of his most advanced work. In 1970, he relocated his group to Philadelphia, and in later years alternated free improvisations and mystical group chants with eccentric versions of swing tunes, sounding like a spaced-out Fletcher Henderson orchestra. Many of his most important sidemen were with him on and off for decades (most notably John Gilmore on tenor, altoist Marshall Allen, and baritonist Pat Patrick). Ra, who recorded for more than a dozen labels, has been well served by Evidence's extensive repackaging of many of his Saturn dates, which have at last been outfitted with correct dates and personnel details. In the late '90s, other labels began reissuing albums from Sun Ra's vast catalog, an effort that will surely continue for years to come.
---Scott Yanow, All Music Guide

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