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| 5.061 Ft
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| 1. | Space Walk
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| 2. | Discipline 27-B/I'll Wait For You
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| 3. | Dreams Come True
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| 4. | Velvet
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| 5. | You'll Find Me
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| 6. | Millennium
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| 7. | Take Off
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| 8. | Hocus Pocus
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| 9. | Space Idol
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Jazz
Under the direction of Marshall Allen
Cecil Brooks Trumpet
Charles Davis Sax (Tenor)
Danny Thompson Percus, Sax (Baritone), Flute
Dave Davis Tuba, Trombone
Dave Hotep Guitar
Elson Nascimento Surdo
Farid Barron Organ, Piano
Fletcher Henderson Composer
Frank Kleinschmidt Producer
Frank Schindelbeck Photography
Fred Adams Trumpet
Juini Booth Bass
Knoel Scott Vocals, Sax (Alto)
Manfred Rinderspacher Photography
Marc Broer Engineer
Marshall Allen Sax (Alto), Producer, Clarinet, Evi, Composer, Vocals, Direction, Flute
Rey Scott Flute, Sax (Baritone)
Sibylle Zerr Liner Notes, Photography
Sun Ra Composer
Ulf Ryberg Graphic Design
Wayne A. Smith Jr. Drums
Willem Feenstra Engineer
Winnie Leyh Engineer
Yahya Abdul Majid Sax (Tenor)
Sun Ra's Arkestra continued 15 years after the bandleader's death, led by his longtime alto saxophonist Marshall Allen and featuring a few other musicians who worked with Ra, including tenor saxophonist Charles Davis and surdo player Elson Nascimento, along with musicians who dug into Ra's alternately swinging, discordant, and at times bizarre music. But Allen doesn't lead a ghost band. He wrote four of the songs heard in this live performance, including the exploratory "Space Walk"; the loopy, dissonant ballad "You'll Find Me," which purposely sounds like it has been played by musicians who have been playing all night and show signs of weariness; and the whimsical bop vehicle "Millennium," with rapid-fire shrieks on alto sax à la Eric Dolphy and a campy vocal. Ra's songs are well represented, with the swinging "Dreams Come True" (highlighted by pianist Farid Barron), the strident post-bop "Velvet" (which showcases Davis ' robust tenor), and the wild finale of "Space Idol" (showcasing clashing brass and reeds battling it out over the steady rhythm section). The choice of Fletcher Henderson's "Hocus Pocus," played in a fairly straight-ahead manner, should be no surprise, as Ra worked for Henderson in the mid-'40s and enjoyed playing his compositions in his Arkestra concerts. Sun Ra fans will delight in the continuing saga of the Sun Ra Arkestra. ~ Ken Dryden, 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: World Fusion, Swing, 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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