Jazz Archives

Sun Ra - Celestial Love (1982)

Side A
1. Celestial Love (Ra)
2. Sometimes I'm Happy (Caesar-Youmans)
3. Interstellarism (Insterstellar Low Ways) (Ra)
4. Blue Intensity (Ra)

Side B
5. Sophisticated Lady (Carney-Ellington)
6. Nameless One #2 (Ra)
7. Nameless One #3 (Ra)
8. Smile (Chaplin)

Credits
Ra-p, keyb, org;
Walter Miller-tp;
Tyrone Hill-tb;
Vincent Chancey-frh;
Marshall Allen-as, fl;
John Gilmore-ts;
Danny Ray Thompson-bs, fl;
James Jacson-bsn, perc; pos.
Hayes Burnett o
John Ore-b; prob.
Eric Walker-d;
Atakatune (Stanley Morgan)-cga;
June Tyson-voc en Smile y Sometimes I'm Happy.

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.

:::Review by Sean Westergaard:::

Sun Ra - Of Mythic Worlds (1980)

A1 Mayan Temples 7:48
A2 Over The Rainbow 5:15
A3 Inside The Blues 5:45
B1 Intrinsic Energies 8:40
B2 Of Mythic Worlds 12:5

Credits
Arranged By – Sun Ra
Artwork By [Cover Art] – Lisabeth Sterling
Composed By – Sun Ra (tracks: A1, A3, B1, B2)
Executive Producer – Rick Barry, Tom Buchler
Liner Notes – Spencer Weston
Producer – Sun Ra

On Jupiter is a great album recorded in 1979, about a year after Lanquidity. After easing in with the fairly brief title cut, a fairly mellow affair featuring June Tyson on vocals, listeners are treated to the all-out disco-funk of "U.F.O." Anchored by a monster bassline courtesy of Steve Clarke, this tune has fun ensemble vocals and great solos on guitar and tenor sax. This is as funky as Sun Ra ever got and really must be heard to be believed. Side two consists of "Seductive Fantasy," a lovely piece composed on top of a three-note bass ostinato that features lots of great piano from Ra and some interesting guitar sounds from either Skeeter McFarland or Taylor Richardson. John Gilmore gets plenty of room on this track as well and Luqman Ali's drumming is superb. This album is well worth picking up, but being one of those Saturn rarities makes it pretty difficult to do so.

:::Review by Sean Westergaard:::

Sun Ra - On Jupiter (1979)

1. On Jupiter 4:01
2. UFO 8:35
3. Seductive Fantasy 17:09

Credits
Alto Saxophone, Flute, Oboe – Marshall Allen
Alto Saxophone, Flute, Percussion – Danny Ray Thompson
Artwork By – Art Yard
Baritone Saxophone – Julian Pressley
Bass – Richard Williams
Bass Clarinet – Eloe Omoe
Bassoon, Flute, Percussion, Drums [Ancient Egyptian Infinity Lightning Drums] – James Jacson
Cello – Unknown Artist
Drums – Reg McDonald, Samarai Celestial
Drums, Vocals – Luqman Ali
Electric Bass – Steve Clarke
Electric Guitar – Skeeter McFarland, Taylor Richardson
Percussion – Atakatune
Piano, Electric Piano, Organ, Vocals, Composed By, Arranged By – Sun Ra
Tenor Saxophone, Percussion, Vocals – John Gilmore
Trumpet – Eddie Gale
Trumpet, Vocals – Michael Ray
Violin – Unknown Artist
Vocals – June Tyson

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.

:::Review by Sean Westergaard:::

Sun Ra - Space Probe (1978)

1. Space Probe 17:57
2. Earth Primitive Earth 6:12
3. Circe 0:47
4. Solar Symbols II 5:05
5. Dance Of The Wind 2:55
6. Recollections Of There 4:51
7. Destiny 0:54
8. The Conversation Of J.P 13:44

Credits
Clarinet [Bass] – John Gilmore
Drums [Hand] – Nimrod Hunt
Drums [Log Drum] – James Jacson
Flute – Marshall Allen
Synthesizer [Moog], Piano, Other [Intergalactic Instruments] – Sun Ra
Vocals – Thea Barbara

The Sun Ra Arkestra looks both forwards and backwards in time on this obscure small label LP. Ten years earlier, one could not have imagined Ra and his men romping through "On the Sunny Side of the Street" or reinventing "Flamingo." However, those versions certainly sound quite original, and there is no mistaking the band for any other orchestra on "Space Fling," "Manhattan Cocktail" and the trademark "Space Is the Place." The music on this album features a version of the Arkestra consisting of six reeds (including John Gilmore and Marshall Allen), three trumpets (including Michael Ray and Eddie Gale), two trombones (with a young Robin Eubanks), the French horn of Vincent Chancey, guitarist Dale Williams, three bassists, four percussionists, singer June Tyson and the leader's keyboards. A stimulating set.

:::Review by Scott Yanow:::

Sun Ra - The Other Side of the Sun (1979)

A1 Space Fling 7:37
A2 Flamingo 4:44
Composed By – Anderson, Grouya
A3 Space Is The Place 9:48
B1 The Sunny Side Of The Street
Composed By – J. McHugh 9:35
B2 Manhattan Cocktail 9:54

Credits
Arranged By – Sun Ra
Bass – Ben "Jereeboo" Henderson, Bob Cunningham, OscarBrown, Jr.
Composed By – Sun Ra (tracks: A1, A3, B2)
French Horn – Vincent Chancey
Guitar – Dale Williams
Percussion – Artaukatune, Eddie Thommus, Luqman Ali, William Goffigan
Photography By [Cover] – Jay Edgerton
Piano [Acoustic], Electric Piano [Fender Rhodes], Percussion, Bells, Vocals – Sun Ra
Producer – Sun Ra
Reeds – Danny Davis, Danny Thompson, Elo Omoe, James Jacson, John Gilmore, Marshall Allen
Trombone – Robin Eubanks, Tony Bethel
Trumpet – Eddie Gale, Michael Ray, Walter Miller
Vocals – June Tyson

Along with Lanquidity, Nuclear War is one of the rarest discs in Sun Ra's enormous catalog. Recorded in 1982, Nuclear War disappeared until 2001 when the Chicago-based Atavistic label made it part of their exceptional "Unheard Music Series." Originally Ra was so sure the funky dance track was a hit, he immediately took it to Columbia Records, where they immediately rejected it. Why he thought a song with the repeating chant "Nuclear War, they're talking about Nuclear War/It's a motherf***er, don't you know/if they push that button, your ass gotta go/and whatcha gonna do without your ass" would be a hit is another puzzle in the Sun Ra myth. Even with the danceability factor, without heavy censoring, the song would never be played on the radio. Severely depressed by the rejection, but still determined, Ra licensed the track to Y Records, a post-punk label out of Britain. Initially a vinyl 12" was released with "Sometimes I'm Happy" on the flip side. Two years later, Nuclear War was released as an album, but only in Italy. The remaining tracks include four originals and three standards, Ellington's "Drop Me Off in Harlem," "Sometimes I'm Happy," and "Smile." The latter two are highlights in their own right thanks to the gorgeous vocals of June Tyson.

:::Review by Al Campbell:::

Sun Ra - Nuclear War (1982)

1. Nuclear War 7:44
Vocals – June Tyson
2 Retrospect 5:40
3 Drop Me Off In Harlem 5:03
Written-By – Ellington
4 Sometimes I'm Happy 4:27
Vocals – June Tyson
Written-By – Caesar, Youmans
5 Celestial Love 5:30
6 Blue Intensity 5:14
7 Nameless One No. 2 3:59
8 Smile 4:25
Vocals – June Tyson
Written-By – Chaplin

Credits
Alto Saxophone, Flute – Marshall Allen
Baritone Saxophone, Flute – Danny Ray Thompson
Bass – Hayes Burnett
Bassoon, Percussion [Infinity Drum] – James Jacson
Congas, Percussion – Atakatune
Drums – Samarai Celestial
French Horn – Vincent Chancey
Piano, Synthesizer, Organ, Vocals – Sun Ra
Tenor Saxophone – John Gilmore
Trombone, Vocals – Tyron Hill
Trumpet – Walter Miller

A hard-to-find, alternately chaotic and tightly organized mid-'70s session that was issued on the Cobra, and then Inner City labels. Sun Ra provided some stunning moments on the Rocksichord, while leading The Arkestra through stomping full-band cuts of atmospheric or alternately hard bop compositions, peeling off various saxophonists for skittering, screaming, at times spacey dialogues.

:::Review by Ron Wynn:::

Sun Ra - Cosmos (1976)

1. The Mystery Of Two 5:47
2. Interstellar Low-Ways 4:45
3. Neo Project #2 5:15
4. Cosmos 2:50
5. Moonship Journey 6:30
6. Journey Among The Stars 5:50
7. Jazz From An Unknown Planet 8:10

Credits
Alto Saxophone, Flute – Danny Davis, Marshall Allen
Baritone Saxophone, Flute – Danny Thompson
Bass Clarinet, Flute – Elo Omoe
Bassoon, Flute – Jac Jackson
Drums – Larry Bright
Electric Bass – R. Anthony Bunn
French Horn – Vincent Chancey
Keyboards [Rocksichord] – Sun Ra
Tenor Saxophone – John Gilmore
Trombone – Craig Harris
Trumpet – Ahmed Abdullah

Space Is the Place provides an excellent introduction to Sun Ra's vast and free-form jazz catalog. Typical of many Sun Ra recordings, the program is varied; earthbound songs, like the swing number "Images" and Egyptian exotica piece "Discipline," fit right in with more space-age cuts, like the tumultuous "Sea of Sounds" and the humorous "Rocket Number Nine." Sun Ra fuses many of these styles on the sprawling title cut, as interlocking harmonies, African percussion, manic synthesizer lines, and joyous ensemble blowing all jell into some sort of church revival of the cosmos. Throughout the recording, Sun Ra displays his typically wide-ranging talents on space organ and piano, reed players John Gilmore and Marshall Allen contribute incisive and intense solos, and June Tyson masterfully leads the Space Ethnic Voices on dreamy vocal flights. This is a fine recording and a must for Sun Ra fans.

:::Review by Stephen Cook:::

Sun Ra - Space Is The Place (1972)

1. Space Is The Place 21:14
2. Images 6:15
3 Discipline 4:50
4. Sea Of Sounds 7:42
5. Rocket Number Nine 2:50

Credits
Alto Saxophone – Danny Davis (tracks: 4), Marshall Allen (tracks: 4)
Art Direction – Hollis King
Baritone Saxophone – Danny Ray Thompson (tracks: 1), Pat Patrick (tracks: 4)
Bass Clarinet – Eloe Omoe (tracks: 1, 5)
Composed By, Arranged By – Sun Ra
Design [Graphic Design] – Senora Brown
Drums – Lex Humphries (tracks: 4)
Electric Bass – Pat Patrick (tracks: 1, 2)
Engineer – Baker Bigsby
Engineer [Assistant] – Dominic Lumetta, Jim Dolan, Mitch Hennes, Preston Wakeland, Steve Skinder
Flugelhorn – Akh Tal Ebah (tracks: 4)
Flute – Danny Davis (tracks: 3), Danny Ray Thompson (tracks: 3), Eloe Omoe (tracks: 3), Marshall Allen (tracks: 3)
Organ [Space (farfisa)] – Sun Ra (tracks: 1, 3, 4, 5)
Other [Poems From Original Liner Notes Bts-41] – Sun Ra
Percussion – Atakatune (tracks: 4), Odun (tracks: 4)
Photography – Jim Newman, Chuck Stewart
Piano – Sun Ra (tracks: 2)
Producer [Original Sessions] – Alton Abraham, Ed Michel
Reissue Producer – Ed Michel
Tenor Saxophone – John Gilmore (tracks: 2, 3, 4)
Trumpet – Akh Tal Ebah (tracks: 2), Kwame Hadi (tracks: 2, 4)
Vocals – Akh Tal Ebah (tracks: 1), Danny Ray Thompson (tracks: 5), John Gilmore (tracks: 1, 5), Pat Patrick (tracks: 5)
Vocals [Space Ethnic Voices] – Cheryl Banks (tracks: 1, 5), Judith Holton (tracks: 1, 5), June Tyson (tracks: 1, 5), Ruth Wright (tracks: 1, 5)

Notes
Recorded October 19 and 20 (Sea Of Sounds, Rocket Number Nine), 1972, at Streeterville Recording Studio, Chicago.
Mixed at The Village Recorder, Los Angeles.
The Arkestra and Space Ethnic Voices perform with permission from El Saturn Records.
"Note: Space Is The Place was originally released on Blue Thumb Records in 1973 as BTS-41. Impulse  producer Ed Michel supervised the recording session.

Impulse, then owned by ABC, was releasing many of Sun Ra's albums under a distribution agreement with Saturn Records during the same time. For these reasons Space In The Place has been returned to its rightful place on Impulse." In digipak case.
(P) 1988 MCA Records, Inc. & (C) 1972 MCA Records, Inc. & 1998 GRP Records, Inc.

This is the great late-night Sun Ra chillout album you never knew about. The band had been working in a more groove-oriented setting off and on for over a year, as evidenced by the albums Lanquidity and On Jupiter, with both featuring prominent electric bass and electric guitar. Sleeping Beauty picks up right where On Jupiter left off, with the gentle, swaying "Springtime Again" echoing the same mellow vibe of "Seductive Fantasy" from On Jupiter. A skittering intro coalesces as different instruments pick up bits of the melody, which is then fully expressed by the horn section and ensemble vocals. It's a simple two-chord vamp, with beautiful solos that seem to embody the reawakening and rebirth of springtime. "The Door of the Cosmos" starts with a gospel-like chant and handclaps, with comments from Ra's electric piano and electric guitar. A strong bassline enters, very reminiscent of "A Love Supreme, Pt. 1: Acknowledgement," but the accompanying chant celebrates the mysteries of the unknown rather than the universal truth of A Love Supreme. This track builds in intensity, but never loses its groove or becomes nearly as raucous as the Arkestra is sometimes known for. "Sleeping Beauty" is the album centerpiece, taking up all of side two. Ra's beautiful electric piano gets things rolling, and the band falls into a peaceful groove before the vocals enter, led by the wonderful June Tyson. These songs are all built on the simplest of structures, and the playing from everyone is understated and sublime. Sleeping Beauty is truly a high point in an unwieldy discography, and something of an anomaly at the same time. There's a good reason copies of this album go for several hundred dollars on the collector's market, but it really deserves a proper release so more people can hear it. Outstanding.

:::Review by Sean Westergaard:::

Sun Ra - Sleeping Beauty (1979)

1. Springtime Again 9:17
2. Door of the Cosmos 8:58
3. Sleeping Beauty 11:52

Credits
Sun Ra (synth, organ vocals)
John Gilmore (tenor sax, percussion)
Marshall Allen (alto sax)
Danny Thompson (baritone sax, flute, percussion)
Michael Ray (trumpet)
Noel Scott (alto sax)
June Tyson (vocals)
Eloe Omoe (bass clarinet)
Craig Harris (trombone)
Tommy Hunter (drums)
Al Evans (flugelhorn)
Jarbu Shahid (bass)
Samarai Celestial (drums)
Vincent Chancey (french horn)
Francisco Mora, Tani Tabbal (percussion): Bright Moments (congas)
The Bell Brothers (bells)
John Ore (bass)
James Jackson (Ancient Egyptian Infinity Lightning Drum)

The band Sun Ra had at the end of the '70s was surely the funkiest he ever had, with electric bassist Steve Clarke (in tandem with upright player Richard Williams) and the twin guitars of Taylor Richardson and Skeeter McFarland. This is the band that recorded the infamous On Jupiter album, and the slightly different band lineup for Sleeping Beauty (recorded just two weeks later) suggests that Strange Celestial Road was recorded between the two, based on the hybrid band lineup. "Celestial Road" kicks things off, where electric bass, arco bass and wah-wah guitar set the stage for a great June Tyson vocal and then solos from John Gilmore, Michael Ray, Sun Ra, and Damon Choice on vibes. "Say" has a great electric bassline and joyous horn charts, and swings mightily with a vaguely Latin rhythm. There's a fine electric guitar solo, as well as some more fantastic playing from Gilmore. Ra's keyboard sounds and soloing are particularly deranged on this album, but never get into the purely noisy realm. "I'll Wait for You" is the real treat of this album, featuring a great mellow groove and wonderful ensemble vocals led by the beautiful June Tyson. There's plenty of fine soloing on this track as well, but the main attraction is the mix by Ra and Michael Ray. There's a dub-like element to the way the instruments and voices are treated and mixed in and out, but this is dub by way of Saturn, and the mix is at least as weird and wonderful as anything Lee Perry has done. This is an overlooked album in an unwieldy discography, but it's a real gem and the fact that it's on the Rounder label should make it easier to find than many of the Arkestra's other albums. Recommended.

:::Review by Sean Westergaard:::

Sun Ra - Strange Celestial Road (1980)

1. Celestial Road 7:03
2. Say 12:10
3. I'll Wait For You 16:05

Credits
Bass - Richard Williams, Steve Clarke
Drums - Luqman Ali , Reg McDonald
French Horn - Vincent Chancey
Guitar - Skeeter McFarland , Taylor Richardson
Keyboards - Sun Ra
Percussion - Artaukatune
Reeds - Danny Ray Thompson , Eloe Omoe , Hutch Jones , James Jacson , John Gilmore , Kenny Williams , Marshall Allen , Noel Scott , Sylvester Baton
Trombone - Craig Harris, Tony Bethel
Trumpet - Curt Pulliam , Michael Ray , Walter Miller
Vibraphone [Vibes] - Damon Choice , Harry Wilson
Vocals - June Tyson , Rhoda Blount

1978’s Lanquidity (now re-issued by Evidence) features a silver and purple cover image of Ra that begs the question: Has Sun Ra made a fusion album? This thought at first seems merely ridiculous, then after further consideration becomes a bit surreal, and then upon hearing becomes downright disturbing. As with any Ra project, a simple description such as “Ra does fusion” serves no justice in truly describing the actual music. Ra was a master at twisting known musical idioms into his idiosyncratic vision, and Lanquidity proves to be a stirring, mesmerizing example of this vision.
All of the tunes generally follow the same basic structure: the Arkestra riffs on dark, bluesy motifs; the bass and percussion create an interlocking, unchanging groove; and behind it all Ra, on piano and synthesizers, and the two guitarists (a rarely used instrument in Ra’s music), fill in the space with ethereal chords and disembodied riffs.
On the title track the Arkestra pieces together a creeping, mournful melody with shifting combinations of the two-trumpet and five-reed horn section. Against this, Ra plays wistful fragments on his Rhodes, while Richard Williams provides the glue with a sparse electric bass line. This funk-stuck-in-slow-motion points to an uncomfortable dread waiting below the surface.
The rhythm section opens “Twin Stars of Thence”, setting up a hypnotic, dragging pulse. Acoustic bass, guitar, traps and tympani lock in while Ra muses methodically on organ. The horns materialize out of nothingness and Gilmore weaves abstract blues lines into the mixture. A guitar solo, then the baritone saxophone takes a spare turn that lags behind the beat, while behind Ra incorporates lines from the guitarist’s solo into the background. Combined, these elements disorient and displace the listener. You feel as if this music should go down easy, but the candy coating turns out to be a sticky, unescapable molasses.
The Arkestra finally drags you where they want you on “There Are Other Worlds (they have not told you of)” A sleepy, barely noticeable hi-hat beats perpetually, soon joined by a low-register chorus of humming. Ra’s synthesizer and piano textures threaten to overtake the other instruments, pushing the piece toward disintegration. Towards the end the atmosphere ge s downright spooky, with breathy, whispering voices materializing, chanting the title over and over again. All the while flutes, then synthesizer, then dissonant piano chords, then saxophone swirl about, until they all dissipate like some phantom, leaving you wondering if what you just heard was really there at all.
On Lanquidity Ra turns the idea of disco and funk on its head: the repetitive beats, which usually make one feel like they know where the next step will land, instead leave one warily hanging on every moment. The music leads us in an unsettling direction, to a secret world where the lumbering grooves at first seduce with their simplicity, then intoxicate with their richness, until finally the darker sound textures overtake you and drop you in a place you had not imagined before.

:::Review by Matthew Wuethrich:::

Sun Ra - Lanquidity (1978)

1. Lanquidity 8:19
2. Where Pathways Meet 6:30
3. That's How I Feel 8:09
4. Twin Stars Of Thence 9:30
5. There Are Other Worlds (They Have Not Told You Of) 10:58

Credits
Bass - Richard Williams (4)
Bassoon, Flute, Oboe - James Jacson
Clarinet [Bass], Flute - Ego Omoe
Congas, Timpani - Artaukatune
Guitar - Dale Williams , Disco Kid
Percussion - Luqman Ali , Michael Anderson
Producer, Keyboards - Sun Ra
Saxophone [Alto], Oboe, Flute - Marshall Allen
Saxophone [Baritone] - Julian Pressley
Saxophone [Baritone], Flute - Danny Ray Thompson
Saxophone [Tenor] - John Gilmore
Trumpet - Eddie Gale
Trumpet, Flugelhorn - Michael Ray
Voice [Ethnic Voices] - Edde Tahmahs , James Jacson , June Tyson , Sun Ra

The boundaries of Sun Ra's self-proclaimed "space jazz" underwent a transformation in the mid-'60s. The Magic City is an aural snapshot of that metamorphic process. Many enthusiasts and scholars consider this to be among Ra's most definitive studio recordings. Although the "city" in the album's title was thought to have been New York -- where the disc was recorded -- it is actually Ra's earthly birthplace of Birmingham, AL. The Magic City consists of four free jazz compositions: the album side-length title track, "The Shadow World," "Abstract Eye," and "Abstract I" - two variants of a common work. These pieces are essentially ensemble improvisations recorded live. Any direction from Ra, indicating the order of soloists for instance, would be given either through his playing or with hand signals. Sun Ra & His Solar Myth Arkestra took up residency in Manhattan's East Village in the early to mid-'60s.
Their neighbors included Pharaoh Sanders as well as Babatunde Olatunji. In fact, "The Shadow World," "Abstract Eye," and "Abstract I" were actually recorded in Olatunji's loft. The title track begins with weaving distant and frenetic lines from Ronnie Boykins (bass) and Ra (piano, clavoline), connected by intermittent eruptions from Roger Blank (drums). All the while, Marshall Allen's dreamlike piccolo randomly maneuvers through the sonic haze. The piece also contains an ensemble onslaught that abruptly contrasts with everything experienced up through that point. In the wake of the innately earthbound "Magic City" are three comparatively shorter pieces with subtle undercurrents that return Ra to space motifs. For example, the importance of sonic contrast defines "The Shadow World" by juxtaposing he lightly churning bass and cymbal into some surreal keyboard interjections from Ra. The Magic City also comes with an insightful liner notes essay from Ra scholar John F. Szwed, aiding in understanding the circumstances surrounding this piece of free jazz genius.

1. The Magic City (27:24)

2. The Shadow World (10:59)

3. Abstract Eye (2:45)

4. Abstract "I" (4:01)

Arranged By, Composed By - Sun Ra

Artwork By - Don Bied

Bass - Ronnie Boykins

Clarinet [Bass] - Robert Cummings

Keyboards [Clavioline, Electronic Celeste], Piano, Marimba [Bass], Harp [Sun Harp], Percussion [Dragon Drum], Timpani - Sun Ra

Percussion - Jimmi Johnson , Roger Blank

Photography - Francis Ing

Producer - Alton Abraham

Saxophone [Alto] - Harry Spencer

Saxophone [Alto], Flute - Danny Davis

Saxophone [Alto], Flute, Oboe, Piccolo Flute - Marshall Allen

Saxophone [Baritone] , Flute, Timpani - Pat Patrick

Saxophone [Tenor] - John Gilmore

Trombone - Ali Hassan , Bernard Pettaway , Teddy Nance

Trumpet - Chris Capers , Walter Miller

Previously released on El Saturn in 1966.

Sun Ra & His Arkestra issued only a handful of titles on the groundbreaking indie ESP-Disk' label. Each title respectively contains some of their most expressive musical statements to date. The eight cuts on Nothing Is (1970) were documented during live performances at various New York State colleges in the spring of 1966. Ra (piano/clavioline) leads the band through a series of free improvisations and more melodically structured compositions. "Dancing Shadows" evolves out of a chaotic brass and percussive assault with some extended, inspired keyboard runs during the opening. These eventually nestle into a charming upbeat slice of extemporaneous post-bop. Front and center beside Ra are Ali Hassan (trombone), Teddy Nance (trombone), Marshall Allen (alto sax/flute/piccolo/oboe), John Gilmore (tenor sax), Pat Patrick (baritone sax/flute), Robert Cummings (baritone clarinet), James Jacson (flute/log drums), Ronnie Boykins (bass/tuba), Clifford Jarvis (drums), and Carl Nimrod (aka Carl S. Malone/Nimrod Hunt) (sun horn/gong). The leader's solos and accompaniment shimmer with many of the same highly advanced effervescent chord progressions incorporated onto early sides such as "Brainville" or "Transitions." Gilmore, Allen and Patrick playfully blend Eastern-flavored intonations along with Jarvis and a second, albeit uncredited, kit drummer. According to Sun Ra scholars, both Jimmy Johnson (drums) and Roger Blank (drums) toured at various times during the mid-'60s with the Arkestra. "Imagination" includes a brief recitation followed by a full-blown band improv. This undulates over a fast-paced choral mantra of "the second stop is Jupiter" -- a chant which had also been worked into the waning moments of "Rocket #9." The slithery charm of "Exotic Forest" -- featuring a hypnotic oboe lead from Allen -- excels in allowing the mostly percussive contingency of the Arkestra to organically support Boykins equally entrancing contributions. The short piano solo "Sun Ra and His Band from Outer Space" segues into the last lengthy side "Shadow World." Patrickstreamlines his opening solo around the sonic swirl of Jarvis and Ra. The saxophonist then emerges with an unaccompanied blow that demonstrates his perfection in the context of spontaneity. Allen follows with a solitary oboe that borders on maniacal before eventually settling into a final free for all from the entire band. Nothing Is concludes with a mostly Ra driven "Theme of the Stargazers" which develops into an early version of the "Outer Spaceways Incorporated" and "Next Stop Mars" chants. Caveat Emptor! These side have turned up on numerous repackagings, many of which have been transcribed from poor grade vinyl.

:::By Lindsay Planer:::

Originally recorded in May, 1966