Sun Ra - Space Probe (expanded) (1974)

Space Probe is another super-obscure Saturn release with a tortured history. Originally released in 1974, early discographies assigned a catalog number Saturn 527, although no known copies bear this number (See Campbell & Trent, p.107, 158). Instead, matrix numbers 14200A /14200B appear on most labels, although the sides are sometimes reversed (Id.). To make things even more confusing, the album was sometimes titled A Tonal View Of Times Tomorrow, Vol.1 (Saturn 527!) and, worse, there are numerous hybrid versions of Space Probe with a completely different B-Side (See, Id. for all the gory details). And that’s just the beginning of the discographical weirdness. So it goes with Sun Ra records! And that’s essentially why I feel compelled to write about this stuff—it’s the only way I can make sense of it all. Thankfully, the Art Yard label has recently reissued the original version of Space Probe in an expanded CD edition which includes unedited performances and several unissued outtakes from the era. Hooray!

The title track was recorded in August, 1969, shortly after Sun Ra purchased his first MiniMoogs, making it one of the first epic synthesizer solos he ever recorded. And it is truly epic: almost eighteen minutes of spaceship noises, cosmic bloops and bleeps and other electronic mayhem. While not as hair-raising as later live performances would be, it’s still an adventurous solar voyage and demonstrates his near-osmotic mastery of the complex technology.
(continue reading at NuVoid's Sun Ra Sundays)

Space Probe

Space Probe dates from 1969-1970, and is a bit of an odd album. "Primitive" starts things out; basically it's a percussion piece featuring James Jacson's log drum and lots of hand percussion. There's just a bit of what sounds like bass clarinet at the beginning, but it doesn't last long. "Conversion of J.P." is a less cacophonous, percussion-oriented piece, highlighted at the beginning by the flute playing of Marshall Allen. Then Ra's piano enters about eight minutes in and takes the tune in a very different direction with the same percussion backing. Ra's playing here is fascinating, though not at all flashy. "Space Probe" is a side-long tour de force by Ra on the miniMoog, and he amply demonstrates that nobody handles a Moog quite like Sun Ra. It could be the sound effects to a '50s sci-fi flick, no problem, or a demonstration of how weird the miniMoog can get. It ain't easy listening, but it's pretty stunning all the same for those with adventurous ears.
AMG Review by Sean Westergaard

106. [92] Sun Ra and his Arkestra

When Sun Comes Out /
Space Probe /
Primitone

Sun Ra (p -2); John Gilmore (bcl -1, perc); Marshall Allen (fl -2); poss. Minerva Golón (cowbell -1); poss. Pat Patrick (cga, perc); poss. Tommy Hunter (perc); unidentified (cga).

Choreographers Workshop, NYC, 1963

Dimensions in Time (Ra) -1
Primitive (Ra) -1
The Conversion of J.P. (Ra) -2

"Dimensions in Time" was found in 1993, recorded backward in one stereo channel of the master tape of Saturn LP 2066, When Sun Comes Out, where it was probably placed before 1967.  It first appeared on Evidence 22068 [CD] in 1993.  The track was named by John Gilmore. Minerva Colón was Tommy Hunter's girlfriend; he recalls she played cowbell on a piece made in 1962 or 1963.  "Dimensions in Time" cuts off abruptly near the end of Gilmore's solo.  ct subsequently discovered that "Primitive" is the missing ending of "Dimensions in Time," picking up neatly as though the original tape had been sliced with a razor. The date for this session was arrived at on stylistic grounds; besides, John Gilmore is not known to have recorded on bass clarinet with Sun Ra after 1963 (previous discographies gave 1970-1972 as the date).

"Primitive" and "The Conversion of J.P." were first issued on Saturn LP 14200A/142000B, Space Probe, in 1974.  Some copies were titled A Tonal View of Times Tomorrow volume 1.  The serial number 527 is often given for this album, but it never appeared on the sleeve or on the label for this side.  In Alden Kimbrough's copy, this is Side A and the tracks are labeled "The Conversion" and "Primevil Age."  Though the matrix mumber for the side containing "Primitive" and "Conversion" is 14200A, on most copies this is labeled Side B!  On many later issues of Space Probe, this same side is replaced by Side B of The Invisible Shield.

There is also a distinct hybrid, released on Philadelphia Saturn label in the mid-'70s, called Primitone.  It consists of 143000A (from Outer Spaceways Incorporated) on Side A and 14200A on Side B.  Thanks to Hartmut Geerkenand Urs Berger for descriptions of this hybrid.  According to David Martinelli it was re-pressed and distributed by Recommended Records in the early 1980s.

164. [146] Sun Ra

Space Probe

Sun Ra (2 Mini-Moog syns).

Variety Recording Studios,
NYC, prob. 1970

Space Probe (Ra)

This track was released on the Philadelphia label as Side A of Saturn 14200A/142000B, Space Probe, in 1974.  As ct points out, it is not entirely clear which was Side A -- the label identifies this side as 14200A, but the matrix number is 142000B.  On Alden Kimbrough's copy, this is identified as Side B on the label.  John Gilmore stated that "Space Probe" was made in Philadelphia.  1970 seems likely because of Ra's extensive solo Mini-Moog activity around that time, but 1971-1973 cannot be ruled out.  According to Urs Berger, some releases of 14200A give 1970 as the date -- and others give 1973!

Some copies of Space Probe are titled A Tonal View of Times Tomorrow Volume 1.  The serial number 527 appears on the label for this side on some copies of the LP; it never appears on the jacket.

There are many hybrid pressings of Space Probe that replace the other side ("Primitive" and "The Conversion of J.P.") with Side B of The Invisible Shield (144000B).  Urs Berger's copy has a gray cover with a photocopied drawing of Sun Ra, partly in shadow, on the front and a pasted-in list of typed titles on the back.  The labels are blue Chicago on 144000B and white Chicago on 142000B.  Another hybrid of this type was produced in 1989 with red-and-green labels by the Hinds brothers; according to Geerken and Hefele, the press run on this version was 300 copies.

from Campbell / Trent  The Earthly Recordings 2nd ed.

Space Probe (LP) 

Sun Ra and his Arkestra

 
1. Dimensions in Time [Not on orig LP]   3:52

2. Primitive   2:30
3. The Conversion of J P   13:54

4. Space Probe   18:01

 

 

Space Probe (Art Yard CD)

1. Space Probe   17:57
2. Earth Primitive Earth   6:12
3. Circe - Sun Ra And Thea Barbara   0:47
4. Solar Symbols II   5:05
5. Dance Of The Wind   2:55
6. Recollections Of There - Sun Ra And Thea Barbara   4:51
7. Destiny   0:34
8. The Conversation Of J.P.*   13:44

*Michael D. Anderson give no explanation regarding the change in title from "The Conversion of J.P." to "The Conversation of J.P." I have to wonder if this new name is a typo or if Ra originally titled it so.

Ra breaks it down in 5 minutes

Two short vids I found online recently.
Great GREAT stuff.
Thanks to the original uploaders.

via

via

Sun Ra - We Travel the Spaceways / Bad and Beautiful

We Travel the Spaceways was recorded at a handful of sessions in Chicago from 1956-1959, possibly 1960. Although several of the tunes also appear on other '50s era recordings, as usual, personnel and arrangements differ from album to album. Many of the tunes are quite bluesy, with tympani, bells, and percussion adding an exotic flair, but the big event here is the appearance of the "space chant," which would become an Arkestra calling card for decades to come. The band was starting to shed its bop tendencies in favor of a more personalized sound, but aside from the novelty aspect of the space chants, nothing on this album gets too far out. The three sessions represented here demonstrate the rapid evolution of the Chicago Arkestra from an interesting bop-influenced ensemble to the singular antics of the world's first space age jazz outfit. 

Bad and Beautiful is probably the first recording made after the Arkestra settled in New York in 1961. Not everyone in the Chicago band wanted to make the move, and since they hadn't been in New York long enough to recruit new musicians, Bad and Beautiful features an Arkestra that's been stripped down to a sextet of Ra, Marshall Allen, John Gilmore, Pat Patrick (who had already moved to NY), Ronnie Boykins, and Tommy "Bugs" Hunter. Aside from "Exotic Two," the tunes are split between standards (apparently the last ones the group would record until the '70s) and blues originals, but there are indications of the direction the Arkestra would take throughout the '60s. "Search Light Blues" has some interesting percussion accents finding their way into the arrangement, and "Exotic Two" alludes more clearly to the percussion-heavy sound that dominated many of the '60s recordings. Sun Ra plays piano exclusively on this recording, and Gilmore gets lots of room to shine. A significant transitional LP, this is probably the last "inside" record the Arkestra would record as they forged new sonic paths into the mid-'60s.

Much like Evidence's Fate in a Pleasant Mood/When Sun Comes Out two-fer, We Travel the Spaceways/Bad and Beautiful also features one album from the Chicago period and one from the New York period. The difference is that this New York session (Bad and Beautiful) is probably the first recording made in New York, and the overall sound is more closely tied to the Chicago sound than the later New York material, where rhythm and percussion dominated any melodic elements. The late Chicago period had the Arkestra still swinging, but moving beyond their swing and bop origins into more uncharted territory. We Travel the Spaceways marks the first appearance of the Space Chant, songs that would practically define the Arkestra in later decades. The pairing of We Travel the Spaceways and Bad and Beautiful captures an important transitional phase for the Arkestra, and makes a good starting point for the novice interested in Sun Ra. 

AMG Reviews by Sean Westergaard

We Travel the Spaceways

34. [21] Sun Ra Arkestra

We Travel the Spaceways

Sun Ra (p.); Art Hoyle (tp); Julian Priester (tb); James Scales (as); John Gilmore (bells); Pat Patrick (bars); Wilburn Green (eb); Robert Barry (d).

RCA Studios, Chicago, April-May 1956

New Horizon (Ra)

Saturn HK 5445 (released around 1966) was an LP entitled We Travel the Spaceways.  It may also have circulated under the serial number ESR 5445.  In 1967, it was given the catalog number 409.  All items from this album were reissued in 1992 on Evidence 22038 [CD].  It is sometimes claimed that this track is an alternate take from the July 12, 1956, Transition session at Universal Studios, but the absence of this take on the outtake pressing from that session and the less-than-perfect recording balance induce one of the Saturn sessions from RCA Studios.  So does the earlier copyright date ("New Horizons" was copyrighted on April 24, 1956; most of the material from the Sun Song session were copyrighted in a batch on July 17).  The presence of Scales on this track also suggests that it was not one of the February recordings.


63. [47] Sun Ra and his Myth Science Arkestra

We Travel the Spaceways

Sun Ra (p.); Walter Strickland (tp); Nate Pryor (tb); Marshall Allen (as); John Gilmore (ts); Pat Patrick (bars); Ronnie Boykins (b); Robert Barry (d).

Rehearsal, Chicago, 1959

Eve (Ra)

Walter Strickland is identified on the Saturn jacket.  This track was first issued on the LP We Travel the Spaceways (Saturn HK 5445) around 1966….



68. [53] Sun Ra and his Myth Science Arkestra

We Travel the Spaceways

Sun Ra (cosmic tone org); Phil Cohran (violin-uke, voc); John Gilmore (cosmic bells, voc); Ronnie Boykins (b, voc); prob. William Cohran (d); prob. Marshall Allen (perc).

Rehearsal, Chicago, 1960

Interplanetary Music (Ra)

Phil Cohran's violin-uke was misidentified on the Saturn jacket as a "space harp" (which was Ra's name for Cohran's amplified thumb piano; cohran called it a Frankiphone)….


70. [55] Sun Ra and his Myth Science Arkestra

We Travel the Spaceways

Sun Ra (p.); Phil Cohran (tp); Marshall Allen (as); John Gilmore (ts); Ronald Wilson (bars); Ronnie Boykins (b); John Hardy (d).

Rehearsal, Chicago, 1960

Tapestry from an Asteroid (Ra)

Phil Cohran confirms his presence here and says the piece was written for him.  Pat Patrick was in New York in 1960; Cohran says that the full sound indicates that Ronald Wilson is probably present on baritone sax, and that Hardy was the drummer….

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, gong -1, p -2); Phil Cohran (violin-uke -3, cnt -4, perc, voc); Nate Pryor (tb, bells -5); John Gilmore (ts -6; cl -7, perc, voc); Marshall Allen (as -8, fl -9, bells voc); Ronnie Boykins (space gong -10, b, voc); Jon Hardy (d, perc, gong).

RCA Studios, Chicago,
around June 17, 1960

[many many songs not on We Travel the Spaceways] 

Velvet (ra) -2, 4, 5, 6, 8

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….


75. [64] Sun Ra and his Myth Science Arkestra

Fate in a Pleasant Mood /
Interstellar Low Ways /
We Travel the Spaceways

Sun Ra (p.); George Hudson (tp); Marshall Allen (as, bells, flying saucer, voc); John Gilmore (ts, perc, voc); Ronnie Boykins (b, perc, voc); Jon Hardy (d).

Rehearsals, Chicago,
around October 1960

Distant Stars (Ra-Boykins)
Onward (Ra)
Space Aura (Ra)
We Travel the Spaceways (Ra) [ens voc]
Space Loneliness (Ra)

George Hudson began working with Sun Ra in late 1960 and was his main trumpet player from Phil Cohran's departure in January 1961 until the Arkestra left Chicago.  His style is immediately recognizable on the first three tracks, and Phil Cohran identified him on the other two ("Space Loneliness" is attributed to Walter Strickland and "We Travel" to Phil Cohran on the Saturn jacket).  The bizarre whirring heard at the end of "We Travel the Spaceways" comes from a toy robot with flashing lights; John Gilmore told John Corbett that around this time the Arkestra would release the "robots" into the audience during their performances.  The band also used mechanical "flying saucers" as props.  Edward Skinner (who later changed his name to Luqman Ali) was incorrectly credited as the drummer in Jon Hardy's place on a number of Saturn issues.  It is known, however, that he and Hudson often worked together, and it is possible that Skinner is on "Distant Stars" or "Onward."


77. [66] Mr. Sun Ra and his Arkestra

Bad and Beautiful /
Art Forms of Dimensions Tomorrow

Sun Ra (p.); Marshall Allen (fl -1, perc -2); John Gilmore (ts -3, perc -4); Pat Patrick (bars -5, perc -6); Ronnie Boykins (b); John Ore (b -7); Tommy Hunter (d).

Choreographers Workshop, NYC,
November-December 1961

unidentified title 2, 3, 5 [inc]
unidentified title [p, b; inc]
The Bad and the Beautiful
(Previn-Raksin) 1, 3, 5
Ankh (Ra) 3,5
Just in Time (Styne-Comden-Green) 3
Search Light Blues (Ra) 2, 3, 6
Exotic Two (Ra) 2, 4, 6
On the Blue Side (Ra) 5
And This Is My Beloved
(Borodin-Wright-Forrest) 1, 3, 5
Lights on a Satellite (Ra) 3, 5, 7
Kosmos in Blue (Ra) 3, 7

Although all but the last two tracks were sold to Black Lion in December 1971, they were never issued on that label.  Saturn LP 532, Bad and Beautiful, was released in 1972.  All tracks were reissued on Impulse ASD-9276 in 1974 and on Evidence 22038 [CD] in 1992.  Julian Vein (the source for the track-by-track breakdowns) points out that the piano introduction to "The Bad and the Beautiful" has been edited out of all issues.  This was done in early 1972 by Richard Wilkinson while preparing the tape for issue on Saturn: "I took out the intro because the tape was frayed.  Sun Ra complained for years."….

Date and location from Phil Schaap.  The Choreographers Workshop, managed by the Variety Arts Company, was located at 414 West 51st Street in New York City.  After their arrival in New York, the Arkestra hooked up with Pat Patrick and drummer Tommy Hunter, who was working at the Workshop at the time.  The Arkestra used the practice rooms on the nights and weekends for three years or more (until they moved all their rehearsals to a room at the Sun Studio on East 3rd Street).  John Gilmore has stated that the sessions at the Workshop began after the Savoy session; Tommy Hunter (who recorded the sessions) confirms 1961 as the date and says that he was present on the tracks with two bassists (not C. Scoby Stroman as stated on the Saturn jacket).  These sessions were made in a room on the third or fourth floor, where the acoustics and the piano were not to Ra's liking. 

from Campbell / Trent  The Earthly Recording 2nd ed.

Search Light Blues

By 1961, Mr. Sun Ra and a diminished Arkestra had inadvertently relocated from Chicago to New York City and, although gig opportunities were slim, Tommy Hunter had rejoined the band on percussion. Hunter subsequently purchased an Ampex 601 reel-to-reel tape recorder at a pawn shop in order to record the Arkestra’s frequent rehearsals. Hunter was also fortuitously employed, first at Columbus Rehearsal Studio on 8th Avenue between 57th and 58th Streets and later at the Choreographer’s Workshop at 414 West 51st Street. Thanks to Hunter, the Arkestra was able to rehearse and record rent-free on nights and weekends for the next three years (see Szwed, pp.186-187). Ra had frequently recorded rehearsals back in Chicago, but 1961 would mark the beginning of a particularly fruitful period.

Bad and Beautiful is the very first of a long series of wonderful Saturn records made at the Choreographer’s Workshop in the 1960s. This particular session was recorded in a room on the third or fourth floor where the acoustics and the piano were “not to Ra’s liking” (Campbell, 1st ed., p. 24). Sonny apparently preferred the basement where there was a good piano and better acoustics (Szwed, p.187). Indeed there is a noticeably hissy and tinny quality to the sound. But there is also that pleasantly reverberant atmosphere that characterizes all of the Choreographer’s Workshop records: They have that Saturn Sound. Along with Ra and Hunter, the sextet includes Marshall Allen on alto sax and flute, John Gilmore on tenor sax, Pat Patrick on baritone sax, Ronnie Boykins on bass. They sound supremely relaxed, languidly exploring hoary standards and show tunes along with some rather conventional Ra originals. Gilmore is in his usual fine form throughout but his oh-so-smooth solo on “Search Light Blues” is truly deep and soulful. Pat Patrick plays the unwieldy baritone saxophone with astounding grace on the riff-based “Ankh” and on the gently swinging “On the Blue Side.” But then “Exotic Two” points to the future with each Arkestra member banging away on percussion instruments in dense poly-rhythms while Ra punches out stiff chord sequences on the piano. (Small percussion instruments can be heard chattering away on “Search Light Blues” as well.) The album closes with a languorous ensemble arrangement of “And This Is My Beloved.” In all, Bad and Beautiful is a transitional, historically important album and its subdued atmosphere and sophisticated musicianship also makes for a simply pleasant Sun Ra Sunday.

(from NuVoid's Sun Ra Sundays)

illustration by Edu Camacho

Sun Ra and his Solar Arkestra
We Travel the Spaceways / Bad and Beautiful
Evidence ECD 22038-2 (1992) [CD]

1.  We Travel The Spaceways - Interplanetary Music   2:44
2.  Eve   3:11
3.  We Travel the Spaceways   3:25
4.  Tapestry from an Asteroid   2:11
5.  Space Loneliness   4:51
6.  New Horizons   3:04
7.  Velvet   4:38
8.  Bad And Beautiful - The Bad and the Beautiful   2:49
9.  Ankh   5:14
10. Just in Time   3:52
11. Search Light Blues   5:41
12. Exotic Two   4:51
13. On the Blue Side   5:32
14. And This is My Beloved   3:16

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Sun Ra and his Arkestra
Bad and Beautiful
180g Saturn ESR532 (Reissue)

1. Bad And The Beautiful   2:48
2. Ankh   5:12
3. Just In Time   3:50
4. Search Light Blues   5:40

5. Exotic Two   4:50
6. On The Blue Side   5:31
7. And This Is My Beloved   3:18

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2nd Chance: Sun Ra - Of Mythic Worlds (1980)

Of Mythic Worlds is a "live" recording that demonstrates the power of the Arkestra to produce moods and play comfortably within forms that would frustrate many other musicians of wider popularity.  "The Mayan Temples" is an evocative piece of music that conjures images of a procession ascending the stately steps of an ancient structure of this past American civilization.  Of particular note is the seeming oneness of the flutes in this deceptively simple melody set against the decisive rhythms played by the Arkestra.

More and more, Sun Ra has been exposing his acoustic piano work.  He has given several solo piano concerts, one recently at the Festival Van Blaanderen in Belgium.  Here Sun Ra offers two piano selections -- the ever-popular "Over the Rainbow" receives a rhapsodic introduction before it modulates into a jaunty compendium of classic jazz piano styles.  The other piano piece, "Inside the Blues," is just that; a foundational work which once again justifies the blues as the basis of jazz.

The title selection, "Of Mythic Worlds" and "Intrinsic Energies" are exploratory.  Both show the Arkestra's ability to go outside but still swing in a decidedly different way.  Both John Gilmore, tenor, and Marshall Allen, alto, turn in highly original solos on these two selections.
From the back cover notes by Spencer R. Weston, January 9, 1980

Of Mythic Worlds is a fine album recorded in 1979 that sounds like a studio date. "Mayan Temples" is a great piece: slow and exotic with lots of flutes and bass clarinet. A nice reading of "Over the Rainbow" follows, then a great piano feature called "Inside the Blues." Side two heads just a bit farther out, with "Intrinsic Energies" sounding like some kind of space bebop while "Of Mythic Worlds" is a great tenor feature for John Gilmore. This is another album that will probably be tough to find but well worth it. 

Sean Westergaard - AMG Review

Inside the Blues

274. [232]  Sun Ra

Of Mythic Worlds

Sun Ra (org, p, Crumar Mainman); unidentified (tp); Marshall Allen (as, fl, perc); Danny Davis (as, fl, perc); John Gilmore (ts, timb, announcement); Eloe Omoe (bcl, fl, perc); James Jacson (bsn, Inf-d, perc); Danny Ray Thompson (bars, libf, bgo); prob. Hayes Burnett (b); Luqman Ali (d); prob. Michael Anderson (d, perc); Atakatune (cga, perc)

Live, poss. Chicago, 1978

Mayan Temples (Ra)
Over the Rainbow (Harburg-Arlen)
[p and rhythm only]
Inside the Blues (Ra) [p and rhythm only]
Intrinsic Energies (Ra)
Of Mythic Worlds (Ra)

Philly Jazz PJ 1007, Of Mythic Worlds, was released in 1980; the matrix numbers were 9791A and 9791B, which probably indicated that it was mastered in September 1979.

Ahmed Abdullah believes the LP was recorded in 1979 (no date is given on the jacket).  The jacket states that the album was recorded in Chicago, but the proprietors of Philly Jazz knew nothing of the origins of the tape, and this information may be inaccurate.  A photo on the jacket shows the Arkestra performing at the Ann Arbor Festival in September 1979, but this LP features a much smaller ensemble; even allowing for the fact that excerpts featuring Ra and other soloists were used for the LP, only one trumpet can be heard in the freakout that concludes "Mayan Temples."  Also, guitars and vibes would be heard in the accompaniment if they were present.  Applause can be heard on Side A (it was cut out on Side B; both pieces are edited portions of long free improvisations), so this is definitely a live recording (not studio as stated in the first edition of this discography).  The sonics indicate a large hall, not a club.

Were it not for the Crumar Mainman that Sun Ra uses on "Intrinsic Energies" and "Mythic Worlds," it would be easy to mistake this for a 1977 recording; John Gilmore even announces "The Mayan Temples" in his best mid-'70s manner.  Personnel identified by rlc.  Danny Davis was not mentioned in the first edition; neither was the second drummer; and the bassist was identified there as Richard Williams.  Eloe Omoe was listed in the first edition, but there is no bass clarinet, just a fragment of a Neptunian libflecto solo at the end of the track called "Of Mythic Worlds."

from Campbell / Trent  The Earthly Recordings 2nd ed.

 

Sun Ra
Of Mythic Worlds (1980)
Philly Jazz Records PJ 1007

180g LP

1. A1 Mayan Temples   7:47
2. A2 Over The Rainbow   5:30
3. A3 Inside the Blues   5:31

4. B1 Intrinsic Energies   8:43
5. B2 Of Mythic Worlds   12:45

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Sun Ra - The Lost Arke and a 2nd Chance: Mystery Mister Ra

Tremendous lost works from Sun Ra – three previously-unreleased tracks from Art Yard's vaults – all of them great!  Side one features the wonderful spiritual polyrhythmic percussive groover 'Along Came Ra' featuring vocals from June Tyson to start things out – then given a fiery recitation by Ra over ensemble vocals.  Next is "The Sky Is A Sea Of Darkness" – a spare keyboard tune with some great vocals – beautifully, soulfully sung by John Gilmore with a poetic feel that's wonderful! Last up is one of the most soulful versions of "We Travel The Spaceways" we've ever heard – slow, with piano in the background underneath the vocals – which themselves are deeply personal, and some of the most moving we've ever heard on a Ra tune. All three tracks are on the inside, spiritual side of the Arkestra spectrum.

boomkat/dusty groove album review mashup

Sun Ra & his Arkestra
The Lost Arkestra part 1 (2010)
Kindred Spirits / Art YardKSAY-OFF-1
10" 33 1/3 RPM record

1. Along Came Ra    6:54
2. The Sky Is A Sea Of Darkness    2:32 

3. We Travel The Spaceways    6:37

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I don't know when/where all of the above performances were recorded, but I noticed while watching "Mystery Mister Ra" that track 1, "Along Came Ra" was filmed and presented at the beginning of the movie.  Here is some info regarding some performances included in the film:


404. [301] Sun Ra and his Myth Science Arkestra
Mystery, Mr. Ra (film)

Sun Ra (p, org, voc); Ronnie Brown (tp, perc); Haji (tp); Tyrone Hill (tb); Marshall Allen (as, fl, kora, EVI, sticks, whistle); John Gilmore (ts, cl, timb, EVI); Eloe Omoe (as, bcl, cacl, EVI, maracas); Danny Ray Thompson (bars, fl, EVI, bgo); James Jacson (bsn, fl, EVI, Inf-d); James Glass (eg); Rollo Radford (standup eb); Clifford Jarvis (d); Marvin "Boogaloo" Smith (d); poss. Chris Henderson (d); Atakatune (cga); unidentified Cuban (cga, perc); June Tyson (voc, dance); Myriam Broche (dance); Greg Pratt (dance); Don Mumford may replace Clifford Jarvis (d); Chris Henderson (d) may replace Marvin "Boogaloo" Smith; Wilbur Little (b); replaces Rollo Radford (standup eb).

Paris Jazz Festival, Paris, November 1983

untitled improvisation [kora]
untitled improvisation [EVIs]
Along Came Ra (Ra)/
Children of the Sun (Ra) [JT, voc; SR, ens voc]
Blue Lou (Sampson) [inc]
Nuclear War (Ra) [SR, JT, ens voc]
1984 (Ra) [SR, JT, ens voc]
Cocktails for Two (Coslow-Johnston)

405. [302] Same personnel, except Rollo Radford (standup eb) is back in place of Wilbur Little (b).

Le New Morning, Paris, November or December 1983

Love in Outer Space (Ra)
untitled improvisation
[bars, tb, and bcd; p; falsetto ts]
Astro Black (Ra) [JT voc]
Nuclear War (Ra) [SR, ens voc; inc]
untitled improvisation [kora; perc and dance]
Mystery, Mr. Ra (Ra) [SR, JT, ens voc]
Discipline 27 (Ra) [inc]

Mystery, Mr. Ra is a 48-minute documentary, released in 1984, featuring footage from two Paris concerts and interviews with Ra, John Gilmore, and Archie Shepp.  Produced by Hubert Niogret, directed by Frank Cassenti; issued on video in 1993 by Rhapsody Films with sleeve notes by Michael Shore.  Date and tunes rlc.  Personnel rlc with help from Danny Ray Thompson; Mumford and Little are mentioned in the film credits.  This was a distinct performance from the Arkestra's March 1983 appearance at Le New Morning.
from Campbell / Trent  The Earthly Recordings 2nd ed.

Offering below is of higher resolution than stream above.

1.45g m4v

RS1  RS2  RS3  RS4

or

HF1  HF2  HF3  HF4

 

2nd Chance: Sun Ra - My Brother the Wind Vols. 1 & 2

Should I mention that Volume 1 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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When Evidence reissued this classic Sun Ra release in 1992, they rearranged the songs and separated the solo Mini-Moog experiments from the 'traditional' band numbers.  Personally, I prefer the original running order because I can hear more connections between the abstract Mini-Moog pieces and the other songs.   You can decide for yourself - today I'm offering a CD rip in addition to a rip of Saturn's 180g LP reissue.   Fans of NuVoid's Sun Ra Sundays can find Rodger Coleman's typically insightful albeit brief review of the album here.

Saturn LP 523, My Brother the Wind Volume II, was released in 1971.  Some copies carry the serial number SRA 2000; some are titled Otherness.  All titles from the original release reissued in 1992 on Evidence 22040 [CD].  Evidence includes the final 2:30 of "Walking on the Moon," which was edited out of all Saturn issues by Richard Wilkinson because of poor sound engineering.  "The engineer didn't get along withSun Ra and messed up some of the tracks," resulting in his being fired, according to Wilkinson.  (The extra verses of "Walkin' on the Moon" were used in live performances during this period.)

"Otherness Blue," "Pleasant Twilight," and "Walking on the Moon" were also reissued on Saturn XI, the Saturn anthology LP titled Just Friends, in 1983.  "Otherness Blue" was also included in a 1997 Sun Ra CD sampler on Japanese Paddle Wheel KICJ 315, Sun Ra Came Down to the Earth.

Most Saturn copies of My Brother the Wind Volume II are hybrids which delete the original Side A (including "Somewhere Else" and "Contrast" from this session) and replace it with Side A of Outer Spaceways Incorporated.  Some of these hybrids carry the serial number 5221 instead of 523.  Still others are identified as Saturn LP 522 (!) on the jacket (thanks to Peter Roberts for a description of this variant, which was on sale briefly in the late 1970s).  Discographies frequently list an Impulse reissue, AS-9289, but this was never released.

Personnel from the Saturn jacket.  "Walking on the Moon" refers to the feats of Neil Armstrong and so must date from July 1969 or later.  Current date and location from Richard Wilkinson, who is firm about 1970 (the first edition of this discography gave late 1969 as the date).  Information about the rejected track from Jerry Gordon.  Gordon says that the LP was for sale in summer 1970.

157. [139]  Sun Ra and his Solar Myth Arkestra

My Brother the Wind Volume II

Sun Ra (intergalactic [Farfisa] org); Kwami Hadi (tp); Akh Tal Ebah (tp, mell); Marshall Allen (as [solo], fl, picc); Danny Davis (as, acl, fl); John Gilmore (ts, perc); Danny Ray Thompson (bars, fl); Pat Patrick (bs [all solos], fl); James Jacson (ob, perc); Alejandro [Alex] Blake (b); Clifford Jarvis (d); Lex Humphries (d); Nimrod Hunt (hand drums); William Brister [Rashid Salim] (perc); Robert Cummings (perc); June Tyson (voc).

Variety Recording Studio,
NYC, early 1970

unidentified title
Somewhere Else (Ra)
Contrast (Ra)
Otherness Blue (Ra)
Somebody Else's World (Ra) [JT, ens voc]
Pleasant Twilight (Ra)
Walking on the Moon (Ra) [JT voc]

158. [140]  Sun Ra

Sun Ra (Mini-Moog syn)

Same session

The Wind Speaks (Ra)
Sun Thoughts (Ra)
Journey to the Stars (Ra)
World of the Myth "I" (Ra)
The Design--Cosmos II (Ra)

According to John Gilmore, Sun Ra's was a custom model and was probably delivered some months before general availability. 

from Campbell/Trent The Earthly Recordings 2nd ed.

My Brother the Wind Volume II (CD rip)

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1.  Otherness Blue   4:52
2.  Somebody Else's World   4:04
3.  Pleasant Twilight   3:38
4.  Walking On The Moon   6:18
5.  Somewhere Else   4:35
6.  Contrast   2:56
7.  The Wind Speaks   3:55
8.  Sun Thoughts   2:38
9.  Journey To The Stars   2:58
10. World Of The Myth "I"   1:37
11. The Design-Cosmos II   2:22

My Brother the Wind Volume II (180g reissue LP rip)
Note that the original track order is different from the CD reissue!

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1.  Somewhere Else   4:32
2.  Contrast   2:55
3.  The Wind Speaks   3:53
4.  Sun Thoughts   2:38
5.  Journey To The Stars   2:57
6.  World Of The Myth "I"   1:36
7.  The Design-Cosmos II   2:23

8.  Otherness Blue   4:49
9.  Somebody Else's World   4:03
10. Pleasant Twilight   3:37
11. Walking On The Moon   6:13

2nd Chance: Sun Ra - Voice of the Eternal Tomorrow

This is one of a couple Saturn releases recorded at the Squat Theater in New York in 1980. This is a large (20-plus pieces), well-recorded Arkestra with two vibes players, but rather than pulling out a bunch of elaborate charts, this album is really just a series of solo features punctuated by big space chords. "Voice of the Eternal Tomorrow" has Sun Ra going into full sci-fi mode, playing both the eerie soundtrack as well as voicing the battling aliens. "Approach of the Eternal Tomorrow" has more big space chords and some unbelievable high-register horn work. "The Rose Hue Mansions of the Sun" is still more big space chords and scary keyboard work, but Ra actually manages to find something of a tune briefly at the end. All in all, The Rose Hue Mansions of the Sun is somewhat unremarkable in the Ra canon, but is still a fine showcase for the Arkestra soloists.

AMG Review by by Sean Westergaard

Lossless LP rip of this out of print Saturn rarity courtesy of Paul W.
Thanks Paul!

 

Label pics from The (now sadly defunct) Magic of Juju Blog from their January 2007 post.  More  pics at Discogs incl. white labels.

Voice of the Eternal Tomorrow

327. [257]  Sun Ra and his Arkestra

Voice of the Eternal Tomorrow

Sun Ra (syn, org); poss. Ronnie Brown (tp); Walter Miller (tp); Michael Ray (tp); Craig Harris (tb); Tony Bethel (tb); Vincent Chancey (Fr hn); Marshall Allen (as, ob); Noël Scott (bars, as); James Jacson (bsn, Inf-d); Eloe Omoe (bcl); Kenny Williams (ts, bars); Steve Clarke (eb); Hayes Burnett or Richard "Radu" Williams (b); Damon Choice (vib); Harry Wilson (vib); Luqman Ali (d); Samarai Celestial [Eric Walker] (d).

Squat Theatre, NYC, September 17, 1980

The Saturn LP 91780 is variously known as Voice of the Eternal Tomorrow and The Rose Hue Mansions of the Sun.  It was released in 1980.  Location courtesy of Greg Drusdow. Personnel from Geerken's discography, except that he has Reg McDonald on drums instead of Samarai, and Hutch Jones and Sylvester Baton in the saxophone section instead of Ronnie Brown.  Geerken based his personnel on the assumption, now known to be untrue, that Strange Celestial Road was recorded in 1980.  Samarai Celestial says that he was a regular at the Squat from 1979 to 1982.

From 1978 to 1982 the Arkestra worked regularly at the Squat Theatre in New York City.  During 1980 the Arkestra averaged once a week at the Squat.  A number of these concerts were taped by Saturn, and some material was released, but surely there are concert tapes of other performances 
From Campbell/Trent  Earthly Recordings 2nd ed.

Does anyone have any performance recordings from the Squat to share?

  

Voice of the Eternal Tomorrow
(The Rose Hue Mansions of the Sun)

1. Voice of the Eternal Tomorrow            8:03

2. Approach of the Eternal Tomorrow   11:27

3. The Rose Hue Mansion of the Sun     21:17

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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

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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.