Sun Ra Arkive

NRBQ: Live at the Wax Museum (Edisun ED-16 CD, 2003) Cover Scans

2012-01-29T14:11:00.002-05:00

NRBQ: Tapdancin' Bats (1983) Cover Scans

2012-01-28T07:31:00.000-05:00

NRBQ Grooves in Orbit 1983 Cover Scans

2012-01-20T06:31:00.000-05:00

Crawdaddyarchive Blog: "The Transparency Label Refuses to Flinch" (Sun Ra Archival Releases)

2012-01-16T05:54:00.002-05:00

http://www.crawdaddyarchive.com/index.php/2010/09/09/the-transparency-label-refuses-to-flinch/

Here's an excerpt:

Of the 24 (and counting) Sun Ra titles in their roster, Transparency has plenty to be proud of here. A 1971 Helsinki show is topnotch, not just because some consider it one of his (their) best performances ever, but because it also includes a bonus DVD with an interview and footage of the band setting up for the show. There’s a 53-track monster called The Earliest Sun Ra (1946-1956), which goes all the way back to the beginning of his recording career (playing piano for Wynonie Harris) and gives a much greater understanding of his later work. There is the multi-volume Lost Reel series; a 10-CD set from Toronto’s Horseshoe Tavern, and a six-CD set from New York City’s Slug’s Saloon. Of the 24 releases, there are actually 77 CDs and seven DVDs, a treasure trove. “I have this really strict rule that things picked to be released are the very best of the best,” says Sheppard, “it’s not like I’m indiscriminately putting these out.”

To this reporter, however, nothing can top the mammoth 28-CD set of a 1980 Detroit residency. For the sheer audacity of it, this one wins, and I actually laughed when first seeing it. “Who’s gonna buy this thing,” I wondered while checking to see how much cash I had on me at the time.

Sound Colour Vibration Blog Interview with Michael Ray of the Sun Ra Arkestra

2012-01-16T05:49:00.000-05:00

http://soundcolourvibration.com/scv-interviews/music/sacvs-interview-with-michael-ray-of-the-sun-ra-arkestra/

Here's an excerpt:

Q: You are on the late 70′s album “Strange Celestial Road” and the title pieces has one of my favorite trumpet solo sections on any Ra recording. The album was recorded at Variety Recording Studio, New York in 1979, do you remember the sessions for this album vividly?

A: The Variety recording studio sessions was one of the best!! We were able to produce at least 6 or 7 albums from that one date! I learned a lot during that time about different ways to record Ra. He was always creating and was a first take musician. During the mix down of one song, Sun Ra fell asleep. After setting the mixing board up for a take, I asked Sun Ra how did it sound. He said “It sounds horrible” and went back to sleep. We spent over an hour resetting the board. When he woke up I asked again and he told me ” Michael you’re into the earth thing, give me the phone”. He then called Danny Thompson in Philadelphia and instructed him to go into the chaos room and bring a trunk full of quarter inch tapes to the studio. When they arrived we began to go through over 50 tapes until he selected one to fly into the track. If you listen carefully you can hear it on “I’ll Wait For You”. Also from that session we recorded a quartet setting with Samari on drums, Victor Sproles on bass and Gilmore and Ra. Truly fantastic. I believe this was the longest session we had ever done.

NRBQ Tiddlywinks 1980 Cover Scan

2012-01-15T09:46:00.000-05:00

NRBQ Kick Me Hard (The Deluxe Edition) [Rounder CD-3030] 1979 Cover Scans

2012-01-13T06:20:00.000-05:00

NRBQ: All Hopped Up (Rooster Blues alternate label printing error)

2012-01-11T06:20:00.000-05:00

NRBQ: At Yankee Stadium (1978 Mercury Cover and Label scans)

2012-01-11T06:18:00.003-05:00

NRBQ: Workshop (1972 Kama Sutra Cover and Label scans)

2012-01-11T06:17:00.000-05:00

Carl Perkins and NRBQ: Boppin' the Blues (1970 Columbia Cover and Label scans)

2012-01-11T06:15:00.000-05:00

NRBQ All Hopped Up 1977 Red Rooster/Rounder Reissue New Hi Res Cover Scans

2012-01-10T04:52:00.000-05:00

NRBQ All Hopped Up 1977 Red Rooster/Rounder Reissue Front Cover

NRBQ All Hopped Up 1977 Red Rooster/Rounder Reissue Back Cover

NRBQ's Tom Ardolino (January 12, 1955 – January 6, 2012)

2012-01-09T06:33:00.003-05:00

With the passing of Tom Ardolino (January 12, 1955 – January 6, 2012), I want to say that, in my opinion, Tom Ardolino is one of THE great unsung drum masters of the rock era - carrying and honoring the swing and traditions of jazz and rockabilly. He had a natural, musical feel to his playing, and always served the song - always in the pocket, always appropriate to the arrangement, and always playing with propulsion and emotion. In a musical world that wallows in negativity more often than not, Tom's playing vibrated with a sense of happiness and life. For me, NOBODY swung harder or with more joy in the rock world over the last 40 years. Thank you for all everything, Tommy!

Ardolino was a resident of Springfield, Massachusetts, and knew the band already for a few years as a fan, and used to exchange offbeat reel to reel tapes with Terry, before cassettes became popular. One show, drummer Staley didn't turn up for an encore in time, and Terry gave Ardolino the nod. When Tom Staley headed for Florida to join The Breathers, Tom Ardolino joined NRBQ and the personnel locked in for 20 years. As great as Ferguson, Gadler and Staley each were in their respective rights, the magic of this particular quartet went from fiery sparks to constant current.

Ardolino remained in the lineup until the band went on hiatus in 2004, returning for occasional reunion performances, and lending his support when Adams decided to reclaim the NRBQ name for a new band in 2011. While lead vocals were generally performed by other members of NRBQ, live shows often included a moment where Ardolino would take the spotlight and sing, either with a karaoke backing track or with one of the other band members drumming.

In the period when Ardolino joined the band, no labels were biting in 1974, so the band started their own Red Rooster label, and put out All Hopped Up (reissued by Rounder as "Ridin’ in My Car.") This included many favorites besides "Ridin’ in my Car", like "I Got a Rocket in My Pocket", and "It Feels Good."

NRBQ's Tom Ardolino (January 12, 1955 – January 6, 2012)

NRBQ All Hopped Up 1977 Red Rooster Records

References:
http://www.stevehoffman.tv/forums/showthread.php?t=244052
http://www.allmusic.com/album/all-hopped-up-r14245
http://en.wikipedia.org/wiki/Tom_Ardolino
http://www.puremusic.com/nrbq.html
http://www.lyricsfreak.com/n/nrbq/biography.html

Sun Ra: The Eternal Myth Revealed Volume 1 by Sun Ra Music Arkive and Transparency Records Released

2012-01-06T19:13:00.005-05:00

The Eternal Myth Revealed Volume 1 by Sun Ra Music Arkive and Transparency Records has finally been released, and Crawford from the Other Planes Of There blog has some early thoughts. Personally, the set is so deep and so immense it's really quite hard to wrap my head around at this point. The Herman Blount years through the Chicago and early New York periods are the most fascinating for me; when Sun Ra was discovering and creating his musical mythology. Deep gratitude and congratulations to the Michaels for making this release happen and sharing it with us. It is literally a dream come true.

Buy The Eternal Myth Revealed Volume 1 now:
http://www.amazon.com/Eternal-Myth-Revealed-Covering-1933-1959/dp/B004ZNNUD2
http://www.dustygroove.com/item.php?id=47jzsttzjv

The Eternal Myth Revealed Volume 1 track list:

DISC #1
01. Narration – Producer & Sun Ra Introduction Pt. 1
02. Narration – Production Introduction
03. 4-22-58 – Message To Earth Man – Yochanan (The Space Age Vocalist)
04. Narration – Producer & Sun Ra Introduction Pt. 2
05. Narration – Ruth Brown Bobby Bland & Ray Charles Interviews - The Meaning Of The Blues
06. Narration – Sun Ra Interview – His Early Days In Alabama
07. Narration – The Early Blues Women 1924 – 1928
08. 5-13-21 – Oh Daddy – Ethel Waters with Cordy Williams and his Jazz Masters
09. 10-15-24 – Booze & Blues – Ma Rainey with the Fletcher Henderson Orchestra
10. 11-10-28 – Hole In The Wall – Sarah Martin with the Clarence Williams Orchestra
11. Narration – Sun Ra Interview - His First Piano / Leading The School Band
12. Narration – The Luis Russell Orchestra 1929
13. 9-9-29 – Call Of The Freaks – The Luis Russell Orchestra
14. Narration – The Don Redman Orchestra
15. 1-17-40 – Chant Of The Weed – The Don Redman Orchestra
16. Narration – The Early Jazz Band Influences
17. 6-12-28 – Just Rite – Bennie Moten Orchestra
18. 7-2-28 – Fat Man Blues – Tiny Parham & His Musicians
19. 2-25-32 – Rhythm Spasm – Baron Lee & The Mills Blue Rhythm Band
20. Narration – The Fletcher Henderson Influence Pt. 1 – 1931
21. 1-9-31 – Blue Rhythm – The Fletcher Henderson Orchestra
22. 1-9-31 – Sugar Foot Stomp – The Fletcher Henderson Orchestra
23. Narration – Coleman Hawkins Interview – Hawk Remembers Fletcher Henderson
24. Narration – The Clarence William Band Records Sun Ra Composition 1933
25. 1-3-33 – Chocolate Avenue – Clarence Williams Orchestra
26. Narration – The John Kirby Sextet 1939
27. 5-10-39 – Anitra’s Dance – The John Kirby Sextet
28. 5-10-39 – Opus #5 – The John Kirby Sextet
29. Narration – The Coleman Hawkins Orchestra Influence 1940
30. 1940 – Chant Of The Groove – Coleman Hawkins Orchestra “Live”
31. Narration – Sun Ra Interview – Remembers How Musicians Used To Dress

DISC #2
01. Narration – Sun Ra In The Military October 1942
02. Narration – Sun Ra Interview – Sunny Remembers Fletcher Henderson
03. Narration – The Fletcher Henderson Orchestra “Live” 1945
04. 1945 – Ernie Whitman & Fletcher Henderson Commentary
05. 1945 – You’re Driving Me Crazy – Fletcher Henderson Orchestra “Live”
06. 1945 – King Porter Stomp – Fletcher Henderson Orchestra “Live”
07. Narration – Sun Ra Interview – Sunny Remembers Pianists Art Tatum
08. Narration – The Art Tatum / Erroll Garner Influence
09. 1945 – Ernie Whitman – Art Tatum Introduction
10. 1945 – Song Of The Vagabond – Art Tatum “Live”
11. 1945 – Ernie Whitman – Erroll Garner Introduction
12. 1945 – Erroll’s Bounce – Erroll Garner “Live”
13. Narration – Swing “The War Years On Radio” 1943 – 1944
14. 1944 – Ernie Whitman Introduction
15. 1944 – Loose Wig – The Lionel Hampton Orchestra “Live”
16. 1943 – Ernie Whitman – Jimmie Lunceford Introduction
17. 1943 – Little John – The Jimmie Lunceford Orchestra “Live”
18. 1943 – Ernie Whitman – Benny Carter Introduction
19. 1943 – Cuttin’ Time – The Benny Carter Orchestra “Live”
20. 1943 – Russian Lullaby – The Cab Calloway Orchestra “Live”
21. Narration – Sun Ra Interview – Sunny Remembers His School Bands / Why He Left Alabama
22. Narration – Wynonie Harris w/The Jumpin’ Jimmie Jackson Band 1946
23. 4-14-46 – Dig This Boogie – Wynonie Harris w/Jumpin’ Jimmy Jackson Band
24. 4-14-46 – Lightnin’ Struck The Poorhouse – Wynonie Harris w/Jumpin’ Jimmy Jackson Band
25. 4-14-46 – My Baby’s Barrelhouse – Wynonie Harris w/Jumpin’ Jimmy Jackson Band
26. 4-14-46 – Drinkin’ By Myself – Wynonie Harris w/Jumpin’ Jimmy Jackson Band
27. Narration – The Billy Eckstine Orchestra Influence 1944
28. 1944 – Ernie Whitman Introduction
29. 1944 – Airmail Special – The Billy Eckstine Orchestra “Live”
30. 1944 – Ernie Whitman Introduction
31. 1944 – Love Me Or Leave Me – The Billy Eckstine Orchestra “Live”
32. Narration – The Dizzy Gillespie Big Band Influence 1948
33. 1948 – Minor Walk – The Dizzy Gillespie Orchestra
34. Narration – Sun Ra Interview – Recalls Chicago In 1946 – The Bands He Played In
35. Narration – The Lil Green Orchestra 1946 - 1947
36. 7-23-46 – Blowtop Blues – The Lil Green Orchestra
37. 7-31-46 – No Good Man – The Lil Green Orchestra
38. 7-31-46 – How Come You Do Me Like You Do – The Lil Green Orchestra
39. 4-18-47 – Lonely Woman – The Lil Green Orchestra
40. Narration – Blues Legend Willie Dixon – The Blues Influence

DISC #3
01. Narration – The Church Organ Recordings 1948
02. 1948 – All The Things You Are – Sun Ra Plays Church Organ
03. 1948 – Wind In The Trees (Early Avant Garde) – Sun Ra Plays Church Organ
04. 1948 – Willow Weep For Me – Sun Ra Plays Church Organ
05. Narration – The Piano & Solovox Recordings 1948 Pt. 1
06. 7-29-48 – Deep Purple w/Stuff Smith – Sun Ra Plays Piano & Solovox
07. Sun Ra Interview – Sunny Remembers Stuff Smith
08. Narration – The Piano & Solovox Recordings 1948 Pt. 2
09. 7-29-48 – Darn That Dream – Sun Ra Plays Piano & Solovox
10. 7-29-48 – Yesterdays w/Jesse Miller – Sun Ra Plays Piano & Solovox
11. Narration – The Piano & Solovox Recordings 1948 Pt. 3
12. 8-10-48 – If The Only Knew – Sun Ra Poetry – Sun Ra Plays Piano & Solovox
13. Narration – The Piano & Solovox Recordings 1948 Pt. 4
14. 8-10-48 – The Darkness Within – Sun Ra Plays Piano & Solovox
15. Narration – The Mary Lou Williams Composition Influence 1945
16. 1945 – Taurus – The Mary Lou Williams Trio
17. 1945 – Cancer – The Mary Lou Williams Trio
18. Narration – Sun Ra – His Mary Lou Williams Influenced Compositions 1948
19. 8-10-48 – Ode To Mary Lou – Sun Ra Plays Solo Piano
20. 8-10-48 – I’ve Got A Secret – Sun Ra Plays Solo Piano
21. 8-10-48 – Something In Your Smile – Sun Ra Plays Solo Piano
22. 8-10-48 – High Steppin’ – Sun Ra Plays Solo Piano
23. 7-21-49 – I’ve Got Some New Blues – Sun Ra Plays Solo Piano
24. Narration – The Mary Lou Williams Big Band Arrangement Influence 1947
25. 1947 – Lonely Moments – The Milton Orent / Frank Roth Orchestra
26. 1947 – Whistle Blues – The Milton Orent / Frank Roth Orchestra
27. Narration – Sunny And Jo Jo Adams 1947
28. Narration – Junior Wells Interview – The Early Days Of Chicago Blues
29. Narration – Jo Jo Adams w/Tom Archia (possible new Sun Ra arrangement find)
30. 7-3-47 – Love Me – Jo Jo Adams w/Tom Archia All-Stars
31. 7-3-47 – Drinkin’ Blues – Jo Jo Adams w/Tom Archia All-Stars
32. 7-3-47 – If I Feel Like This Tomorrow – Jo Jo Adams w/Tom Archia All-Stars
33. 7-3-47 – Cryin’ By My Window – Jo Jo Adams w/Tom Archia All-Stars
34. Narration – The 1948 Record Ban / Andrew Tibbs & The Dozier Boys 1948
35. 10-18-48 – He’s Got Her And Gone – Andrew Tibbs & The Dozier Boys
36. 10-18-48 – The Holidays Are Over – Andrew Tibbs & The Dozier Boys
37. Narration – The Dozier Boys w/The Sax Mallard Band 1948 (note: missing tracks)
38. 11-27-48 – In A Travelin’ Mood – Andrew Tibbs & The Dozier Boys
39. 11-27-48 – In Every Man’s Life – Andrew Tibbs & The Dozier Boys
40. Narration – Bobby “Blue” Bland Interview – The Blues Are About Life

DISC #4
01. Narration – The Early Foundations Of R&B Doo Wop
02. Narration – The Dozier Boys w/The Eugene Wright Band
03. 12-12-48 – Big Time Baby – The Dozier Boys w/ Eugene Wright Band
04. 12-12-48 – Pork-N-Beans – The Dozier Boys w/ Eugene Wright Band
05. 12-12-48 – Dawn Mist – The Dozier Boys w/ Eugene Wright Band
06. 12-12-48 – The Music Goes Down And Round – The Dozier Boys w/ Eugene Wright Band
07. Narration – Sun Ra & The Red Saunders Orchestra 1948
08. 12-18-48 – Trust In Me – George Floyd w/The Red Saunders Orchestra
09. 12-18-48 – Synthesis – The Red Saunders Orchestra
10. 12-18-48 – Jitterbuggin’ – The Red Saunders Orchestra
11. 12-18-48 – Legs Gettin’ Bigger – George Kirby w/The Red Saunders Orchestra
12. Narration – Sun Ra Interview – Lexington, Indiana 1949 – The Blue Grass Inn
13. Narration – The Sonny Blount Trio
14. 6-4-49 – Upstairs – The Sunny Blount Trio
15. 6-4-49 – Sunny’s Bop / Just One Of Those Things – The Sunny Blount Trio
16. Narration – Sun Ra Interview – Sunny Speaks Highly Of Vocalist Billie Holiday
17. Narration – Louis Armstrong Speaks Of Billie Holiday / Lady Day - Yesterdays
18. Narration – Sun Ra Sings & Plays Piano
19. 7-21-49 – Smile – Sun Ra Sings & Plays Piano
20. 7-21-49 – Old Man River – Sun Ra Sings & Plays Piano
21. Sun Ra Song Introduction
22. 7-23-49 – Somewhere Over The Rainbow – Sun Ra Sings & Plays Piano
23. 7-23-49 – Out Of Nowhere – Sun Ra Sings & Plays Piano
24. Narration – Sun Ra Interview – Recalls His Band In Chicago & Alabama A&M
25. Narration – The Chicago Blues Influence / Andrew Tibbs w/Leo Blevins Trio
26. 7-27-49 – How Long – Andrew Tibbs w/Leo Blevins Trio
27. 7-27-49 – I Know – Andrew Tibbs w/Leo Blevins Trio
28. Narration – The Sonny Blount Trio “Live” 1949
29. 8-17-49 – You Go To My Head – The Sunny Blount Trio “Live at Birdland”
30. 8-17-49 – Blue Chicago Blues – The Sunny Blount Trio “Live at Birdland”
31. Narration – Sugar Chile Robinson w/Red Saunders Orchestra 1950
32. 1-24-50 – Bouncin’ The Ball – Sugar Chile Robinson w/Red Saunders Orchestra
33. 1-24-50 – I’ll Eat My Spinach – Sugar Chile Robinson w/Red Saunders Orchestra
34. Narration – Dorothy Donegan 1950
35. 6-10-50 – D.D.D. – Dorothy Donegan w/Red Saunders Orchestra
36. 6-10-50 – Ridin’ The Boogie – Dorothy Donegan w/Red Saunders Orchestra

DISC #5
01. Narration – The Red Saunders Orchestra w/Joe Williams #1 – 1950
02. 6-15-50 – Blow Mr. Low Blow – Joe Williams w/Red Saunders Orchestra
03. 6-15-50 – Chi (pronounced “Shy” for Chicago) – Joe Williams w/Red Saunders Orchestra
04. 6-15-50 – Lyin’ Girl Blues – Joe Williams w/Red Saunders Orchestra
05. Narration – Sun Ra Interview – The Innovators & The Youth
06. Narration – The Mary Lou Williams Jazz Organ & Piano Influence 1950
07. 1-3-50 – Bye Bye Blues – Mary Lou Williams Trio
08. Narration – Andrew Tibbs w/Sax Mallard Sextet 1950
09. 10-13-50 – You Can’t Win – Andrew Tibbs w/Sax Mallard Sextet
10. 10-13-50 – Achin’ Heart – Andrew Tibbs w/Sax Mallard Sextet
11. Narration – Sun Ra & The Unidentified Vocalist 1950
12. 11-11-50 – Pennies From Heaven – Sun Ra & The Unknown Vocalist
13. 11-11-50 – You The Night And The Music – Sun Ra & The Unknown Vocalist
14. Narration – Sun Ra Meets Alto Saxophonist John Jenkins 1950
15. 11-11-50 – Cocktails For Two / Tenderly – Sun Ra & John Jenkins
16. 11-11-50 – The Phantom – Sun Ra & John Jenkins
17. Narration – Sun Ra Interview – Hearing Legendary Blues & Jazz Bands
18. Narration – Sun Ra & Laverne Baker aka Little Miss Sharecropper 1950
19. 12-17-50 – Take Some Time Out – Little Miss Sharecropper w/Red Saunders Orchestra
20. 12-17-50 – I’ve Tried – Little Miss Sharecropper w/Red Saunders Orchestra
21. 12-17-50 – How Long – Little Miss Sharecropper w/Red Saunders Orchestra
22. 12-17-50 – I Want To Rock – Little Miss Sharecropper w/Red Saunders Orchestra
23. Narration – The Wilbur Ware / John Jenkins / Leo Blevins Rehearsals 1951 Pt. 1
24. 2-6-51 – The Nearness Of You – Sun Ra & Wilbur Ware
25. 2-6-51 – Sunny’s Place #1– Sun Ra & Wilbur Ware
26. Narration – The Wilbur Ware / John Jenkins / Leo Blevins Rehearsals 1951 Pt. 2
27. 2-6-51 – The Man I Love – Sun Ra / Wilbur Ware & Leo Blevins
28. 3-17-51 – Sunny’s Place #2 – Sun Ra / Wilbur Ware & John Jenkins
29. Narration – The Sun Ra Mystery Clip
30. 2-6-51 – All Alone – Sun Ra – The Celeste & Piano Recordings

DISC #6
01. Narration – The Red Saunders Orchestra w/Joe Williams #2 – 1951
02. 4-20-51 – Stop Pretty Baby Stop – Joe Williams w/Red Saunders Orchestra
03. 4-20-51 – Weekday Blues – Joe Williams w/Red Saunders Orchestra
04. 4-20-51 – 4AM Blues (instrumental) – The Red Saunders Orchestra
05. Narration – The Red Saunders Orchestra w/Joe Williams #3 – 1951
06. 8-21-51 – Last Nights Party – Joe Williams w/Red Saunders Orchestra
07. 8-21-51 – Hey Bartender – Joe Williams w/Red Saunders Orchestra
08. 8-21-51 – Boot ‘Em Up (instrumental) – The Red Saunders Orchestra
09. 8-21-51 – Sugar Bounce – Joe Williams w/Red Saunders Orchestra
10. Narration – The Red Saunders Orchestra w/June Davis 1951
11. 8-21-51 – Gentle Lover – June Davis w/Red Saunders Orchestra
12. 8-21-51 – J.D. Blues – June Davis w/Red Saunders Orchestra
13. Narration – The Red Saunders Orchestra w/The Hambone Kids 1952
14. 1-18-52 – Hambone – The Hambone Kids w/The Red Saunders Orchestra
15. 4-3-52 – Zekiel, Zekiel – The Hambone Kids w/Red Saunders Orchestra
16. 4-3-52 – Piece Of Puddin’ – The Hambone Kids w/Red Saunders Orchestra
17. Narration – The Red Saunders Orchestra 1952
18. 1-18-52 – La Raspa (instrumental) – The Red Saunders Orchestra
19. Narration – The Paul Bascomb Band 1952
20. 3-3-52 – Blues And The Beat – The Paul Bascomb Band
21. 3-3-52 – More Blues, More Beat – The Paul Bascomb Band
22. 3-3-52 – Black Out – The Paul Bascomb Band
23. 3-3-52 – Pink Cadillac – The Paul Bascomb Band
24. Narration – Charlie Gonzales w/Red Holloway Band 1952
25. 1952 – Hi Yo Silver – Charlie Gonzales w/Red Holloway Band
26. 1952 – Such A Darn Fool Over You – Charlie Gonzales w/Red Holloway Band
27. 1952 – Hey Muscatel – Charlie Gonzales w/Red Holloway Band
28. 1952 – I’m Through With You – Charlie Gonzales w/Red Holloway Band
29. Narration – Sun Ra Interview – Building The Arkestra In Chicago / Pat Patrick Rehearsals 1952
30. 6-9-52 – Wonderful You – Sun Ra Meets Pat Patrick
31. 6-9-52 – A Place In My Heart – Sun Ra Meets Pat Patrick

DISC #7
01. Narration – The Afro Cuban Influence – Machito 1951
02. 11-17-51 – Symphony Sid Torin Announcement
03. 11-17-51 – Carambola – Machito Orquesta “Live” At Birdland – New York
04. 11-17-51 – Symphony Sid Torin Announcement
05. 11-17-51 – Picadillo – Machito Orquesta “Live” At Birdland – New York
06. 11-17-51 – Symphony Sid Torin Announcement
07. 11-17-51 – Tanga – Machito Orquesta “Live” At Birdland – New York (song addition)
08. Narration – The Afro Cuban Influence – Perez Prado 1947
09. 1947 – Saca La Mano – Perez Prado Orquesta – Havana, Cuba
10. 1947 – Kuba Mambo – Perez Prado Orquesta – Havana, Cuba
11. 1947 – Kandela – Perez Prado Orquesta – Havana, Cuba
12. Narration – The Afro Cuban Influence On Sun Ra 1953
13. 1-21-53 – Mambo In Trumpet – The Red Saunders Orchestra
14. Narration – The Red Saunders Orchestra w/Joe Williams #4 - 1953
15. 1-21-53 – Honky Tonk Train Blues (instrumental) – The Red Saunders Orchestra
16. 1-21-53 – Probably – Joe Williams w/The Red Saunders Orchestra
17. 1-21-53 – Voodoo Blues – Joe Williams w/The Red Saunders Orchestra
18. Narration – The Gospel Influence On R&B Doo Wop
19. 1937 – Golden Gate Gospel Train – The Golden Gate Jubilee Quartet
20. 1944 – Straighten Up And Fly Right “Live” – The Golden Gate Quartet
21. Narration – Wilson Pickett & Aaron Neville Interviews – The Gospel Influence
22. 1950 – Our Father (The Lords Prayer) – The Five Blind Boys (Jackson Harmoneers)
23. Narration – The Swing Vocal Group Era – The Cats & The Fiddle 1939
24. 12-7-39 – Mr. Rhythm Man – The Cats & The Fiddle
25. Narration – The Doo Wop Influence – The Ink Spots 1944
26. 1944 – Ernie Whitman Ink Spots Introduction
27. 1944 – If I Didn’t Care – The Ink Spots “Live”
28. Narration – Johnny Otis Interview – How They Created Rhythm & Blues In The Late 1940’s
29. Narration – The Early Days Of R&B Doo Wop Pt. 1
30. Narration – Wilson Pickett Interview – The Chittlin’ Circuit

DISC #8
01. Narration – The Early Days Of R&B Doo Wop Pt. 2
02. 8-25-52 – Blues Train – Browley Guy & The Skyscrapers
03. 8-25-52 – You Ain’t Gonna Worry Me – Browley Guy & The Skyscrapers
04. Narration – The Parrots w/Red Saunders Orchestra 1953
05. 3-27-53 – Weep Weep Weep – The Parrots w/Red Saunders Orchestra
06. 3-27-53 – Don’t Leave Me – The Parrots w/Red Saunders Orchestra
07. Narration – The Spaniels w/The Red Saunders Orchestra 1953 Pt. 1
08. 5-4-53 – Since I Fell For You – The Spaniels w/Red Saunders Orchestra
09. 7-14-54 – I Got Some New Blues – Sun Ra & The Nu-Sounds
10. Narration – The Spaniels w/Red Saunders Orchestra 1953 Pt. 2
11. 5-4-53 – Bounce – The Spaniels w/Red Saunders Orchestra
12. 7-14-54 – Honeysuckle Rose – Sun Ra & The Nu-Sounds
13. Narration – The Flamingos w/The Red Holloway Band 1953
14. 8-?-53 – Golden Teardrops – The Flamingos w/Red Holloway Band
15. 1-17-56 – Perfidious Lover – Walter Dunn & The Metros w/The Sun Ra Arkestra
16. Narration – The Moonglows w/The Red Holloway Band 1953 Pt. 1
17. 9-27-53 – My Love – The Moonglows w/Red Holloway Band
18. 1956 – Bye Bye – The Cosmic Rays w/Le Sun Ra & Arkestra
19. Narration – The Moonglows w/The Red Holloway Band 1953 Pt. 2
20. 9-27-53 – Just A Lonely Christmas – The Moonglows w/Red Holloway Band
21. 9-27-53 – Hey Santa Claus – The Moonglows w/Red Holloway Band
22. Narration – The Pelicans w/Paul Bascomb & The Leo Blevins Trio? 1953
23. 9-28-53 – White Cliffs Of Dover – The Pelicans w/Paul Bascomb Band
24. 6-10-58 – I’m Glad You Love Me – Juanita Rogers w/Mr. V’s 5 Joys
25. Narration – The Rockettes w/The Red Saunders Orchestra 1953
26. 10-11-53 – Love Nobody – The Rockettes w/Red Saunders Orchestra
27. 7-14-54 – I’m Through With You – The Nu-Sounds - Rehearsal
28. Narration – The 5 Thrills (The Earls) w/The Paul Bascomb Band 1954
29. 1-19-54 – Laverne – The 5 Thrills / The Earls w/Paul Bascomb Band
30. 8-22-55 – Dreaming – The Cosmic Rays
31. Narration – The 5 Echoes w/The Al Smith Band 1954
32. 1-17-54 – So Lonesome – The 5 Echoes w/Al Smith Band
33. 1-17-54 – Broke – The 5 Echoes w/Al Smith
34. 1-22-54 – That’s My Baby – The 5 Echoes w/Al Smith Band
35. 1-22-54 – Why Oh Why – The 5 Echoes w/Al Smith Band

DISC #9
01. Narration – Sun Ra Interview – Sunny Remembers His Vocal Groups
02. Narration – The Founding Of Saturn & El Saturn Records 1954
03. 5-21-54 – My Sweet – Rehearsal w/Roland Wilson & The Nu-Sounds
04. 5-21-54 – My Land Of Dreams – Rehearsal w/Roland Wilson & The Nu-Sounds
05. 5-21-54 – Dreams Come True – Rehearsal w/Roland Wilson & The Nu-Sounds
06. Narration – Sun Ra Interview – Describes His Music As Being Far Ahead
07. Narration – The 5 Chances (w/Clyde Williams)
08. 4-10-54 – Nagasaki – The 5 Chances (w/Clyde Williams)
09. 4-10-54 – Make Love To Me – The 5 Chances (w/Clyde Williams)
10. Narration – The Flamingos w/The Al Smith Band 1954
11. 7-11-54 – Dream Of A Lifetime – The Flamingos w/The Al Smith Band
12. Narration – The 5 Arrows w/The Paul Bascomb Band 1954
13. 7-17-54 – You Got Me Losing My Mind – Gloria Valdez & The 5 Arrows w/Paul Bascomb Band
14. 7-17-54 – Pretty Little Thing – The 5 Arrows w/Paul Bascomb Band
15. Narration – Walter Spriggs w/The Red Saunders Orchestra 1954
16. 10-22-54 – I’m Not Your Fool Anymore – Walter Spriggs w/Red Saunders Orchestra
17. Narration – The Rhythm Aces w/Red Saunders Orchestra 1954 – 1955
18. 11-11-54 – I Wonder Why – The Rhythm Aces w/Red Saunders Orchestra
19. 11-11-54 – Whisper To Me – The Rhythm Aces w/Red Saunders Orchestra
20. Narration – The Maples w/The Von Freeman Band 1954
21. 11-19-54 – 99 Guys – The Maples w/Von Freeman Band
22. 2-5-55 – Honeysuckle Rose – The Nu-Sounds
23. Narration – The Fortunes w/Unknown Band 1955
24. 1-25-55 – Love – The Fortunes
25. 1-25-55 – Bread – The Fortunes
26. Narration – The Early Sci-Fi Factuality Influence
27. Narration – The Walter Dunn “Repeto” Studio Rehearsal & Session 1956
28. 1-17-56 – I’ll Close My Heart – Walter Dunn & The Metros – Rehearsal
29. 1-17-56 – When You’re In Love This Way – Walter Dunn & The Metros – Rehearsal
30. 1-17-56 – Christina, Eugena, Marie – Walter Dunn & The Metros – Studio
31. 1-17-56 – Perfidious Lover #2 – Walter Dunn & The Metros – Studio
32. Narration – Hamp Jones 1957
33. 1957 – Pack Your Clothes – Hamp Jones w/Unknown Band
34. Narration – Mel London w/Unknown Band 1957
35. 1957 – Man From The Island – Mel London w/Unknown Band

DISC #10
01. Narration – The Serenaders 1957 w/Unknown Band
02. 1957 – The Pajama Game – The Serenaders w/Unknown Band
03. 1957 – A Sinner In Love – The Serenaders w/Unknown Band
04. Narration – The Supremes “Live” w//Sun Ra & His Rays Of Jazz 1958
05. 1958 – Everybody Mambo – The Supremes w/Sun Ra & His Rays Of Jazz
06. Narration – Odetta Interview – The Body Is The First Instrument
07. Narration – Sun Ra & The Early Avant Garde Organ Recordings 1953 Pt. 1
Featuring Thea Barbara & An Unidentified Male Vocalist
8. 3-9-53 – The Many Thoughts Of…
9. 3-9-53 – The Inner Being
10. 3-9-53 – The Haunted Melody
11. Narration – Sun Ra & The Early Avant Garde Organ Recordings 1953 Pt. 2
Featuring The Unidentified Male Vocalist
12. 3-9-53 – Pennies From Heaven
13. 3-9-53 – You And The Night And The Music
14. Narration – The Stan Kenton New Direction Influence
15. Narration – Sun Ra – The Solo Piano Recordings Pt. 1
16. 4-27-53 – Ebb Tide
17. Narration – Alberta Adams w/The Red Saunders Orchestra 1953
18. 7-16-53 – Messin’ With The Blues
19. 7-16-53 – Remember
20. Narration – Blues Vocalist Alberta Adams – Why She Sings The Blues
21. Narration – Jo Jo Adams w/The Red Saunders Orchestra 1953
22. 9-21-53 – Call My Baby
23. 9-21-53 – Rebecca
24. Narration – Sun Ra – The Solo Piano Recordings #2
25. 9-25-53 – I Remember You
26. 9-25-53 – The Best Things In Life Are Free
27. Narration – Joe Williams w/The Red Saunders Orchestra 1953
28. 9-28-53 – It’s Raining Again
29. 9-28-53 – On The Blue Side
30. 9-28-53 – Detour Ahead
31. 9-28-53 – Blow Mr. Low Blow (remake)
32. Narration – The Red Saunders Orchestra 1953
33. 12-31-53 – Summertime
34. 12-31-53 – Riverboat
35. 12-31-53 – Lawdy Lucy
36. 12-31-53 – Tired Of Movin’

DISC #11
01. Narration – The Coleman Hawkins Parrot Recordings 1954 Pt. 1
02. 5-27-54 – I’ll Follow My Secret Heart
03. 5-27-54 – What A Difference A Day Made
04. 5-27-54 – September Song
05. Narration – The Coleman Hawkins Parrot Recordings 1954 Pt. 2
06. 5-27-54 – Blue Blue Days
07. 5-27-54 – Flight Eleven
08. Narration – The Paul Bascomb Parrot Recordings 1954 Pt. 1
09. 7-14-54 – Jan Pt. 1 & 2
10. 7-14-54 – Liza’s Blues
11. Narration – The Paul Bascomb Parrot Recordings 1954 Pt. 2
12. 7-?-54 – Jumpin’ At El Sino
13. 7-?-54 – Alley B On Avenue C
14. Narration – Sun Ra And The Vee Jay & Duke Labels 1954
15. Narration – Grant Jones w/The King Kolax Band
16. 12-31-54 – What Have You Done To Me
17. 12-31-54 – Right Now
18. Narration – The King Kolax Band
19. 12-31-54 – Vivian
20. 12-31-54 – Goodnite Blues
21. Narration – Billy Brooks w/The Red Saunders Orchestra 1955
22. 2-18-55 – Mambo Is Everywhere
23. 2-18-55 – Song Of A Dreamer
24. 2-18-54 – I Want Your Love Tonight
25. 2-18-54 – This Is My Prayer
26. Narration – The Early Sun Ra & Pat Patrick Rehearsals 1955: The Treasure Hunt Tape
27. 7-23-55 – Of This I Know take 1
28. 7-23-55 – Of This I Know take 2
29. 7-23-55 – When You’re With The One You Love
30. 7-23-55 – Darn That Dream

DISC #12
01. Narration – The Billie Hawkins Rehearsal 1956
02. 1-12-56 – I’m Coming Home (rehearsal)
03. 1-12-56 – Last Call For Love (rehearsal)
04. 1-12-56 – Kiss Me Sweet (rehearsal)
05. 1-12-56 – At Last (rehearsal)
06. Narration – The Billie Hawkins Heat Beat Recordings 1956
07. 2-17-56 – I’m Coming Home (studio version)
08. 2-17-56 – Last Call For Love (studio version)
09. Narration – Sun Ra Interview – Teaching The Arkestra To Play Like Swing Musicians
10. Narration – Sun Ra Respected By Musicians / The Le Suny’r Ra Band “Live” 1956
11. 3-18-56 – Big City Blues
12. 3-18-56 – Delilah (John Gilmore Solo Feature)
13. 3-18-56 – Velvet
14. Narration – The James Scales / Wilbur Green / Robert Barry Rehearsal 1956
15. 4-23-56 – Somebody Else’s Worlds
16. 4-23-56 – Blues In Outer Space
17. 4-23-56 – Space Aura (incomplete)
18. Narration – The Sun Ra Visits Planet Earth Session 1956 – Velvet
19. 5-17-56 – Velvet take 1 (complete take)
20. 5-27-56 – Velvet take 2 (F/S)
21. 5-27-56 – Velvet take 3 (F/S)
22. 5-27-56 – Velvet take 4 (complete take)
23. Narration – Ray Charles Interview – What It Means To Be A Good Singer
24. Narration – Sun Ra Interview – Clyde Williams
25. Narration – Clyde Williams w/Sun Ra & His Arkestra 1956 – Dreams Come True
26. 5-27-56 – Dreams Come True take 2 (complete take)
27. 5-27-56 – Dreams Come True take 3 (F/S)
28. 5-27-56 – Dreams Come True take 4 (complete take)
29. Narration – Sun Ra Interview – Dreams Come True (closer)
30. Narration – Clyde Williams w/Sun Ra Arkestra “Live” 1958
31. 1958 – S’Wonderful
32. 1958 – Roll ‘Em Pete
33. 1958 – My Funny Valentine (added track)

DISC #13
01. Narration – The Sun Ra Visits Planet Earth Session 1956 Pt. 1
02. 5-27-56 – Eve take 1 (F/S)
03. 5-27-56 – Eve (complete unedited version)
04. Narration – Sun Ra Interview – Playing What People Need
05. Narration – The Sun Ra Visits Planet Earth Session 1956 – El Viktor
06. 5-27-56 – El Viktor take 1 (complete take)
07. 5-27-56 – El Viktor take 2 (F/S)
08. 5-27-56 – El Viktor take 3 (F/S)
09. 5-27-56 – El Viktor take 4 (F/S)
10. 5-27-56 – El Viktor take 5 – (master take)
11. Narration – The Hattie Randolph Bud Land Rehearsal 1957
12. 8-25-57 – Don’t Blame Me take 1
13. 8-25-57 – Hattie and band conversation
14. 8-25-57 – Don’t Blame Me take 2
15. Narration – Sun Ra Interview – Why The Band Is Called The Arkestra
16. Narration – The Calvin Newborn Bud Land Rehearsal 1957
17. 8-25-57 – Blue Space
18. 8-25-57 – Everything I Have Is Yours
19. Narration – The Sun Ra Poetry Recordings 1948 – 1982
20. Narration – The Pershing Ballroom All-Star Jam 1958
21. 8-15-58 – Chi-Town Blues
22. 8-15-58 – Just You, Just Me
23. 8-15-58 – I Can’t Get Started (added track)
24. 8-15-58 – Don’t Blame Me (added track)

DISC #14
01. Narration – The 1958 Yochanan Recordings
02. Narration – Sun Ra & His Arkestra Live At Bud Land 1958 – The John Gilmore Feature
03. 9-23-58 – Just One Of Those Things
04. 9-23-58 – Sophisticated Blues
05. 9-23-58 – Will You Still Be Mine
06. Narration – Sun Ra Interview – Having Discipline In His Band
07. Narration – Sun Ra & The Arkestra Play Pop Hits 1958 – Tequila
08. 9-23-58 – Tequila / End Of Set Theme
09. Narration – Hattie Randolph Records With The Arkestra 1959
10. 3-6-59 – Round Midnight – mono take 1 (F/S)
11. 3-6-59 – Round Midnight – mono take 2 (F/S)
12. 3-6-59 – Round Midnight – mono take 3 (master take)
13. Narration – Hattie Randolph With The Arkestra – Live At The Jazz Showcase 1976
14. 11-28-76 – Don’t Blame Me
15. Narration – Sun Ra Interview – Playing Another Kind Of Music
16. Narration – Producer Michael D. Anderson – Closing Comments
17. Narration – Sun Ra – Closing Comments Collage
18. End Music Theme – Discipline

Billie Holiday Sings Detour Ahead, also Recorded by Joe Williams as arranged by Sun Ra

2011-12-18T13:23:00.002-05:00

Going through some old vinyl and I came across this Billie Holiday album. Click here for a link to Detour Ahead:

The song Detour Ahead was also recorded by Joe Williams with the Red Saunders Orchestra in 1953 with Sun Ra doing the arrangements. There is a great CD release called "Joe Williams Sings". I highly recommend getting a copy of it. Try this link:

http://www.cduniverse.com/search/xx/music/pid/1054328/a/Joe+Williams+Sings+Everyday.htm

This version of Billie Holiday singing "Detour Ahead" is very sweet.

Tenderly From the album "Some Blues But Not The Kind That's Blue"

2011-12-10T14:19:00.002-05:00

I love this song. I just rediscovered it on the new release titled "The Eternal Myth - Vol 1.", produced by Michael Anderson (The Good Doctor). An old verison from 1950 of this song can be found on disc 5 (track 15).

http://soundcloud.com/user7162896/tenderly

Sun Ra & Me: Interview with Knoell Scott by Charles Waring from August 26, 2011

2011-11-27T09:26:00.001-05:00

SUN RA & ME: saxophonist Knoel Scott tells SJF about his time with the legendary bandleader

Friday, 26 August 2011 by Charles Waring

http://www.soulandjazzandfunk.com/interviews/1444-sun-ra-a-me-saxophonist-knoel-scott-tells-sjf-about-his-time-with-the-legendary-bandleader.html

Sun Ra on Detroit TV, 1981

2011-10-15T20:12:00.000-04:00

I Can't Get Started - John Gilmore with Art Blakey and The Jazz Messengers

2011-10-09T21:57:00.000-04:00

Photos Sun Ra Master Tapes on Ebay: SUN RA Reel to Reel Tape Art Forms Of Dimensions Tomorrow 10inch 15ips 2trk 02

2011-10-01T11:27:00.002-04:00

SUN RA Reel to Reel Tape Art Forms Of Dimensions Tomorrow 10inch 15ips 2trk 02

Photos Sun Ra Master Tapes on Ebay: SUN RA Reel to Reel Tape Art Forms Of Dimensions Tomorrow 10inch 15ips 2trk 01

2011-10-01T11:27:00.001-04:00

SUN RA Reel to Reel Tape Art Forms Of Dimensions Tomorrow 10inch 15ips 2trk 01

Photos Sun Ra Master Tapes on Ebay: SUN RA Reel to Reel Tape ABC-IMPULSE Jazz In Silhouette 10inch 15ips 2trk 02

2011-10-01T11:26:00.001-04:00

SUN RA Reel to Reel Tape ABC-IMPULSE Jazz In Silhouette 10inch 15ips 2trk 02

Photos Sun Ra Master Tapes on Ebay: SUN RA Reel to Reel Tape ABC-IMPULSE Jazz In Silhouette 10inch 15ips 2trk 01

2011-10-01T11:18:00.003-04:00

SUN RA Reel to Reel Tape ABC-IMPULSE Jazz In Silhouette 10inch 15ips 2trk 01

Photos Sun Ra Master Tapes on Ebay: SUN RA Discrete Quad MASTER TAPE Space Is The Place 1/2 inch 10" Reel to Reel 02

2011-10-01T11:18:00.001-04:00

SUN RA Discrete Quad MASTER TAPE Space Is The Place 1/2 inch 10" Reel to Reel 02

Photos Sun Ra Master Tapes on Ebay: SUN RA Discrete Quad MASTER TAPE Space Is The Place 1/2 inch 10" Reel to Reel 01

2011-10-01T11:17:00.001-04:00

SUN RA Discrete Quad MASTER TAPE Space Is The Place 1/2 inch 10" Reel to Reel 01

Photos Sun Ra Master Tapes on Ebay: SUN RA Discrete Quad MASTER TAPE Discipline 27-II 1/2 inch 10" Reel To Reel 02

2011-10-01T11:16:00.002-04:00

SUN RA Discrete Quad MASTER TAPE Discipline 27-II 1/2 inch 10" Reel To Reel 02

Photos Sun Ra Master Tapes on Ebay: SUN RA Discrete Quad MASTER TAPE Discipline 27-II 1/2 inch 10" Reel To Reel 01

2011-10-01T11:15:00.001-04:00

SUN RA Discrete Quad MASTER TAPE Discipline 27-II 1/2 inch 10" Reel To Reel 01

Photos Sun Ra Master Tapes on Ebay: SUN RA Crystal Spears Reel to Reel 10 inch 15ips 2trk 1974 EQ copy QS encoded

2011-10-01T11:09:00.006-04:00

SUN RA Crystal Spears Reel to Reel 10 inch 15ips 2trk 1974 EQ copy QS encoded

Samples From Sun Ra Master Tapes on Ebay

2011-10-01T10:47:00.003-04:00

Recently there has been a new cache of Sun Ra Master Tapes listed for sale on Ebay. Sample can be heard on SoundCloud here:

http://soundcloud.com/user3053335

The 5 samples are:

1. Groovin' High [Tape from early in his career of Sun Ra live with John Gilmore on tenor sax]

2. Song 3, Take 1 [From a 10" tape of master recording of Sun Ra from May 18, 1992. The box it came in is marked Bro. Wind II? The tunes are untitled and there are several takes on some of them. The engineer simply announces song number and take number.

3. Session Sample [First couple of minutes of a Sun Ra session from 1959. This is 2 false starts and a bit of take three of 'Round Midnight with vocal by Hattie Randolph.]

4. Unidentified Live Concert [Found on unlabeled reel to reel tape. Sun Ra Piano Solo]

5. Buffalo [Sun Ra live recording sample of Sun Ra & His Band From Outer Space]

Sun Ra Blog: Other Planes of There

2011-10-01T10:39:00.003-04:00

A new Sun Ra Blog called Other Planes of There joined the online Sun Ra community in August 2011. Sun Ra Arkive welcomes you Crawford! The blog contains personal reflections and philosophizing about Sun Ra's music and message and is worth checking out.

http://otherplanesofthere.blogspot.com/

NRBQ: Workshop (1973) Images

2011-03-23T08:02:00.003-04:00

NRBQ: Workshop (1973)

2011-03-23T07:57:00.003-04:00

Eddie Kramer: Engineer, Producer.

Lineup 3 (1972-74):
Terry Adams: keyboards, vocals harmonica
Al Anderson: vocals, guitar
Joey Spampinato: vocals, bass
Tom Staley: drums, percussion

http://badcatrecords.com/BadCat/NRBQ.htm

Pressings:
Workshop Kama Sutra LP 1973
Workshop Scraps & Workshop Annuit Coeptis 1976 LP AC-1001-2
Workshop Sundazed LP 2007 LP-5185
Workshop Caraway/Japan CD 2008
RC Cola and a Moon Pie CD 1986 Rounder/Red Rooster (Contains some, but not all, of the songs from Workshop, plus two previously unlreleased songs "Ratch-i-tatch" and "Louisville."

TRACK LIST:
1. C'mon If You're Comin' (McGhee, Terry)
2. RC Cola and a Moon Pie (Adams)
3. Blues Stay Away from Me (Delmore, Delmore, Glover, Raney)
4. Mona (Spampinato)
5. Just to Hold My Hand
6. Get That Gasoline Blues
7. Deaf, Dumb, and Blind (Spampinato)
8. Miss Moses (Adams)
9. I Got a Little Secret
10. Hearts of Stone
11. Misunderstanding
12. Four Million B.C.

Single:
Get That Gasoline Blues b/w Mona [Kama Sutra 1974. Reached #70 on The Billboard Hot 100]

http://www.sundazed.com/shop/product_info.php?products_id=878

The wildly eclectic New Rhythm & Blues Quintet, better known to its worldwide legion of adoring fans as NRBQ (or just the Q!), is the only band on the planet that can play rockabilly, bar-band blooze, Beatles sound-alikes and Sun Ra-style free jazz in the same set and remain standing.

The Q immediately followed Scraps with 1973’s equally terrific Workshop. Gadler had departed, reducing the Quintet to its customary foursome (natch!), but the band never missed a beat with an album that featured the hypnotically chugging “Come On If You’re Coming,” the mouth-watering “RC Cola and a Moon Pie” and the ultra-prophetic “Get That Gasoline Blues."

http://allmusic.com/album/workshop-r63419/review

Review by Lindsay Planer

Originally titled Age of Aquariums, Workshop became the first album to feature what is considered by many to be the "classic quartet" version of NRBQ. This incarnation incorporated the talents of bandleader Terry Adams (keyboard/coronet/trumpet), Joey Spampinato (bass/guitar/sax/vocals), Al Anderson (guitar/vocals), and, in his final studio appearance with the band, Tom Staley (drums). Although they had been performing with an evolving makeshift horn section -- which could (and often would) include coronet/trumpet player Terry Adams and saxophonist Joey Spampinato -- this disc also debuts the semi-permanent Whole Wheat Horn section, consisting of Terry's brother Donn Adams on trombone and Keith Spring on sax. The shift in personnel served the 'Q well, as Workshop was lauded and raved about by enthusiasts as well as pop music critics. Producer Eddie Kramer was able to further enhance the band's practically indefinable style, ranging from the undeniable Paul McCartney-influenced Spampinato rocker "Deaf, Dumb and Blind" to the understated grace and complex rhythmic syncopation of Terry Adams' "Miss Moses." Another Spampinato gem is the organic pop ballad "Mona." Instrumentally, the track is notable for Terry's accordion accents, as well as the conspicuous absence of drums. In addition to the copious originals, the guys revived the C&W-tinged "Blues Stay Away From Me," which had actually been recorded for inclusion on their previous long-player, Scraps. Likewise, their second stab at Brownie McGhee and Sonny Terry's "Come On If You're Comin'" reinforced the popularity of the track, which became a performance and enthusiast favorite. A similar fate would befall the 'Q's unofficial anthem -- the down-home rockabilly rave-up "RC Cola & a Moon Pie." Sadly, Workshop was never reprinted, although several notable compilations such as RC Cola & a Moon Pie (1986) have included key tracks.

NRBQ: Al Anderson (self-titled) Vanguard 1972 Images

2011-03-19T09:52:00.004-04:00

NRBQ: Al Anderson (self-titled) Vanguard 1972

2011-03-19T09:51:00.001-04:00

Al Anderson's 1972 Vanguard solo album fulfilled his 5 year contract with Vanguard, and transitioned him from The Wildweeds to NRBQ -- the record features members from both bands.

http://webspace.webring.com/people/hq/qfan98/albums.htm

Al Anderson (self-titled)
Vanguard 1972 (LP VSD 79324)

Al Anderson (self-titled)
Vanguard 1972 (LP Vsq 40018 Quadrophonic issue)

Personnel: Al Anderson: guitar, vocals, electric piano; Tom Staley: drums, percussion; Al Lepak: bass; Jeff Potter: harp; Terry Adams: piano; Donn Adams: trombone.

Track Listing: Be My Woman Tonight; We'll Make Love; Ain't No Woman Fine Lookin'; You're Just Laughin' Inside; I Don't Believe I'll Stay Here Anymore; Honky Tonkin'; Goin' Back To Indiana; Don't Hold The Line; I Just Want To Have You Back Again; I Haven't Got The Strength To Carry On.

Status: LP OOP.

Al Anderson (self-titled) Re-Release
Vanguard Records 1998 (CD 79324-2)

Personnel: Al Anderson: guitar, vocals, electric piano; Tom Staley: drums, percussion; Al Lepak: bass; Jeff Potter: harp; Terry Adams: piano; Donn Adams: trombone.

Track Listing: Be My Woman Tonight; We'll Make Love; Ain't No Woman Fine Lookin'; You're Just Laughin' Inside; I Don't Believe I'll Stay Here Anymore; Honky Tonkin'; Goin' Back To Indiana; Don't Hold The Line; I Just Want To Have You Back Again; I Haven't Got The Strength To Carry On;

Bonus track: C'mon If You're Comin' featuring: Al Anderson, guitar and vocals; Bob Lapalm, guitar; Jeff Potter, harp; Bob Dudek, drums; Al Lepak, bass.

Status: CD in print.

Single:
We'll Make Love/I Just Want To Have You Back Again [Vanguard 35168]

NRBQ: Scraps Companion Cover Scans (Thanks to Todd Remley!)

2011-03-17T09:57:00.004-04:00

NRBQ Scraps & The Scraps Companion 1972 Cover Scans

2011-03-16T09:50:00.006-04:00

NRBQ Scraps & The Scraps Companion 1972

2011-03-16T09:47:00.004-04:00

Scraps: Eddie Kramer (Engineer, Producer). Ed Freeman (Producer of Ain't It All Right only). Recorded at Columbia Studios, New York, New York in July 1970 and in Mount Vernon, New York in December 1971.

NRBQ: Joey Spampinato (vocals, acoustic guitar, bass); Terry Adams (vocals, harmonica, piano, Clavinet); Frank Gadler (vocals); Al Anderson (acoustic & electric guitars); Tom Staley (drums).

Additional personnel: Kenny Sheehan, Steve Ferguson (guitar); Donn Adams (trombone); Doug & Link Wray (background vocals).

Pressings:
Scraps (1972 Kama Sutra LP KSBS 2045)
Scraps (1972 Kama Sutra LP "Changes" Alternate Promo Cover)
Scraps (1982 Rounder/Red Rooster Records 3055, 106)
Scraps (2000 Rounder 613175) Remastered reissue with 3 bonus tracks)
Scraps (2007 Sundazed LP 5184)
Scraps (2009 Lost House, Japan)
Scraps Companion (2000 Dreamsville 0041) 15 tracks from radio show from Memphis in 1972 and 6 Outakes from Scraps sessions.
Scraps Companion (2002 Edisun 2)

Background:

NRBQ line up 2 (1970-72):

http://badcatrecords.com/BadCat/NRBQ.htm

Terry Adams: keyboards, vocals harmonica
Al Anderson: vocals, guitar (replaced Steve Ferguson)
Frank Gadler: vocals, tambourine
Joey Spampinato (aka Jody St. Nicholas): vocals, bass
Tom Staley: drums, percussion

http://www.sundazed.com/shop/product_info.php?products_id=877

By the time keyboardist Terry Adams, vocalist Frank Gadler, bassist Joey Spampinato, drummer Tom Staley and fabulous new guitarist Al Anderson released Scraps, their wonderful second album in 1972, they had relocated from Florida to New Jersey—and, like their name says, they were actually a quintet for the only time in their career.

Al Anderson Interview 1975 By Paul Bezanker

http://www.oocities.org/qfan98/Alinterview.htm

(P) Of the NRBQ recordings, what's the earliest on that you are playing on?

(A) The beginning of the whole "Scraps" album we recorded in four days...two weeks after I joined the band, in our own house. That did pretty well. Probably all told, NRBQ sold a couple thousand albums.

Mike Dow had this to say about the best sounding pressings in his opinion:

http://www.stevehoffman.tv/forums/showthread.php?t=81498&highlight=nrbq

"Scraps" - If you are going for the best sound, the CD (IMO) beats all of the vinyl pressings that I have. Rich, warm sound (mastered by Toby Mountain) and has some great notes from our own John DeAngelis!

"Scraps Companion" - Edi-Sun ED 12. Highly recommended/mostly live from a '72 Memphis radio broadcast with 6 unreleased studio tracks. Great sound - mastered by Billy Shaw.

NRBQ: Scraps
Ed Freeman (Producer)

Review by Ronnie D. Lankford, Jr.

http://www.allmusic.com/album/scraps-r14242

For the uninitiated, NRBQ is an oddity. How does one, for instance, approach a band who sings a song like "Howard Johnson's Got His Ho-Jo Working?" The answer may be, "not very seriously," but then another problem reveals itself: the songs are so catchy. "Who Put the Garlic in the Glue?" and "Magnet" bounce along like an early-'70s version of Ben Folds Five. Together, pianist Terry Adams, bassist Joey Spampinato, guitarist Al Anderson, drummer Tom Staley, and vocalist Frank Gadler find a bigger sound than the sum of their parts. Scraps is filled with pop music that manages the duel feat of making the listener feel good while remaining intelligent. The songs, with a couple of exceptions, are only two to three minutes long; that equals out to 14 cuts from the original album, which was a lot of tracks in 1972. Three bonus tracks have been added and the entire album has been remastered. There is also a great deal of breadth in Spampinato and Adams' songwriting, from the rocking "Don't You Knock at My Door" to the instrumental "Tragic Magic" to the gentle "Only You." Spampinato, who had written very little on previous albums, wrote several gentle ballads, including "Boys in the City" and "It's Not So Hard." John DeAngelis' liner notes keep tabs on NRBQ's evolving lineup and provide good information on the context of the recording. Scraps' appeal sneaks up on the listener, reminding them that some music is just meant to be enjoyed.

Title Composer Time
1 Howard Johnson's Got His Ho-Jo Working Adams 3:20
2 Magnet Adams, Spaminato 3:30
3 Don't Knock at My Door Spampinato 2:59
4 Tragic Magic Adams 1:52
5 Only You Spampinato 2:46
6 Who Put the Garlic in the Glue? Adams 2:01
7 Get a Grip Adams, Ferguson 4:29
8 Boys in the City Spaminato 2:29
9 New Tune Adams 2:35
10 Scraps Adams 4:06
11 It's Not So Hard Spaminato 2:44
12 Ac-Cent-Tchu-Ate the Positive/Things Are Getting Better Adderley, Arlen, Mercer, Previn 3:15
13 Do You Feel It Adams 2:51
14 Ain't It All Right Adams, Ferguson 2:23
15 Just Close Your Eyes and Be Mine Ruby Adams 3:18
16 Hymn #9 Adams 1:18
17 Trouble at the Henhouse Spampinato 2:15

NRBQ: The Scraps Companion
Eddie Kramer (Producer & Engineer)

Review by Lindsay Planer

http://www.allmusic.com/album/the-scraps-companion-r522887

The Scraps Companion presents NRBQ at Ardent Recording Studios in Memphis, TN, on April 30, 1972. Before this release, the only way hardcore New Rhythm & Blues Quartet fans had of hearing this performance was via tapes made of the original WMC-FM radio broadcast. The sound on this release is flawless. There are also a half-dozen tracks from the earliest recording sessions for the 1972 album Scraps. This seminal incarnation of the band features the addition of former Wildweeds guitarist "Big Al" Anderson. Upon his arrival, the "Q" in NRBQ actually stood for quintet.

NRBQ eagerly models their musical multiplicity throughout this set. Among the musical genres covered are the cool R&B sounds of Johnny Moore's Three Blazers on "Huggin' Bug." They also cut loose with a scrumptious version of Sonny Rollins' delicate "Valse Hot." Anderson's phenomenal songwriting is already in full bloom as heard on "Mare, Take Me Home." The heartfelt '50s doo wop track "Brothers" shows off the band's amazing vocal harmony chops -- demonstrating that the 'Q can truly conquer any style of popular music.

The innocuous wit and candid charm of NRBQ runs rampant throughout their music. For example, the band improvises a version of the I Love Lucy theme to a heavy thumping disco beat -- not bad since disco would not be around for nearly four years. The half-dozen Scraps sessions which augment this disc should not be written off as filler. Adams leads the 'Q through Thelonious Monk's "Misterioso." These 70 seconds are arguably the highlight of the entire disc. Not only does Adams capture the mathematical and logical performance style, but he embodies the innocent and freewheeling spirit of Monk -- a feat few can claim.

Title Composer Time
1 Do You Feel It? Adams 2:58
2 Magnet Adams, Spampinato 3:37
3 Howard Jonhston's Got His Ho-Jo Workin' Adams 3:33
4 Huggin' Bug Moore 2:39
5 Mare, Take Me Home Anderson 3:15
6 Don't Knock at My Door Spampinato 3:11
7 Valse Hot Rollins 2:05
8 Get a Grip Adams, Ferguson 5:11
9 Sitting in the Park Stewart 3:08
10 Take This Hurt Off Me Covay, Miller 2:47
11 RC Cola and a Moon Pie Adams 2:57
12 Time Amd Place Dixon 7:12
13 I Love Lucy Adamson, Daniel 0:53
14 Ain't It All Right Adams, Ferguson 4:08
15 Brothers arranged by Spampinato, P.D.… 0:59 Composed by: arranged by Spampinato, P.D., Public Domain
16 First Sounds NRBQ 2:04
17 Misterioso Monk 1:14
18 Get a Grip [Take One] Adams, Ferguson 4:41
19 Boys in the City [Trio Version] Spaminato 0:56
20 Boys in the City [Trio Version] Spaminato 2:25
21 Blues Stay Away from Me Delmore, Delmore, Glover, Raney 2:50

NRBQ: Sundazed Ludlow Garage 1970 Releases

2011-03-14T10:27:00.002-04:00

Two archive releases by Sundazed Records from a previously unreleased soundboard concert recording from Ludlow Garage in Cincinnati, Ohio on January 24, 1970. Ludlow Garage 1970 was released only on CD, and Interstellar was released only on 10" vinyl.

NRBQ
Ludlow Garage 1970
Sundazed SC 11082
Released 2006

Previously unreleased concert from 19700124 Ludlow Garage; Cincinnati, OH

http://www.sundazed.com/shop/product_info.php?products_id=815&osCsid=d5a9829ab60c6dd5c0b6d78977033899

NRBQ, the combo that’s been the epitome of eclecticism over the past four decades has finally agreed to unleash its stunning live concert, Ludlow Garage 1970, on compact disc by Sundazed. Sketchy cassettes of this epic engagement have been circulating ever since it occurred, and now the real story can be told, direct from the original soundboard masters! Ludlow Garage 1970 catches the dynamic original lineup of NRBQ — lead singer Frank Gadler, keyboard man Terry Adams, guitarist Steve Ferguson, bassist Jody St. Nicholas (aka Joey Spampinato) and drummer Tom Staley—at the peak of their powers, as they shift gears wildly from their own unique originals, to the interplanetary sounds of New Thing jazz, to frantic covers of Wilson Pickett, Little Richard and others. With special focus on Ferguson’s absolutely astounding six-string technique, here’s the very best material from their legendary 1970 shows at the fabled Cincinnati nightspot, as personally selected by Adams, with the full story recounted in the liner notes by longtime band pal Chandler Travis (Incredible Casuals). It’s no damn wonder NRBQ has been described as nothing less than a band that always wove its own magical musical-tapestry.

TRACK LIST:
1. Rocket # 9 / No Identification
2. Flat Foot Flewzy
3. Rip It Up
4. Sitting in the Park
5. Goofus
6. Step Aside
7. I Found a Love
8. Here Comes the Whistleman
9. You Move So Fast
10. Red Planet
11. When It’s Summertime in the Wintertime
12. Fergie’s Prayer
13. Wan-Do
14. So Dance with Me
15. Ida
16. Finger Poppin’ Time
17. Kentucky Slop Song
18. Someday Maybe

NRBQ
Interstellar
Sundazed KS10 01
Kustom Shop 10" vinyl

http://www.sundazed.com/shop/product_info.php?products_id=637

Destination Out! Brand new from Sundazed's Kustom Shop, it's a mindblowing ten-inch 33 1/3 RPM slab of wax by NRBQ that finds the revered fivesome latching onto the out-there New Thing jazz pioneered by intergalactic heroes Sun Ra & His Arkestra—and riding the music to universes beyond the beyond. Cut live in 1970 at Cincinnati's Ludlow Garage and Clinton Hollow in upstate New York, these revolutionary sounds, says NRBQ mainman Terry Adams "opened up new possibilities in rock 'n' roll. We had a thousand teenagers chanting along with us to 'Rocket #9." That stunning Sun Ra classic and his equally wonderful "Next Stop Mars"—extended experimental workouts that incorporate Adams' stellar originals "Venusian Sunset" and "Approach The Planet"—are guaranteed to send you clear out of this world!

TRACK LIST:

Side A Recorded 19700124 Ludlow Garage; Cincinnati, OH
1. Rocket #9 (Released on Ludlow Garage 1970) Sun Ra
2. Venusian Sunset (Not released Ludlow Garage 1970) Terry Adams

Side B Recorded 19701011 Polly Farm; Clinton Hollow, NY
3. Next Stop Mars (Not released Ludlow Garage 1970) Sun Ra
4. Approach the Planet (Not released Ludlow Garage 1970) Terry Adams

NRBQ: Sundazed Ludlow Garage 1970 Covers

2011-03-14T10:25:00.004-04:00

1968-1970 Stay With We: The Best Of NRBQ Cover Scans

2011-03-13T08:28:00.003-04:00

1968-1970 Stay With We: The Best Of NRBQ

2011-03-13T07:47:00.004-04:00

Columbia Legacy CK 52432 (OOP as of 3/13/11)
Vic Anesini: Remastering, Remixing.

This compilation is made up of material recorded and released on NRBQ's first two released albums, "NRBQ" and "Boppin' The Blues," and also features a single mix, remixes, and unreleased material for the first two records. Sound quality is uniformly excellent compared to the original vinyl releases.

Title Composer Time
1 C'mon Everybody [Single Version/Mono] (Recorded 19690714) Capehart, Cochran 2:40
2 I Say Gooday Goodnite (Recorded 19691009 Previously Unreleased) Ferguson 1:27
3 Flat Foot Flewszy (Recorded 19690822) Ferguson, Ferguson 4:42
4 Have You Heard Adams (Recorded 19690822 Previously Unreleased) 1:42
5 Rocket Number Nine (Recorded 196812 for Debut Album) Ra 3:04
6 I Didn't Know Myself (Recorded 196812 for Debut Album) Ferguson 2:14
7 Mama Get Down Those Rock & Roll Shoes (Recorded 196812 for Debut Album) Adams 2:37
8 Kentucky Slop Song (Recorded 196812 for Debut Album) Adams 5:38
9 Tina (Recorded 19690822) St. Nicholas 1:21
10 Step Aside (Recorded 19691006) Ferguson 1:16
11 You Got Me Goin' (Recorded 19700406 Previously Unreleased) Sanders 2:32
12 Dogwood Winter (Recorded 19691106 Previously Unreleased) Ferguson 1:30
13 Time & Place (Recorded 19690813 Previously Unreleased) Dixon, Dixon 4:32
14 Stomp [Original Version] (Recorded 196812 for Debut Album Previously Unreleased) Ferguson 1:56
15 Dr. Howard, Dr. Fine, Dr. Howard (Recorded 19691007) Adams 1:38
16 Open All the Windows (Recorded 19691106 Previously Unreleased) Adams 0:46
17 Fergie's Prayer (Recorded 196812 for Debut Album) Ferguson 2:35
18 You Can't Hide (Recorded 196812 for Debut Album) St. Nicholas 1:52
19 Hey! Baby (Recorded 196812 for Debut Album) Cale, Channel, Cobb 3:19
20 Tragic Magic [Original Version] (Recorded 19691106 Previously Unreleased) Adams, Wood 2:18
21 Ain't It All Right (Recorded 197007) Adams, Ferguson 2:23
22 Stay With We (Recorded 196812 for Debut Album) Adams 3:38
23 C'mon Everybody [LP Version] (Recorded 196812 for Debut Album) Capehart, Cochran 3:05
24 Down in My Heart (With King Curtis) (Recorded 19690822) Public Domain 2:52

http://www.allmusic.com/album/stay-with-we-the-best-of-nrbq-r170326

Review by Lindsay Planer

The first incarnation of the New Rhythm & Blues Quintet recorded a pair of highly original and underrated albums during their all too brief stint with Columbia Records in 1968-1969. These include a self-titled release as well as Boppin' the Blues, which was a collaborative effort with rockabilly legend Carl Perkins. Highlights from those recordings, as well as a few previously unissued nuggets, make their CD debut on this single-disc anthology. Although primarily known as a four-piece band, NRBQ actually began as a quintet playing a formidable blend of roots rock and obscure jazz covers, as well as an abundance of highly inventive originals. This musical cornucopia has remained at the heart of the "the 'Q" for well over three decades. Face it, this is a band that covered a song by the Chipmunks. NRBQ's first two albums reflected a sonically rich and multi-textured palette by establishing the bandmembers as top-shelf interpreters of early rock favorites, such as their pungent and otherwise rousing version of Eddie Cochran's "C'mon Everybody" and a funky loose rendition of Bruce Channel's 1962 chart-topper, "Hey! Baby." The influence of space jazz master Sun Ra -- especially on Terry Adams(keyboard/vocals/harmonica) -- became a running motif in their live performances, although "Rocket Number Nine" was one of the few Ra numbers they ever recorded. The original material -- mostly from the pen(s) of Adams and/or Steve Ferguson (guitar/vocal) -- is in many ways more vibrant and well executed, with an additional urgency seemingly absent from NRBQ's cover songs. These range from quirky rock & roll rave-ups such as "I Say Gooday Goodnite," "Kentucky Slop Song," and the surreal Three Stooges paean "Dr. Howard, Dr. Fine, Dr. Howard" to the serene and remarkably sensitive "Fergie's Prayer" and "I Didn't Know Myself." Two of the best tracks on this compilation are the previously unreleased original instrumentals "Dogwood Winter" and "Tragic Magic" -- the latter of which would turn up on NRBQ's third long-player, Scraps, after the band was unceremoniously dumped by Columbia.

NRBQ Boppin’ the Blues (With Carl Perkins) (Columbia)

2011-03-12T09:44:00.001-05:00

Recorded Aug 1969 - Oct 1969. Released 1970.

2 pressings:
LP CS 9981
CD CK 9981 (Sounds excellent according to Mike Dow: http://www.stevehoffman.tv/forums/showthread.php?t=81498&highlight=nrbq)

http://badcatrecords.com/BadCat/NRBQ.htm

Given their willingness to try virtually anything in the musical realm, a collaboration with Carl Perkins really wasn't all that odd. Released in 1970, "Boppin' the Blues" featured a mixture of Perkins originals and NRBQ numbers, with a Little Richard classic thrown in for good measure.

Track Listing
Side 1:
1.) All Mama's Children (Johnny Cash / Carl Perkins)
2.) Turn Around (Carl Perkins)
3.) Tina (Jody St. Nicholas)
4.) Dr. Howard, Dr. Fine, Dr. Howard (Terry Adams)
5.) Sure To Fall (Cantrell, Claunch, Claunch, Perkins)
6.) Flat Foot Flewzy (Steve Ferguson)

Side 2:
1.) Sorry Charlie (Carl Perkins)
2.) Step Aside (Emerson, Ferguson, Lake)
3.) Rip It Up (Blackwell, Marascalco)
4.) Allergic To Love (Carl Perkins)
5.) On the Farm (Terry Adams)
6,) Boppin' the Blues (Griffin, Perkins)
7.) Just Coastin' (Carl Perkins)

http://www.allmusic.com/album/boppin-the-blues-r15063

Sun Ra: The Eternal Myth Part 1 (The Music History Of Sun Ra) [Transparency 0316]

2011-03-11T08:12:00.006-05:00

http://www.united - mutations.com/r/sunra_eternalmyth_box1.htm

On Thursday, March 10, 2011 United Mutations reported this major announcement:

Sun Ra: The Eternal Myth Part 1 (The Music History Of Sun Ra) [Transparency 0316]

The Transparency label is teaming up with the Michael D. Anderson's Sun Ra Archive for its next release. Subtitled “The Music History Of Sun Ra”, this first installment will bring you 13 hours of ultra-rare music (plus hours of Sun Ra speech) with a 5.25” x 5.25” paperback book (approximately 80 pages) in box set of 14 CDs.

box 1

the foundation - early influences - the women blues vocalists
* 1921 - ethel waters - oh daddy
* 1924 - ma rainey / fletcher henderson - booze and blues
* 1928 - sara martin w/clarence williams orch. - hole in the wall

the foundation - early influences - the territory bands
* 1928 - bennie moten orchestra - just rite
* 1928 - tiny parham & his musicians - fat man blues
* 1933 - baron lee & his blue rhythm band - rhythm spasm
* 1931 - fletcher henderson - sugarfoot stomp
* 1931 - fletcher henderson - blue rhythm tk - 3

sun ra - his first recorded composition 1933 -
* 1933 - clarence williams - chocolate avenue

the jump blues era - wynonie harris -
* 1946 - wynonie harris w/jumpin’ jimmy jackson - dig this boogie
* 1946 - wynonie harris w/jumpin’ jimmy jackson - lightnin’ struck the poor house
* 1946 - wynonie harris w/jumpin’ jimmy jackson - my baby’s barrel house
* 1946 - wynonie harris w/jumpin’ jimmy jackson - drinkin’ by myself

- chicago - the blues & jump blues era - lil green -
* 1946 - lil green & her orchestra - blowtop blues
* 1946 - lil green & her orchestra - no good man
* 1946 - lil green & her orchestra - how come you do me like you do
* 1947 - lil green & her orchestra - lonely woman blues

the church organ recordings pt. 1 -
* 1948 - sun ra - all the things you are
* 1948 - sun ra - wind in the trees (early avant garde)

the solovox & piano rehearsals -
* 1948 - sun ra and stuff smith - vln - deep purple
* 1948 - sun ra - darn that dream
* 1948 - sun and jesse miller - tr - yesterdays
* 1948 - sun ra - if they only knew

the mary lou williams influence - her compositions -
* 1945 - mary lou williams - taurus
* 1945 - mary lou williams - cancer

the mary lou williams influence - her influence on sun ra on piano
* 1948 - sun ra - unknown title #3 (mary lou wms influence)
* 1948 - sun ra - unknown title #7 (mary lou wms influence)
* 1949 - sun ra - i got some new blues

the mary lou williams influence - her orchestrations -
* 1947 - milton orent / frank roth orchestra - lonely moments
* 1947 - milton orent / frank roth orchestra - whistle blues

the jump blues & early doo wop - the vocalists -
* 1948 - andrew tibbs w/sax mallard’s combo - he’s got her and gone
* 1948 - andrew tibbs w/sax mallard’s combo - the holidays are over
* 1948 - the dozier boys w/sax mallard’s combo - she only fools with me
* 1948 - the dozier boys w/sax mallard’s combo - st. louis blues
* 1948 - the dozier boys w/sax mallard’s combo - invitation to the blues
* 1948 - andrew tibbs w/sax mallard’s combo - in a travelin’ mood
* 1948 - andrew tibbs w/sax mallard’s combo - in every man’s life
* 1948 - the dozier boys w/eugene wright - big time baby
* 1948 - the dozier boys w/eugene wright - pork ‘n beans
* 1948 - the dozier boys w/eugene wright - dawn mist
* 1948 - the dozier boys w/eugene wright - music goes round and round

the jump blues era - red saunders -
* 1948 - red saunders orchestra - trust in me
* 1948 - red saunders orchestra - band vocal - synthesis
* 1948 - red saunders orchestra - band vocal - jitterbuggin’
* 1948 - george floyd w/red saunders orchestra - legs gettin’ bigger and bigger

the sunny blount trio - rehearsal -
* 1949 - sun ra and unknown guitar - upstairs (clip)
* 1949 - sun ra - just one of those things

sun ra sings & plays standards -
* 1949 - sun ra - smile tk - 2
* 1949 - sun ra - stuff like that there
* 1949 - sun ra - old man river

the sunny blount trio - “live” -
* 1949 - sun ra / leo blevins / w. ware - you go to my head
* 1949 - sun ra / leo blevins / w. ware - blue chicago blues

the small group swing era - dorothy donegan w/ red saunders orch.
* 1950 - dorothy donegan w/red saunders orchestra - d.d.d. (dorothy donegan’s doghouse)
* 1950 - dorothy donegan w/red saunders orchestra - ridin’ boogie the jump blues era - red saunders & “jumpin’” joe williams #1
* 1950 - jumpin’ joe williams w/red saunders orch - blow mr. low blow
* 1950 - jumpin’ joe williams w/red saunders orch - chi
* 1950 - jumpin’ joe williams w/red saunders orch - lyin’ girl blues

the unknown vocalist rehearsal -
* 1950 - sun ra / unknown vocalist - you the night and the music
* 1950 - sun ra - holiday for strings

the john jenkins rehearsal -
* 1950 - sun ra / john jenkins - the phantom

the jump blues era - “little miss share cropper” (laverne baker)
* 1950 - little miss sharecropper w/red saunders orch - take out some time baby
* 1950 - little miss sharecropper w/red saunders orch - i’ve tried
* 1950 - little miss sharecropper w/red saunders orch - how long
* 1950 - little miss sharecropper w/red saunders orch - i want to rock

the wilbur ware / john jenkins / leo blevins rehearsal
* 1951 - sun ra / wilbur ware - the nearness of you tk - 2
* 1951 - sun ra / wilbur ware - sunny’s place (dukes place) #1
* 1951 - sun ra / leo blevins / w. ware - the man i love
* 1951 - sun ra / john jenkins / w. ware - sunny’s place (dukes place) #2

the jump blues era - red saunders & “jumpin’” joe williams #2 / june davis
* 1951 - jumpin’ joe williams w/red saunders orchestra - stop pretty baby, stop
* 1951 - jumpin’ joe williams w/red saunders orchestra - weekday blues
* 1951 - red saunders orchestra - 4:00 am
* 1951 - jumpin’ joe williams w/red saunders orchestra - last nights party
* 1951 - jumpin’ joe williams w/red saunders orchestra - hey bartender
* 1951 - red saunders orchestra - boot ‘em up
* 1951 - jumpin’ joe williams w/red saunders orchestra - sugar bounce
* 1951 - june davis w/red saunders orch - gentle lover
* 1951 - june davis w/red saunders orch - j.d. blues

the jump blues era - the “hambone kids” –
* 1952 - the hambone kids w/red saunders orchestra - hambone
* 1952 - red saunders orchestra - la raspa
* 1952 - the hambone kids w/red saunders orchestra - zeke’l zeke’l
* 1952 - the hambone kids w/red saunders orchestra - piece a - puddin’

sun ra meets pat patrick -
* 1952 - sun ra / pat patrick - wonderful you
* 1952 - sun ra / pat patrick - a place in my heart

the afro cuban influence - perez prado -
* 1947 - perez prado orchestra - rica
* 1947 - perez prado orchestra - kon - toma

the afro cuban influence - sun ra w/red saunders orch / “jumpin” joe williams #3
* 1953 - red saunders orchestra - mambo in trumpet
* 1953 - red saunders orchestra - honky tonk train blues
* 1953 - jumpin’ joe williams w/red saunders orchestra - probably
* 1953 - jumpin’ joe williams w/red saunders orchestra - voodoo blues

the arkestra singers pt. 1 - thea barbara / unknown name -
* 1953 - sun ra / thea barbara / unknown male singer - unknown title - haunted melody

the jump blues era - jo jo adams -
* 1953 - jo jo adams w/red saunders orchestra - call my baby
* 1953 - jo jo adams w/red saunders orchestra - rebecca

the jump blues era - red saunders & “jumpin’” joe williams #4
* 1953 - jumpin’ joe williams w/red saunders orchestra - it’s raining again
* 1953 - jumpin’ joe williams w/red saunders orchestra - always on the blue side
* 1953 - jumpin’ joe williams w/red saunders orchestra - detour ahead
* 1953 - jumpin’ joe williams w/red saunders orchestra - blow mr. low blow

* 1953 - red saunders orchestra - summertime
* 1953 - red saunders orchestra - riverboat
* 1953 - jumpin’ joe williams w/red saunders orchestra - time for movin’
* 1953 - red saunders orchestra - lawdy lucy

the nu sounds doo wop rehearsals pt. 1 -
* 1954 - sun ra / nu sounds / r. wilson - my sweet
* 1954 - sun ra / nu sounds / r. wilson - my land of dreams
* 1954 - sun ra / nu sounds / r. wilson - dreams come true (rehearsal)
* 1954 - sun ra / nu sounds / r. wilson - spaceship lullaby (rehearsal - a)
* 1954 - sun ra / nu sounds / r. wilson - spaceship lullaby (rehearsal - b)
* 1954 - sun ra / nu sounds / r. wilson - spaceship lullaby (rehearsal w/band - a)
* 1954 - sun ra / nu sounds / r. wilson - spaceship lullaby (rehearsal w/band - b)

the jump blues era - grant jones / king kolax / billy brooks
* 1954 - grant jones w/king kolax band - what have you done to me
* 1954 - grant jones w/king kolax band - right now
* 1954 - king kolax quintette - vivian
* 1954 - king kolax w/king kolax band - goodnite blues
* 1955 - billy brooks w/red saunders band - mambo is everywhere
* 1955 - billy brooks w/red saunders band - song of the dreamer
* 1955 - billy brooks w/red saunders band - donna
* 1955 - billy brooks w/red saunders band - i want your love tonight
* 1955 - billy brooks w/red saunders band - this is my prayer

the jump blues era - billie hawkins w/the sun ra arkestra
* 1956 - billie hawkins w/sun ra band - i’m comin’ home
* 1956 - billie hawkins w/sun ra band - i’m comin’ home
* 1956 - billie hawkins w/sun ra band - kiss me sweet
* 1956 - billie hawkins w/sun ra band - last call for love
* 1956 - billie hawkins w/sun ra band - last call for love
* 1956 - billie hawkins w/sun ra band - at last tk - 10

the doo wop era - walter dunn & the metros -
* 1956 - walter dunn & the metros - i’ll close my heart
* 1956 - walter dunn & the metros - when you’re in love this way
* 1956 - walter dunn & the metros - christina, eugena, marie
* 1956 - walter dunn & the metros - perfidious lover

the sun ra bebop band “live” -
* 1956 - le sun ra and his band - live - big city blues
* 1956 - le sun ra and his band - live - delilah (slightly distorted)
* 1956 - le sun ra and his band - live - images (no solos) (slightly distorted)
* 1956 - le sun ra and his band - live - velvet (slightly distorted)

more supersonic jazz -
* 1956 - sun ra / james scales / wilburn green / robert barry - somebody else’s world tk - 1
* 1956 - sun ra / james scales / wilburn green / robert barry - blues in outer space

the arkestra singers - clyde williams -
* 1956 - clyde williams w/sun ra arkestra - dreams come true tk - 1
* 1956 - clyde williams w/sun ra arkestra - dreams come true tk - 3 (slower version)

the arkestra singers - hattie randolph -
* 1957 - hattie randolph w/sun ra arkestra - don’t blame me tk - 1
* 1957 - hattie randolph w/sun ra arkestra - (hattie randolph talking)
* 1959 - hattie randolph w/sun ra arkestra - round midnight tk - 1, 2, 3 (mono mix)
* 1976 - hattie randolph w/sun ra arkestra “live” -

the pershing ballroom jam feat. pat patrick, gene ammons & j.j. johnson
* 1958 - sun ra all - star jam - chi - town blues
* 1958 - sun ra all - star jam - just you just me

sun ra & his men from space - “play pop hits live” at bud land
* 1958 - sun ra and his men from space - tequila (pop tune) (w/announcements)
* 1958 - sun ra and his men from space - (end of set theme)

box 2

- new york city - the angels & demons at play rehearsal -
* 1960 - sun ra arkestra and his arkestra - tiny pyramids
* 1960 - sun ra arkestra and his arkestra - egyptian fantasy
* 1960 - sun ra arkestra and his arkestra - summertime tk - 3
* 1960 - sun ra arkestra and his arkestra - onward

the fate in a plesant mood session - lights on a satellite (w/echo) -
* 1960 - sun ra arkestra and his arkestra - lights on a satellite

the tenor sax of john gilmore - “live” -
* 1960 - sun ra arkestra and his arkestra - it ain’t necessarily so
* 1960 - sun ra arkestra and his arkestra - space aura
* 1960 - sun ra arkestra and his arkestra - how high the moon

the 1961 - majestic hall rehearsal -
* 1961 - sun ra arkestra and his arkestra - dark
* 1961 - sun ra arkestra and his arkestra - outer space
* 1961 - sun ra arkestra and his arkestra - lady bird
* 1961 - the arkestra - gone tk - 1 (rehearsal on miles davis’ solo)
* 1961 - the arkestra - gone tk - 2

the 1961 - unreleased savoy records audition -
* 1961 - sun ra arkestra and his arkestra - mother hood (beautiful composition)

the 1961 - calvin newborn rehearsals -
* 1961 - sun ra / calvin newborn / - ruby
* 1961 - sun ra / calvin newborn / - island in the sun

the 1962 - sun ra & pat patrick rehearsal -
* 1962 - sun ra / pat patrick w/rhythm - blues

the 1962 - what’s new session -
* 1962 - sun ra / calvin newborn - what’s new
* 1962 - sun ra / calvin newborn - wanderlust

NRBQ: 1969 Self-Titled Debut On Columbia Records Back Cover

2011-03-10T10:11:00.003-05:00

NRBQ: 1969 Self-Titled Debut On Columbia Records Front Cover

2011-03-10T10:00:00.005-05:00

NRBQ: C'mon Everybody / Rocket # 9 (Columbia 4-44937) 1969

2011-03-10T09:15:00.002-05:00

NRBQ: Stomp / I Didn't Know Myself (Columbia 4-44865) 1969

2011-03-10T09:12:00.003-05:00

NRBQ: 1969 Self-Titled Debut On Columbia Records

2011-03-10T09:06:00.004-05:00

We'll tackle the 1st two records material in this order, so that we're not talking about the "Stay With We" comp when the 1993 period rolls around. It's important to not,e that sadly, all 3 of these releases are currently out of print (OOP):

NRBQ (Columbia) 1969
Boppin’ the Blues (with Carl Perkins) (Columbia) 1970
Stay With We (Columbia Era Compilation with unreleased songs) (Columbia/Legacy) 1993

Here's some backstory:

"Fergies Story" By Keith S. Clements

http://ztalk.proboards.com/index.cgi?board=listeningroom&action=display&thread=37098

Steve first met Terry Adams in 1965 when Steve was starting the Mersey-Beats USA and needed a keyboard player. Terry auditioned; their musical relationship has continues to this day. Shortly after that meeting, they both attended a big R&B show at the Armory that included Sam and Dave, Wilson Pickett, Jr., Walker and The Allstars and Billy Stewart. The Mersey-Beats USA did British covers, which was popular at the time. They had to add the USA because there was already a British band named Mersey Beats. Steve and Terry started writing their own original material and in late 1966, they left the band to begin what would eventually become NRBQ (New Rhythm and Blues Quartet). Terry's brother, Donn Adams, booked gigs for them.

Terry went to Florida to play organ with a group called The Seven of Us. Steve joined in New Jersey. When that band broke up, part of the personnel became the foundation of NRBQ. Steve credits Donn Adams with the name. The original version of NRBQ included Steve, Terry, Joey Spampinato on bass, Frankie Gadler doing vocals and drummer Tom Staley. Later, for live shows and recording sessions, the Whole Wheat Horns, with Louisvillians Donn Adams on trombone and Keith Spring on saxophone, were added. NRBQ's star rose quickly, with a Columbia recording contract in 1969 which resulted in several singles, including "Stomp," and two albums. NRBQ collaborated with another Columbia recording artist, Carl Perkins, on "Boppin' The Blues."

http://badcatrecords.com/BadCat/NRBQ.htm

Keyboardist Terry Adams and lead guitarist Steve Ferguson met while members of the Louisville-based Mersey Beats USA. By the mid-1960s, in a quest for steadier working conditions, the pair had decamped to Miami, Florida where they hooked up with New Jersey-based The Seven of Us singer Frank Gadler, bassist Joey Spampinato (aka Joe St. Nicholas) and drummer Tom Staley. As The New Rhythm and Blues Quintet (easy to see why they opted for NRBQ), the group quickly moved to New Jersey where their already quirky live show began attracting fans. They also found a mentor in the form of bluesman Slim Harpo. Harpo helped the band land a spot at Steve Paul's New York club The Scene which eventually caught the attention of A&R types working for Columbia Records.

Signed by Columbia, the group made their recording debut with 1969's cleverly titled "NRBQ". In a nutshell, the album is simply unlike anything else being released at the time. All but ignoring the public's infatuation with psych and blues-rock, these guys turned in a set that bounced all over the musical spectrum, including stabs at country ('Kentucky Slop Song'), hardcore blues (a steaming cover of Eddie Cochran's 'C'mon If You're Comin''), rockabilly ('C'mon Everybody'), sensitive singer/songwriter (Ferguson's 'I Didn't Know Myself') and straightforward pop ('You Can't Hide'). For goodness sake, there's even a Sun Ra cover ('Rocket Number 9') !!! Every time I hear this album I simply scratch my head and wonder what Columbia Records was thinking when it signed them. An amazing debut that some four decades later may still be the best thing they've done. How a newly signed band managed to get away with it is beyond me!

"For Connecticut's Wildweeds, it was fun (sort of) while it lasted" By Fran Fried

http://www.nhregister.com/articles/2002/08/23/import/5135264.txt?viewmode=fullstory

Anderson cut a solo album for Vanguard, but his fate was cast the night Lakaitis (who died of a heart attack in 1988) took him to his first NRBQ show in Amherst, Mass., in 1969. Two years later, Anderson was in the band.

NRBQ line up 1 (1967-70)

http://badcatrecords.com/BadCat/NRBQ.htm

Terry Adams: keyboards, vocals, harmonica
Steve Ferguson (Nov. 21, 1948 - October 7, 2009): lead guitar, vocals, harmonica
Frank Gadler: vocals, tambourine
Joey Spampinato (aka Jody St. Nicholas): vocals, bass
Tom Staley: drums, percussion

NRBQ: 1969 Self-Titled Debut On Columbia Records Versions:

Title / Format / Label / Cat# / Country / Year
NRBQ (LP, Album) Columbia CS 9858 US 1969
NRBQ (LP, Album) CBS S 63653 UK 1969
NRBQ (LP, Album, RE) Columbia PC 9858 US 1969

There is a defective pressing of the LP circulating which has a mix that has a balance of prominent vocals and very low instrumentation.

Side 1:
1.) C'mon Everybody (Capehart - Eddie Cochran)
2.) Rocket Number 9 (Sun Ra)
3.) Kentucky Slop Song (Terry Adams)
4.) Ida (Terry Adams - Carla Bley)
5.) C'mon If You're Comin' (Brownie McGhee - Sonny Terry)
6.) You Can't Hide (Jody St. Nicholas)
7.) I Didn't Know Myself (Steve Ferguson)

Side 2:
1.) Stomp (Steve Ferguson)
2.) Fergie's Prayer (Steve Ferguson)
3.) Mama Get Down Those Rock & Roll Shoes (Terry Adams)
4.) Hymn Number 5 (Terry Adams)
5.) Hey! Baby (Bruce Channel - Margret Cobb)
6.) Liza Jane (traditional)
7.) Stay With Me (Terry Adams)

Two singles from the LP were released:

Stomp / I Didn't Know Myself (Columbia 4-44865) 1969
C'mon Everybody / Rocket # 9 (Columbia 4-44937) 1969

My thoughts:

For me, NRBQ's debut is a very unique and eclectic album that has a personality that is hard for me to put my finger on -- it defies categorization. For me, the seeds of what NRBQ would evolve in to are represented, but the pre Al Anderson group is a very different type of group and stands separate and alone.

Obviously, the fact that 3/5ths of the group changed is a major factor. Ferguson, Gadler, and Staley all had unique individual musical voices. When they left the group, they were not really "replaced" in the sense that the new players that came in copped their feel. Another difference for me, is that the sweeter pop side that Joey Spampinato later made more prominent is all but absent on the debut record.

For lack of a better description, the record has a really hippie, homey, communal, rural sound to me. To me it doesn't really sound like a 60s record in relation to the contemporary sounds of the time, but the vibe is definitely very 60s.

C'mon Everybody is an absolutely crackin' and energized burst of pure rock. Every time I hear it I have to clap along.

Coming after C'mon Everybody, the Sun Ra cover of Rocket Number 9 really makes a statement about their musical diversity. Terry Adams seems very proud of their version, and that Sun Ra personally chose NRBQ to pass the song on to to introduce his music to the rock world. Again, Terry proudly tells of playing Rocket Number 9 at rock shows in Florida, and getting the whole crowd to sing along to what is, at its core, and avant-garde jazz song. This is my fave Sun Ra cover ever -- great energy and group interplay.

Kentucky Slop Song, C'mon If You're Comin', I Didn't Know Myself, Fergie's Prayer, Hymn Number 5 all have that herbal, lysergic, spirited, contemplative 60s vibe that I referred to earlier. After this record, it seems to me that they left these types of songs behind.

Joey Spampinato's You Can't Hide is notable, not only because it is a total rockin' kick a** song, but because it is the one song on the record that sounds like the NRBQ of later years, and could have shown up and been logical on any of their other later records.

The version I have on LP sounds pretty poor to my ears. It has a really dull and squashed tone -- really thin with not much dynamic range. It is the only copy I have heard, so I am not sure if I just have a bad copy, or if it's just how the record sounds. The remastered versions of these songs sound infinitely better on the "Stay With We" CD compilation.

I really wish that Sony or Sundazed would reissue this album on CD and LP.

Terry Adams and Joey Spampinato Pre-NRBQ: Merseybeats U.S.A. and Seven Of Us

2011-03-09T10:38:00.003-05:00

Merseybeats U.S.A.

Merseybeats U.S.A. were a Rock N Roll band from Shively, Kentucky featured 2 future members of NRBQ, Steve Ferguson and Terry Adams.

They recorded 3 singles for Top Dog Records, Circa 1966-1967.

2313 Merseybeats U.S.A. - You'll Come Back / Nobody Loves Me That Way
2318 Merseybeats U.S.A. - Does She Or Doesn't She / Stop Look & Listen
2322 (106) Merseybeats U.S.A. - 30 Second Lover / Nobody Loves Me that Way

http://www.soulfuldetroit.com/archives/1/626.html?1020745507
http://www.garagehangover.com/?q=taxonomy/term/1697

A conversation with Terry about the early years and Hell Night:
http://www.terryadams.net/nrbq.html

The Mersey-Beats USA - Nobody loves me that way + You'll Come Back
http://www.spinthegroove.com/2010/10/mersey-beats-usa-nobody-loves-me-that.html

The Seven Of Us

The Seven Of Us were a Rock N Roll band from the Bronx, New York, circa 1965-1967, featuring 2 future members of NRBQ, Joey Spampinato and Frank Gadler, along with Johnny DeRobertis, Brian Darby, Charlie Tuna, Jerry Gold, and Kenny Nemeroff. According to Johnny Spampinato, "Red Bird put out one single and there is an unreleased single DJ copy floating about somewhere."

Red Bird RB 10-080 Seven of Us Jamboree / It's Not Easy To Forget/It's Mighty Nice 1966

http://www.globaldogproductions.info/r/red-bird.html

The Wildweeds: Video on youtube

2011-03-09T07:36:00.002-05:00

http://www.stevehoffman.tv/forums/showpost.php?p=6319947&postcount=11

I've spent a lot of time listening to and researching The Wildweeds. As a kid that grew up in the dismal musical climate of the 80s in CT, I am absolutely fascinated at the idea that there was once a thriving and diverse scene here in the 60s.

I totally love their first 1967 single "No Good To Cry / Never Mind" (Cadet Concept 5561), and think their original four 45s are all excellent -- Someday Morning, I'm Dreaming, and Happiness Is Just An Illusion in particular are my faves. They had several strong vocalists with differing styles. They were tight and tasteful, and Bob Dudek's Bass lines on I'm Dreaming and Sorrows Anthem really stick out to me as cool and unique.

Here's links to The Wildweeds video on youtube:

No Good To Cry by The Wildweeds
http://www.youtube.com/watch?v=m6zWXnCJtko

The Wildweeds - I'm Dreaming
http://www.youtube.com/watch?v=MfW0thdFe24

The WildWeeds - I'm Dreaming re-worked (1967)
http://www.youtube.com/watch?v=gGKMPNCHmyU

Richie Robinson Mixing No Good To Cry by the Wildweeds
http://www.youtube.com/watch?v=hcMhSYo7V8w

The Wildweeds: Zoot Suits image from No Good To Cry: The Best Of The Wildweeds [Confidential Records 3003]

2011-03-08T13:47:00.001-05:00

The Wildweeds: No Good To Cry: The Best Of The Wildweeds [Confidential Records 3003]

2011-03-08T13:46:00.004-05:00

The Wildweeds: 1968 Sorrows Anthem [Cadet Concept 5586]

2011-03-08T13:46:00.002-05:00

The Wildweeds: 1968 It Was Fun (While It Lasted) [Cadet Concept 5586]

2011-03-08T13:44:00.001-05:00

The Wildweeds: 1967 No Good To Cry / Never Mind [Cadet DE.2672 Italian single picture sleeve]

2011-03-08T13:39:00.002-05:00

The Wildweeds: 1967 No Good To Cry / Never Mind [Chess AR 25.578 Dutch single picture sleeve]

2011-03-08T13:38:00.001-05:00

The Wildweeds: 1967 No Good To Cry / Never Mind [Cadet 5561]

2011-03-08T13:27:00.002-05:00

NRBQ Album-By-Album Thread: My Story

2011-03-07T10:49:00.000-05:00

http://www.stevehoffman.tv/forums/showpost.php?p=6313468&postcount=2

Before we dive in, I'd like to encourage everyone to contribute to the thread and share their story. I don't own every NRBQ record, never got to see them live in their heyday, and don't know all of the minutiae. So, I'm depending on you folks to help make this thread as great as it can be.

Unlike many other Album-By-Album Threads, I'd like to take a slower pace, so that everyone can actually dig out or buy the records and play them fresh before they have to chime in with their thoughts. Other than the freeway of their recorded output, there are many side streets and back roads to explore on the NRBQ path, so I'd like to leave the space to do some sightseeing along the way.

I was born in 1971 in Connecticut, and graduated high school in 1989. As a kid, I remember hearing what seemed like weekly radio spots on WHCN, WPLR, and WCCC for upcoming NRBQ shows. By the time I was old enough and musically smart enough to see NRBQ, their golden age had passed.

As a kid that grew up on and loved The Beatles, the first NRBQ song that really connected with me was the sweet pop single from 1989s "Wild Weekend" album. I got the excellent career retrospective from Rhino Records called "Peek-A-Boo," and while I loved it, it was enough for me for awhile.

As I got older, and had more of an understanding of musical styles and history I started to appreciate them more and more. After dedicating my life to studying jazz composer, keyboardist, and bandleader Sun Ra for a good 10 years, the name NRBQ kept popping up, and I finally took the time to really get in to NRBQ and their discography.

As a musician and fan from Connecticut, I am incredibly proud of NRBQ and Al Anderson. There are so few artists that made a name for themselves from this state that they are beacon for me. Even though Al Anderson originated from Windsor, CT, NRBQ weren't truly a CT band, but they played here so much in the 1970s and 80s, that it felt like they were.

I'd like to talk about the pre-NRBQ bands The Wildweeds and The Merseybeats U.S.A. before we hit NRBQs debut LP, but before we do that please share you personal NRBQ story.

NRBQ Album-By-Album Thread: Introduction

2011-03-07T09:53:00.005-05:00

http://www.stevehoffman.tv/forums/showthread.php?t=244052

Other than the sonic values and excellent community of the Steve Hoffman Music Forums, the one feature I value most are the excellent "Album-By-Album Threads." They are a great venue for raving about the artists you love, as well as learn about artists you may not yet know.

This is the point that motivates me to tackle a NRBQ thread, despite the fact I am overwhelmed at the responsibility of tackling their immense career and discography. In my considered opinion they are one of THE greatest american bands of the 20th century, and every music fan should be aware of them enough that they have the chance to experience the great swinging sweet joyful sounds that NRBQ played.

Despite the strength of their instrumental virtuosity, expertly crafted and emoted songs, group interplay, diverse songbook, unstoppable swinging groove, and 30 plus year career, NRBQ do not have popular recognition on par with their immense virtues.

I believe that some of their greatest assets -- such as eclecticism, uncompromising artistic values, and humor -- are also the reasons that they never sold the millions of records that they deserved to. They are incredibly intelligent and proficient musicians that have no problem being silly and loose as well. There are so many facets to this band to wrap your head around, that it requires a certain openness on the part of the listener -- it is music that really needs to be felt emotionally to be understood.

Perhaps this why NRBQ gathered most of its fans by playing live. The pure spirit of Rock N Roll that they embodied could not be contained and captured in the studio, despite the fact that they made lots and lots of great record. But hey, I don't really know -- it's just theorizing -- and I'm sure the band themselves couldn't tell you the reason either. Although I'm sure they would have welcomed the millions a hit would have brought, I am guessing that they are very proud and content with what they accomplished. They are one of the very few bands that sustained musical excellence and artistic virtue over such a long career in the largely fickle spiritual wilderness of the music business.

If one person learns something about NRBQ from this thread, is inspired to buy their records, and has their musical life changed as they changed mine, I will have accomplished my goal.

Here are the discographical and interview links I've referenced in preparation for this thread. Thank you for all of the time and effort the respective authors put in to sharing this information:

http://www.allmusic.com/artist/nrbq-p5044
http://www.discogs.com/artist/NRBQ
http://badcatrecords.com/BadCat/NRBQ.htm
http://www.stevehoffman.tv/forums/showthread.php?t=81498
http://www.robertchristgau.com/get_artist.php?name=NRBQ
http://www.puremusic.com/nrbq.html
http://www.puremusic.com/joeyint.html
http://www.terryadams.net/nrbq.html
http://www.nrbq.com/dinner-with-q.html
http://ztalk.proboards.com/index.cgi?board=listeningroom&action=display&thread=37098
http://www.masslive.com/entertainment/index.ssf/2009/06/nrbq_members_salute_ailing_ste.html
http://www.puddingbench.com/big_al.htm
http://webspace.webring.com/people/hq/qfan98/albums.htm
http://www.soulfuldetroit.com/archives/1/626.html?1020745507
http://www.doccavalier.com/interviews/prm_int.html
http://www.doccavalier.com/trodrecjourn.html

The Wildweeds (Formerly The Six-Packs) from Windsor, CT

2011-03-06T19:15:00.015-05:00

The Wildweeds are a 1960s Rock N Roll group from Windsor, CT that featured NRBQ's Al Anderson and local musicians Bob Dudek, Al Lepak Jr., Andy Lepak, Martin "Skip" Yakaitis, and Ray Zeiner.

They are best known for the regional "White Soul" hit "No Good To Cry," recorded at Trod Nossel Studio in Wallingford, which was covered by early incarnations of The Allman Brothers Band and ZZ Top.

They recorded several singles in 1967-68 for the Chess Records subsidiary Cadet, before signing with Vanguard Records for one album in 1970. By that time only Al Anderson and Al Lepak, Jr. remained from the original line up.

For a fuller version of The Wildweeds story please check out these links:

http://www.wildweeds.net/

http://www.puddingbench.com/weeds.htm

http://www.soulfulkindamusic.net/wildweeds.htm

http://webspace.webring.com/people/hq/qfan98/albums.htm

http://www.nhregister.com/articles/2002/08/23/import/5135264.txt?viewmode=fullstory

http://sunraarkive.blogspot.com/2008/09/hey-hey-were-wildweeds.html

http://www.wildweeds.net/appreciation.html

Personnel:

Al "Big Al" Anderson: Guitar and Vocals
Bob Dudek: Bass Guitar and Vocals
Al Lepak Jr.: Drums
Martin "Skip" Yakaitis: Percussion and Vocals
Ray Zeiner: Keyboards and Vocals
Andy Lepak: Bass Guitar

Singles:

No Good To Cry / Never Mind (Cadet Concept 5561) 1967

Someday Morning / Can't You See That I'm Lonely (Cadet Concept 5572) 1967

It Was Fun (While It Lasted) / Sorrows Anthem (Cadet Concept 5586) 1968

I'm Dreaming / Happiness Is Just An Illusion (Cadet Concept 7004) 1968

And When She Smiles / An Overnight Guest (Vanguard 35107) 1968

And When She Smiles / Paint And Powder Ladies (Vanguard 35134) 1970

Baby, Please Dont Leave Me Today / Aint No Woman Finer Lookin (Vanguard 35144) 1971

Cmon, If Your Comin / Goin Back To Indiana (Vanguard 35155) 1971

Albums:

Wildweeds
Vanguard VSD 6552
Released on LP 1970
Released on CD 2001

Track Listing:
Title Composer Time
1 Baby Please Don't Leave Me Today (Anderson) 2:14
2 Can't I Sit and Watch Little Susie Laugh (Anderson) 3:28
3 John King's Fair (Anderson) 2:53
4 Belle (Anderson) 1:45
5 An Overnight Guest (Anderson) 3:34
6 Nobody's Here to Help Me Cry (Anderson) 2:46
7 And When She Smiles (Anderson) 2:30
8 Paint and Powder Ladies (Anderson) 1:52
9 Fantasy Child (Anderson) 2:35
10 My Baby Left Me (Crudup) 2:07
11 Don't Ask Me How or Why (Anderson) 3:24
12 Mare, Take Me Home (Anderson) 3:28
13 C'mon If You're Comin' (McGhee, Terry) 2:21
14 A'n't No Woman Finer Lookin' (Anderson) 3:15
15 Goin' on Back to Indiana (Anderson) 2:48

Personnel:
Al Anderson: Guitar, Guitar (Rhythm), Vocals
Jerry Bradley: Engineer
Jim Colvard: Guitar (Bass)
Ed Friedner; Engineer
Mac Gayden: Guitar (Electric)
Al Lepak, Jr.: Bass
Jack Lothrop: Associate Producer, Mixing
Charlie McCoy: Dobro, Harmonica, Organ, Vibraphone
Weldon Myrick: Guitar (Steel)
Maynard Solomon: Producer
David Wilkes: Associate Producer

Review by Richie Unterberger:

http://www.allmusic.com/album/wildweeds-r65460

Wildweeds' sole album (they were no longer called "the" Wildweeds by the time it came out) is fair but non-eyebrow-raising country-rock. Cut with assistance from top Nashville session men Charlie McCoy, Weldon Myrick, and David Briggs, it's mild and easygoing, distinguished from the purely generic 1970 country-rock album by Al Anderson's likably gruff vocals. Anderson wrote all of the songs, with the exception of covers of Arthur Crudup's "My Baby Left Me," and they're pleasantly benign, without the striking tunes or penetrating lyrics needed to make a lasting impression. The better items include the up-tempo sh*t-kicker "Belle," where Anderson's vocal sounds more effectively strained and pinched, and the songs where there is a bit more pop influence in the melody, like "And When She Smiles." The Italian CD reissue adds three non-LP tracks from 1971 singles, all of which have a stronger blues-R&B influence than the LP does.

The Wildweeds
Greatest Hits...& More!
Club 51 LP 51-2 1988
Dixieland Music LP Bud 24 1988

Track Listing:
Side 1:
Excuse Me Baby
No Good To Cry (Cadet Concept 5561) 1967
Never Mind (Cadet Concept 5561) 1967
Someday Morning (Cadet Concept 5572) 1967
Can't You See That I'm Lonely (Cadet Concept 5572) 1967
It Was Fun While It Lasted (Cadet Concept 5586) 1968
I'm Dreaming (Cadet Concept 7004) 1968
Happiness Is Just An Illusion (Cadet Concept 7004) 1968

Side 2:
Where Is Our Love
I Had A Girl [Ray Zeiner 1971 I Had A Girl / You Know My Love Poison Ring 721]
I Want You Here
No Good To Cry (Live) [Same version as www.wildweeds.net]
John King's Fair [Circa 1970]
Fantasy Child [Circa 1970]
There You Go [Circa 1970]
Belle [Circa 1970]

Personnel:
Al Anderson: guitar, vocals
Ray Zeiner: organ, clavinet, Wurlitzer electric piano, vocals
Bob Dudek: bass, vocals
Andy Lepak: drums, vocals
Martin 'Skip' Yakaitis: percussion, vocal
Bob DePalma: flute on "I Want You Here"
Al Lepak Sr.: additional percussion
Warren Bloom: bass on "You Know Your Love"
Bob Dudek: Drums on "You Know Your Love"
String Arrangement: Bert Keyes on "It Was Fun While It Lasted" and "I Had A Girl"
Horn Arrangement: Al Lepak Sr. on "Happiness Is Just An Illusion"

The Wildweeds
The Best and Rare
AirMail Recordings (Japan) Airac-1004
Released August 10, 2001

Track Listing:
No Good To Cry
I'm Dreaming
Where Is Our Love
Someday Morning
It Was Fun While It Lasted
Happiness Is Just An Illusion
I Want You Here
I Had A Girl
You Know Your Love
Can't You See That I'm Lonely
Sorrow's Anthem
I Can't Stand It
Anytime At All
And Then There Is Love
Never Mind
Fuzzy Wuzzy

Personnel:
Al Anderson: guitar, vocals
Ray Zeiner: organ, clavinet, Wurlitzer electric piano, vocals
Bob Dudek: bass, vocals
Andy Lepak: drums, vocals
Martin 'Skip' Yakaitis: percussion, vocal
Bob DePalma: flute on "I Want You Here"
Al Lepak Sr.: additional percussion
Warren Bloom: bass on "You Know Your Love"
Bob Dudek: Drums on "You Know Your Love"
String Arrangement: Bert Keyes on "It Was Fun While It Lasted" and "I Had A Girl"
Horn Arrangement: Al Lepak Sr. on "Happiness Is Just An Illusion"

Wildweeds
In The Tall Grass (a collection of rare trax and demos)
CDR Weed 01 (Unofficial CDR release)

Track Listing:
Excuse Me Baby
No Good To Cry
Never Mind
Someday Morning
Can't You See That I'm Lonely
It Was Fun While It Lasted
I'm Dreaming
Happiness Is Just An Illusion
Where Is Our Love
I Had A Girl
I Want You Here
No Good To Cry (live)
John King's Fair
Fantasy Child
There You Go
Belle
C'mon If You're Comin'
I Wasn't Born To Be Unhappy
I Don't Know What's Become Of Me
I Want You Here (produced version)
It Was Fun While It Lasted (without horns from acetate)

Personnel:
Al Anderson: guitar, vocals
Ray Zeiner: organ, clavinet, Wurlitzer electric piano, vocals
Bob Dudek: bass, vocals
Andy Lepak: drums, vocals
Martin 'Skip' Yakaitis: percussion, vocal
Bob DePalma: flute on "I Want You Here"
Al Lepak Sr.: additional percussion
Warren Bloom: bass on "You Know Your Love"
Bob Dudek: Drums on "You Know Your Love"
String Arrangement: Bert Keyes on "It Was Fun While It Lasted" and "I Had A Girl"
Horn Arrangement: Al Lepak Sr. on "Happiness Is Just An Illusion"
C'mon if You're Comin'" - Jeff Potter - harmonica, Bob LaPalm - electric guitar
"I Wasn't Born to be Unhappy" - Jeff Potter - Wurlitzer electric piano, Bob LaPalm - electric guitar
"I Don't Know What's Become of Me" - Jeff Potter - harmonica, Bob LaPalm - electric guitar

The Wildweeds
No Good To Cry: The Best Of The Wildweeds
Confidential 3003
Released on CD 2002

Track Listing:
No Good To Cry
Never Mind
Someday Morning
Can't You See That I'm Lonely
It Was Fun While It Lasted
Sorrow's Anthem
I'm Dreaming
Happiness Is Just An Illusion
Fuzzy Wuzzy
I Can't Stand It
Where Is Our Love
Anytime At All
I Want You Here
And Then There Is Love
I Had A Girl
You Know Your Love
No Good To Cry (alternate)
No Good To Cry (instrumental)

Various Artists including The Wildweeds
Don't Press Your Luck! The IN Sound of 60's Connecticut
(CD and Limited Edition 2 LP Set)
Sundazed LP 5219

http://www.sundazed.com/shop/product_info.php?products_id=895

The pounding garage-rock din emanating from the jungles of deepest Connecticut could overwhelm the senses, causing the weary NY commuter to become disoriented! Who knew that the most deranged ‘66-‘68 teenage mayhem imaginable would come from Wallingford’s Trod Nossel Studios, whose owner/producer Thomas “Doc” Cavalier (a former dentist) recorded top-flight acts as diverse as the tough ‘n’ melodic Shags (“Don’t Press Your Luck”), the R&B-consumed Wildweeds (“No Good to Cry,” featuring a Pre-NRBQ Al Anderson on vocals) and fuzzed-out punks the Bram Rigg Set (“I Can Only Give You Everything”). SUNDAZED presents, on double-LP vinyl and compact disc, the high-impact, garage-rock havoc— at least two-thirds of it totally unreleased—that finally tears the lid off Connecticut’s best-kept rock ‘n’ roll secret!

Track Listing:
1. I Can Only Give You Everything: Bram Rigg Set
2. Don't Press Your Luck: The Shags
3. Help Me: George's Boys*
4. Too Many Lies: The Lively Ones*
5. Take the Time Be Yourself: Bram Rigg Set
6. Hide Away: The Shags
7. ‘SSS’ Happenin’ Here: Uranus and the Five Moons*
8. Sleepless Nights: The Ravens*
9. You're Cutting Out: Fourth Ryke*
10. I've Paid My Dues: The Bearies*
11. Radio Spot: WAVZ Radio Jingle: The Shags
12. No Good to Cry: The Wildweeds
13. Think: The Lively Ones*
14. I Can't Explain: Bram Rigg Set*
15. Breathe in My Ear: The Shags
16. Please Leave: Fourth Ryke*
17. Radio Spot: Specter's Radio Ad: The Shags
18. Nothing Remains: Uranus and the Five Moons*
19. You Don't Love Me: Bram Rigg Set*
20. Come Back to Me: The Shags*
21. LUV: The Roadrunners*
22. I’m Dreaming:The Wildweeds (LP Bonus Track)
23. Your Groove: Uranus and the Five Moons (LP Bonus Track)
24. Hey, Little Girl: The Shags (LP Bonus Track)
25. Sticks and Stones: George’s Boys* (LP Bonus Track)
26. Bad News for Me: The Bearies* (LP Bonus Track)
27. Make a Record with the Shags: The Shags*

*previously unissued

The Wildweeds: Greatest Hits...& More! Back Cover

2011-03-06T19:12:00.003-05:00

Cover scan by Christopher Eddy 03/06/11.

The Wildweeds: Greatest Hits...& More! Front Cover

2011-03-06T19:10:00.002-05:00

Cover scan by Christopher Eddy 03/06/11. Autographed by Al Anderson.

The Wildweeds: Greatest Hits...& More! (Club 51 LP 51-2 1988)

2011-03-06T19:02:00.010-05:00

Club 51 LP 51-2 1988
Dixieland Music LP Bud 24 1988

Track Listing:
Side 1:
Excuse Me Baby
No Good To Cry (Cadet Concept 5561) 1967
Never Mind (Cadet Concept 5561) 1967
Someday Morning (Cadet Concept 5572) 1967
Can't You See That I'm Lonely (Cadet Concept 5572) 1967
It Was Fun While It Lasted (Cadet Concept 5586) 1968
I'm Dreaming (Cadet Concept 7004) 1968
Happiness Is Just An Illusion (Cadet Concept 7004) 1968

Side 2:
Where Is Our Love
I Had A Girl [Ray Zeiner 1971 I Had A Girl / You Know My Love Poison Ring 721]
I Want You Here
No Good To Cry (Live) [Same version as www.wildweeds.net]
John King's Fair [Circa 1970]
Fantasy Child [Circa 1970]
There You Go [Circa 1970]
Belle [Circa 1970]

Personnel:
Al Anderson: guitar, vocals
Ray Zeiner: organ, clavinet, Wurlitzer electric piano, vocals
Bob Dudek: bass, vocals
Andy Lepak: drums, vocals
Martin 'Skip' Yakaitis: percussion, vocal
Bob DePalma: flute on "I Want You Here"
Al Lepak Sr.: additional percussion
Warren Bloom: bass on "You Know Your Love"
Bob Dudek: Drums on "You Know Your Love"
String Arrangement: Bert Keyes on "It Was Fun While It Lasted" and "I Had A Girl"
Horn Arrangement: Al Lepak Sr. on "Happiness Is Just An Illusion"

Terri's Music Blog: Terry Adams, Marshall Allen and Bobby Previte @ The Stone 1/8/08

2010-06-29T10:16:00.000-04:00

Terri's Music Blog: Terry Adams, Marshall Allen and Bobby Previte @ The Stone 1/8/08

Sun Ra's Reading List

2010-06-04T07:42:00.001-04:00

http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=32741845http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=32741845

Boston Bonaparte Napoleon Boyd, Sr

Boston Boyd was the first black Greenville town councilmember. He was born a slave, owned by an Abner BOYD whose wife's name was Mary. He taught himself to read and write with the Bible. He became a large landowner in Greenville. He was the author of 3 books, and he taught Sunday School for 34 years. He accumulated and rented 36 homes in Greenville, mostly on Reade St. where he lived in a two-story house. All 36 homes were painted green. Boyd won a case in the US Supreme Court against the officials of Greenville who challenged his right to rent houses to Whites.

His first book - The Seventh Wonder of the World; Discoveries of the Twentieth Century, Natural Science was published in 1903. His second book was called Search-Light on the Bible with Natural Science; Discoveries of the Twentieth Century. His third book and final book was called Searchlight on the Seventh Wonder; X-ray and Searchlight on the Bible with Natural Science, and Revised Searchlight on the Seventh Day Bible and X-Ray by Organic, Supernatural and Artificial Science; Discoveries of the Twentieth Century.

In the last book he rebuked Christianity in this country and remarked that "no race can hope to survive [when] all of its greivances have to be settled by other races who are opposed to them as equals, on account of color."

Two weeks before he died, Boston bought two hundred acres of cleared land and seventy five acres of virgin timber. His daughter stated that he instructed her to allow people to live on the land rent-free during the depression era.

The Seven Planetary Seals

2010-06-04T07:41:00.001-04:00

http://www.dateastar.net/planetaryseals.html

WKCR 2010 Sun Radio Omniversity Part 1 Playlist: Sun Ra Arrival Day Celebration

2010-06-04T07:29:00.002-04:00

http://www.studentaffairs.columbia.edu/wkcr/program/transfigured-night/transfigured-night-playlist-05222010

Sun Radio Omniversity Part 1 - Sun Ra Arrival Day Celebration
Transfigured Night playlist for 05/22/2010
Submitted by Charles Blass on Wed, 2 Jun 2010, 10:52pm
DJs: Charles Blass

Artist Title Album Label
Sun Ra Sunset on the Nile NYC Battery Park Sept. 7, 1985
Sun Ra Rocket #9 Stockholm 10-12-71
Sun Ra Watusi Helsinki 10-14-71 Transparency
Cosmic Rays The Second Stop Is Jupiter The Second Stop Is Jupiter Norton
Sun Ra Prelude to Stargazers/ The Mayan Temples Mayan Temples Black Saint
Sun Ra Interview 3-21-92 w/ Sun Ra by Charles Blass - including excerpts from WKCR solo piano 1977 concert
Sun Ra Islands in the Sun Janus Saturn
Sun Ra The Alter Destiny/ Monorails and Satellites/ The Galaxy Way Monorails and Satellites Saturn
Nu-Sounds Spaceship Lullaby Interplanetary Melodies Norton
Sun Ra We Roam the Cosmos What's New Saturn
Sun Ra Sometimes I'm Happy/ Astro Nation Dance of the Living Image Transparency
Sun Ra Code of Interdependence/ Somebody Else's Idea/ The Wind Speaks My Brother the Wind Vol. II Saturn
Sun Ra Arkestra They're Peepin A Song for the Sun El Ra
Nu Sounds Black Sky and Blue Moon/ Dreams Come True The Second Stop Is Jupiter Norton
Sun Ra Dreams Come True Deep Purple Saturn
Sun Ra Interplanetary Music Interstellar Low Ways Saturn
Sun Ra Neptune Discipline 27-II Saturn
Sun Ra Calling Planet Earth Live at the Gibus Saturn
Sun Ra Intergalactic Research Continuation Saturn
Sun Ra To Nature's God Live in Egypt Saturn
Sun Ra There Are Other Worlds (They Have Not Told You Of) Lanquidity Philly Jazz
Sun Ra They'll Come Back Slug's June 7, 1972 Transparency
Sun Ra Space is the Place Space is the Place Blue Thumb

The Chicago link between Sun Ra and the Governor of Massachusetts (March 24, Chicago Jazz Music Examiner, Neil Tesser)

2010-03-26T07:06:00.005-04:00

http://www.examiner.com/examiner/x-26698-Chicago-Jazz-Music-Examiner~y2010m3d24-The-Chicago-link-between-Sun-Ra-and-the-Governor-or-Massachusetts?cid=publish_facebook:26698

The Chicago link between Sun Ra and the Governor of Massachusetts
March 24, 1:19 AM, Chicago Jazz Music Examiner, Neil Tesser

Later today, the Governor of Massachusetts will officially present a collection of memorabilia – hundreds of musical scores, photos, recordings, and other items – to the Berklee College of Music’s Africana Studies Archive. They’re making a full day of it, too, with performances by students and faculty at Berklee (the leading jazz school in America), along with speeches by the Governor, school officials, and the celebrated poet and activist Amiri Baraka.
What follows is a simple little tale of how that collection of memorabilia made its way to Boston via New York, Chicago -- and the planet Saturn.

It starts, however, in East Moline, 150 miles west of Chicago – the birthplace of Laurdine Kenneth Patrick in 1929. Along the way to becoming a jazz saxophonist, Laurdine (quite understandably) acquired the more manageable nickname “Pat." And that's the name you find on all of the early recordings by the cosmo-musical explorer Sun Ra.

In fact, as award-winning author John Szwed points out in his much admired biography of Sun Ra, Patrick played an extremely important role in the career of the young bandleader, back when Ra was the Chicago pianist still known as Herman “Sonny” Blount. This was before he created his personal philosophy, a mystic hodgepodge hybridized from science fiction and Egyptian mythology, which became one of Sun Ra’s trademarks -- along with the visionary, rollicking music that accompanied it.

Patrick, who specialized in baritone sax but also excelled at alto (and occasionally played electric bass), had moved to Chicago primarily to study at DuSable High School with the legendary bandleader Walter Dyett. Even then, Dyett enjoyed a reputation for developing disciplined and motivated musicians. And Patrick stands out among the most impressive DuSable alumni, who have included saxophone great Von Freeman, bass icon Wilbur Ware, and the peerless vocalist Dinah Washington).

In 1952, Patrick joined Blount/Ra in a new trio on Chicago's south side; it would eventually blossom into one of the most unusual and influential orchestras in jazz, the Sun Ra Arkestra (as it was most often called). The band was known as much for their metallic capes and headgear -- trust me, Gene Simmons had nothing on these guys -- as for their innovative, other-worldly music. Over the decades, Patrick would come and go, a testament to the high regard in which Sun Ra held him: other key members of the Arkestra lived communally under the watchful eye of the leader (in part so that “Sunny” could ensure their abstinence from vices of all kinds).

In 1963, the versatile Patrick hired on as musical director of Mongo Santamaria’s Latin-jazz group – the one that had the giant hit “Watermelon Man.” Everyone knows that tune. Not so many recall another Santamaria hit called “Yeh! Yeh!” Patrick wrote that one; eventually it gained lyrics and climbed the pop charts, thanks to British rock-&-roller Georgie Fame’s hit recording of 1965.

Patrick also recorded with John Coltrane and performed in Duke Ellington’s band. He worked with Thelonious Monk and Clark Terry and co-founded a group called Baritone Retinue. All along the way, he was collecting musical experiences – and memorabilia. And he often returned to Sun Ra, as he did for the 1970 performance in Berlin documented below.

By then, his son Deval Patrick– born in 1956, but estranged from his father for years – had turned 14. Having moved with his mother to Massachusetts, he graduated from the prestigious Milton Academy in 1974. Then he went to Harvard. Then Harvard Law, in 1979. Fifteen years later, he was named Assistant Attorney General for Civil Rights under President Clinton. And in 2006, Deval Patrick became the first African-American Governor of the Commonwealth of Massachusetts.

It is in that capacity that he dedicates to Berklee the collection of his father’s memorabilia and writings. He also does this in the capacity of a respectful son: Pat Patrick died in 1991, but not before he and Deval could reconcile. Although the father did not approve of his son’s entry into mainstream politics, they nonetheless found common ground in the music.

On Tuesday, the Governor told the Boston Herald: “What’s satisfying is having his material appreciated. Frankly, even for my sisters and me, we weren’t quite sure what we were sitting on . . . It seemed to have value because my father had paid attention to accumulating and preserving it during his life. So it’s great to have the folks at Berklee, who seem so excited about this material, take custody of it and share it with students.”

Today, the son of a man who played with the Sun of Saturn honors his father with a trove of history – and at least a bit of stardust, emanating from his Chicago roots.

Caption: Saxophonist Pat Patrick with his son, circa 1959.

Berklee lands Patrick jazz treasure trove [Boston Globe March 17, 2010]

2010-03-18T07:12:00.005-04:00

http://www.boston.com/ae/music/articles/2010/03/17/berklee_lands_pat_patricks_jazz_trove/

Berklee lands Patrick jazz treasure trove
Governor donates father’s legendary memorabilia

By David Abel
Globe Staff / March 17, 2010

The mischievous baritone saxophonist, known as much for accompanying jazz legends as for the deep, soulful bellow of his own compositions, left a trove of recordings, scores, photographs, and assorted personal artifacts.

The cultural legacy of Laurdine “Pat’’ Patrick, who died of leukemia in 1991, is like gold for music historians, said officials at the Berklee College of Music, who announced yesterday that they have received a vast collection of the musician’s archives as a gift from his son, Governor Deval Patrick.

“It was a lot of stuff, and we weren’t quite sure what to do with it, so we made contact with some cousins by marriage at Berklee,’’ the governor said in an interview yesterday. “Berklee is here in Massachusetts. We wanted to have access to it here as a family.’’

He added: “The material offers real insights into my father’s life and times, even for me.’’

Pat Patrick was best known for his 40-year association with band leader and composer Sun Ra, whom he accompanied on overseas tours and collaborated with on albums. Patrick also played with jazz greats such as Duke Ellington, John Coltrane, and Thelonious Monk.

“The story of Pat Patrick and the Sun Ra Arkestra is an important one for our students to know,’’ Berklee president Roger Brown said in a statement. “The band was dedicated to their own artistry and creativity and not commercial pursuits. They thrived by creating and populating their own community, which became a parallel universe to the mainstream music industry.’’

The Patrick Patrick collection includes original scores and arrangements by Patrick and Ellington; hundreds of photographs and negatives of Patrick on tour, in the studio, with his family, and with associates such as Monk and trumpeter Clark Terry; a ledger book from El Saturn Records, Ra’s label, in which Patrick tracked album sales from 1957-1959; a scrapbook of his music jobs in Chicago during the 1950s; and a recording of him playing trumpet at 10.

The collection will officially become part of the college’s Africana studies archive after a dedication ceremony and celebration of Patrick’s life March 24. The governor plans to speak at the event, and Berklee students and faculty will perform music written or recorded by his father.

Professor Bill Banfield, director of Africana studies, said Patrick’s career should serve as an example for students on how to become a complete artist, someone well-versed in a variety of disciplines, more interested in perfecting his skills than becoming famous.

“We want to teach musicians to be broader-based, deeper musicians and not just seeking to be on ‘American Idol,’ ’’ Banfield said. “Pat Patrick was a total artist. He wasn’t just interested in playing. His work expanded the traditional definition of a musician: He wrote, arranged, composed, orchestrated, and documented the culture.’’

Ed Hazell, a jazz historian from Somerville, said he was eager to spend time studying the collection, which he said includes “really stunning stuff that provides a unique window into African-American music.’’

He described Patrick as the rare musician whose skills allowed him to span many styles of jazz, from bebop to hard bop.

“Because he was so broad-based in his abilities, the collection reaches in all kinds of directions,’’ Hazell said.

Patick’s domestic life was more complicated, and the governor had a distant relationship with his father, who largely abandoned his family. In 1984, in one of the instances he reappeared, Pat Patrick showed up at his son’s wedding with a band. The music was his gift.

Pat Patrick was the son of a trumpet player and a native of East Moline, Ill., where he learned to play the baritone, alto saxophone flute, and clarinet.

In the early 1950s, he made a name for himself in Chicago, where he played with Sammy Davis Jr. and Eartha Kitt. He later signed on with the Sun Ra Arkestra, an African-American group known for its avant-garde compositions. In the 1960s, he accompanied Ellington and Coltrane, and served as musical director for Mongo Santamaria, the Cuban drummer. Later, he traveled around the country with several Broadway shows.

Patrick wrote more than half a dozen songs, including a fast-paced bebop tune called “Yeh, Yeh,’’ which became a hit after it was released in 1963 on Santamaria’s album “Watermelon Man.’’ It was featured in commercials for Chrysler and AT&T.

The governor said he learned about his father’s trove shortly after he was inaugurated.

“I got a call from a guy in East Moline who said he owned a storage facility,’’ the governor said. “He said the storage facility had been emptied out except for his papers and stuff and that he had on a couple of occasions thrown them away but then gone back to the Dumpster and got them out, because he just couldn’t bring himself to get rid of it.’’

The governor said the man drove to Massachusetts with the collection, which included boxes full of photos, journals, and original musical manuscripts in his father’s handwriting.

Patrick gave most of the collection to Berklee several years ago, and he said they have been cataloguing it ever since.

“Berklee students have dazzled [my wife] Diane and me on countless occasions,’’ the governor said. “I love the idea of giving such talented students something they might really make something of.’’

John Guilfoil of the Globe Staff contributed to this report. David Abel can be reached at dabel@globe.com.

Covers for New Sun Ra Releases on Norton Records [Fall 2009]

2009-11-11T07:36:00.000-05:00

New Sun Ra Releases on Norton Records [Fall 2009]

2009-11-11T07:26:00.000-05:00

http://nortonville.blogspot.com/

We've also got three volumes on LP and CD of Sun Ra's early Chicago-era vocal group recordings, including a mess of unished mayhem and an entire set of Muck Muck Yochanan and other delights. Copious notes from Arkesta trapsman Michael D. Anderson and the Norton crew, fastidious transfers and mastering, and beauteous packages make these an essential trio for all. Dig also a superb seven inch spoken word 45 RPM single of Sun Ra!

WATCH OUT FOR MUCK MUCK!
Norton recently took a rocket ride into the vaults of El Saturn Research and arrived back on Earth with a motherlode of unissued early R&B, doo wop, soul and general weirdness featuring Sun Ra and his Arkestra backing a variety of artists. Atomic outer space genius from yet another Norton turban headed star!

http://www.nortonrecords.com/index2.html

SUN RA - INTERPLANETARY MELODIES (Norton 352)
COSMIC RAYS - Daddy's Gonna Tell You No Lie / Dreaming* / Bye Bye / Somebody’s In Love* / Summertime / CRYSTALS - Honey In The Bee Box* / NU SOUNDS - Spaceship Lullaby* / I’m Through With You* / Africa / Dabba Dabba Dabba Du Day* / QUALITIES - It’s Christmas Time / If I Only Hadn’t Sinned* / JUANITA ROGERS - Love Letters Full Of Promises* / JUANITA ROGERS AND LYNN HOLLINGS -Teenager's Letter Of Promises / SUN RA - Tony’s Wife* (* = previously unissued)

LP-$10
CD-$12

SUN RA - THE SECOND STOP IS JUPITER (Norton 353)
COSMIC RAYS - Somebody's In Love / Daddy’s Gonna Tell You No Lie* / Dreaming / There’s A Small Hotel* / The Second Stop Is Jupiter* / NU SOUNDS - Spaceship Lullaby* / Honeysuckle Rose* / Baby Won't You Please Be Mine* / Black Sky And Blue Moon* / Dreams Come True* / QUALITIES - Happy New Year To You / She’s My Moonglow* / CRYSTALS - Little Sally Walker* / JUANITA ROGERS - I’m So Glad You Love Me* / I’m So Glad You Love Me / SUN RA - Stuff Like That There* (* = previously unissued)

LP-$10
CD-$12

SUN RA - ROCKET SHIP ROCK (Norton 354)
YOCHANAN - Muck Muck / Hot Skillet Momma / Rocket Ship Rock* / Is That Me?* / Hot Skillet Mama (alt. take)* / Muck Muck (alt. take)* / The Sun Man Speaks / Message To Earthman #1 / Message To Earthman #2 / LITTLE MACK - Tell Her To Come On Home / LACY GIBSON - I Am Gonna Unmask The Batman / EBAH - I Am Gonna Unmask The Batman* / DON (DINO) DEAN - Space Stroll (* = previously unissued)

LP-$10
CD-$12

SUN RA - I AM STRANGE / I AM AN INSTRUMENT (45-153)
Unissued sixties spoken word mysticism from Saturn, with otherworldly instrumentation. Absolutely brain bending and everso essential!

45-$5

Lightning Bolt and Sun Ra Arkestra: Cosmic Connection

2009-09-24T15:59:00.000-04:00

http://revision3.com/xlr8rtv/lbsr

Lightning Bolt and Sun Ra Arkestra: Cosmic Connection
Tuesday, September 22nd, 2009 – running time 08:26

Filmmaker Peter Glantz explores musical, spiritual, and cosmic connections between these two seemingly disparate groups.

We turned this episode of XLR8R TV over to filmmaker Peter Glantz, who went to Providence, Rhode Island's Foo Fest to take a closer look at the festival's two main attractions—Lightning Bolt and Sun Ra Arkestra. Lightning Bolt, Providence's epic noise duo headed up by Brian Chippendale and Brian Gibson, is known for surprising, chaotic, often transcendent performances. Sun Ra Arkestra became legendary in the jazz world under the leadership of cosmic philosopher and organist Sun Ra from the mid-1950s until his death in 1993. Today, the Arkestra continues to flourish and promote the cosmic philosophy of Sun Ra under the direction of alto saxophonist Marshall Allen. Here, Glantz captures both their live performances and meditates on the spiritual alliance between these two far-flung musical compatriots.

Program of rare music films on Saturday, Sept 19 at Monkeytown in Williamsburg, Brooklyn, NY. 7:30 pm

2009-09-13T11:04:00.000-04:00

http://www.monkeytownhq.com/9_19_09EARLY.html

A Night of Rare Film Jams

Saturday, September 19th
Admission: $5, $10 minimum
Showtime: 7:30 pm
reservations are recommended

This program features four very unconventional takes on the concert film.

The Singing Fishermen of Ghana by Pete and Toshi Seeger.
1964, 13 minutes.
Young Ghanaian fishermen bring percussionists along on their boats to accompany their work songs, which helps them pace their rowing. They also turn the act of pulling their fish nets onto the shore into a singing, dancing celebration.

Cigarette Blues by Les Blank and Alan Govenar.
1985, 6 minutes.
Sonny Rhodes and the Texas Twisters perform a searing anti-smoking number, accompanied by a beautiful gyrating, smoking dancer and clips of Rhodes talking about the blues.

Christopher Tree by Les Blank.
1967, 10 minutes.
"Improvising spontaneously in a pristine forest, Christopher Tree creates an inspired state of mind in the viewer with his one-man orchestra that includes 40 Tibetan temple gongs, flutes, tympani and wind chimes.” – Les Blank

Spaceways by Edward English.
1968, 18 minutes.
Gorgeous black and white film of Sun Ra and the Arkestra rehearsing at the Sun Ra house at 48 East 3rd Street in New York for their appearance at Carnegie Hall.

Curated by Lauren Madow

October 31, 2009 Sun Ra Arkestra Halloween show at International House Philadelphia

2009-09-13T10:17:00.000-04:00

http://www.arsnovaworkshop.org/events/sun-ra-arkestra-under-direction-marshall-allen-10-31-2009

International House Philadelphia
3701 Chestnut Street
Philadelphia, PA 19104

Saturday, October 31, 2009 - 8:00 pm
Price: $20 General Admission

Sun Ra Arkestra under the direction of Marshall Allen
Anti-Jazz: The New Thing Revisited

Marshall Allen, alto saxophone + Electronic Valve Instrument (EVI)
Yah Yah Abdul-Majid, tenor saxophone
Knoel Scott, alto saxophone
Danny Ray Thompson, baritone saxophone
Farid Barron, piano
Fred Adams, trumpet
Michael Ray, trumpet
Cecil Brooks, trumpet
Dave Davis, trombone + French horn + tuba
Dave Hotep, el. guitar
Bill Davis, double-bass
Wayne A. Smith, Jr., drums
Elson Nascimento, surdo drum

Join us for this special and spectacular Halloween performance of the Sun Ra Arkestra. Founded in 1958 under the leadership of Sun Ra, the Arkestra pioneered a unique brand of afro-futurism, forging intersecting musical pathways that explore outer space and Egyptian
mythology. Drawing on the work of Duke Ellington and Fletcher Henderson, the Arkestra are pioneers of the bop-derived avant-garde and collective improvisation. Their work has had tremendous impact on scores of musicians including MC5, Sonic Youth and George Clinton. Following the Arkestra's influential tenures in Chicago and New York City, Sun Ra and the Arkestra relocated to Philadelphia in 1968, where they continue their commitment to the study, research and development of Sun Ra's musical precepts. Following the ascension of Sun Ra in 1993 and John Gilmore in 1995, Maestro Marshall Allen (b. 1924) has launched the Sun Ra Arkestra into a dimension beyond that of mere "ghost" band by writing fresh arrangements of Sun Ra's music, as well as composing new music and arrangements for the Arkestra.

AS220's FooFest 2009 Photos on Flicker

2009-09-08T06:57:00.000-04:00

http://www.flickr.com/photos/as220/sets/72157622168301228/

Norton Records to release a motherlode of unissued early R&B, doo wop, soul and general weirdness featuring Sun Ra and his Arkestra

2009-08-31T08:53:00.000-04:00

http://www.nortonrecords.com

APRIL NEWS FROM NORTON RECORDS! NEW EXCAVATIONS TO BLOW YOUR TOP!

...more 45s coming soon from Jackie and the Cedrics, Sun Ra and more!
Current seven inch crop below-- scroll on!

WATCH OUT FOR MUCK MUCK! Norton recently took a rocket ride into the vaults of El Saturn Research and arrived back on Earth with a motherlode of unissued early R&B, doo wop, soul and general weirdness featuring Sun Ra and his Arkestra backing a variety of artists. This series will be compiled on several Norton albums and singles including an entire disc by Yochanan (The Space Age Vocalist) backed by Sun Ra and his Arkestra featuring his demented Saturn 45 Muck Muck / Hot Skillet Mama and much more lunacy from yet another Norton turban headed star! These stupendous recordings include Yochanan-Rocket Ship Rock / Nu Sounds - The Second Stop Is Jupiter / Crystals - Honey In The Bee Box / Qualities - If I Only Hadn't Sinned / Ebah - I'm Gonna Unmask The Batman / Don (Dino) Dean - The Space Stroll / Sun Ra - I Am Strange / Cosmic Rays - Daddy's Gonna Tell You No Lie and many, many more.

The 13th Annual Mississippi Jazz Festival

2009-08-22T06:52:00.000-04:00

http://www.jazzmississippi.com/

http://activerain.com/blogsview/730890/Summit-MS-13th-Annual

The 13th Annual Mississippi Jazz Festival was held at the Summit Rotary gym on Sunday, Sept. 28, 2008. The festival this year was a tribute to Summit native John Gilmore, ace saxophonist who played with the famous Sun Ra's Arkestra. Performers were Mississippi and Louisiana musicians Dr. Ronald Myers, piano and trumpet; Sherrill Holly, saxophone; Dr. London Branch, bass; and Wilton Knott, Rufus Mapp, and Aye` Aton, percussion. Dr. Branch celebrated his birthday at the event, which was also the birthday of John Gilmore. For more information, see http://www.jazzmississippi.com

http://www.archive.org/details/MusiciansRecountingSaxophonistJohnGilmore

Listen to the audio recording in which Ayeâ Aton tells of how he played with Summit, MS, native John Gilmore in the Sun Ra Arkestra, Sherrill Holly speaks of meeting Gilmore and following the famous Sun Ra group, and Ron Myers gives tribute to Mississippi jazz legacies, including Lester "Prez" Young, who was born in Woodville, also in Southwest Mississippi. (Due to the less than excellent recording quality, I deleted the part where the band plays. Running time is 10:31.) Be sure to click on the 2.6 MB WAVE audio option.

Katelin Dutton's Beautiful FooFest Photos

2009-08-18T14:31:00.001-04:00

http://katelinduttonportraits.blogspot.com/2009/08/sun-ra-arkestra-at-foo-festival.html

Sun Ra Arkestra at FooFest August 15, 2009 Providence, RI.

2009-08-08T10:32:00.000-04:00

http://www.as220.org/foofest/

This August 15th from 1pm to 1am, AS220 brings back our famous urban street party, blocking off most of Empire Street and filling it with things infinitely superior to parked cars! Numerous interactive art installations and games, local artists showcasing their creations and twelve hours of all-original music will make this our most art-packed, music-filled festival yet!

This year's special guest headliner is the one and only Sun Ra Arkestra, the famous twenty-member jazz assemble under the direction of Marshall Allen. Witness this legendary spectacle while you can - who knows when they'll return to this planet?!

ONE OF THE GODS by Bennett Theissen [Blog]

2009-07-31T07:17:00.001-04:00

http://blogs.myspace.com/index.cfm?fuseaction=blog.ListAll&friendId=2569948

ONE OF THE GODS by Bennett Theissen

Last night I sat for two hours transfixed listening to the new Transparency release Sun Ra and his Intergalactic Solar Research Arkestra Helsinki 1971 -- The Complete Concert and Interview. When Michael had gotten the source tape he brought it over and we listened to it then, months ago, and I thought it was one of the coolest Sun Ra tapes I had ever heard. Listening to the final version last night, mastered gorgeously by Brian Albers, I was once again in awe of this strange man whose music has become so important to me over the decades.

Who was this being who walked the earth so long, but said he came from Saturn? I first listened to Sun Ra when he was on ESP in the late 60s and I was 15 and 16, and I have to admit I couldn't understand what I was getting into, but I found it compelling. I was drawn to the extremes of jazz, but I was also drawn to the purely sci-fi aspects of him too. In early 1969 I got both Kick Out the Jams by MC5 and I got Nothing Is... by Sun Ra. MC5 had turned Ra's composition "Starship" into a driving rock song, and both albums referenced the nothing is poem ("At first nothing is..."). The Ra music was extreme honking vomiting seering jazz, exploding from my speakers, but the album was intercut with these short bursts of pop song -- "this is the theme of the stargazers, stargazers in the sky" and "if you find earth boring, just the same old same thing, come on sign up for outer space race incorporated." (It wasn't until a couple years ago that I finally heard Ra's song about Apollo 11 -- "them folks been walkin' on the moon.")

Sadly, during most of the 70s I didn't keep up with Ra too much, life was too complicated (unlike today, when with a computer you can know everything). I did catch him playing in San Francisco in 1977 and in Chicago in 1980. While I was impressed as hell by the shows, and grateful to be there, it somehow didn't feel as vital as the music I had heard when I was ten years younger. Still, it was exciting and it was beyond terrific to see the beloved audience response. Sun Ra fans got it, and appreciated it deeply. But those $1.98 space costumes and the big band feel also seemed like a bit of camouflage, a cheesy coating to something that wanted to transcend time and place and confront us all with eternity. And stuck up pretentious artiste that I am, I didn't want the cover I wanted the eternity.

Which is why Michael Sheppard's Transparency releases of recent vintage have been so important. This Helsinki show I listened to last night, it made me think I had died and gone to some permanently cool hall of heaven, where maybe only Sun Ra and Bill Burroughs and a tiny handful of others hang out. One would hard pressed to call the Helsinki show "jazz" -- because even though it definitely resembles that style, it goes so far beyond it. The closest thing I can think of would be, maybe, Miles Davis' weird r&b and funk excursions of the early 70s. Maybe. Miles was trying to branch out, but Ra didn't feel any need to expand what he was doing because he was already there. He played a form of funk, but not like any other funk you've ever heard. There's a track here, from the first set (disc one), called Love in Outer Space, and it IS a funk track, with a funky bass over a mass of percussion, but it doesn't build up so much as OUTWARD. I can imagine trying to watch all twenty nine musicians as they go through this -- thing, I don't know how to talk about it. That builds for ten minutes, then becomes a cover of the song Watusi, then becomes the thematic heartbreaker of a piece called Enlightenment, best version EVER, which is followed by an impossible to describe Ra keyboard solo which ends the first set.

The difference between this and the shows I saw? Can't put my finger on it exactly, but I think the late 60s and early 70s shows are freer, and that when he became more popular (like when he was on Saturday Night Live) he felt he had to do his schtick more entertainingly, and that he played the Cosmic Fool. Not that he was a fool, or that he ever suffered fools, but he treated it like a role, and that's what I felt in 1977 and 1980. Not in this Helsinki show. Does that make sense to you?
If you haven't seen it, you need to check out the one Sun Ra movie, called Space Is The Place, which is sadly out of print right now. (Amazon has VHS tapes for $95 if you care.) I saw it projected on a hotel wall downtown L.A. last summer, and loved every cheap exploitative minute of it. I also need to read Ra's biography, also called Space is the Place, by John Szwed, but haven't yet. I'll get it soon, now that I'm writing this. I know a bit of Ra's history, where he learned some of his composing and arranging skills, etc. I know he was a definite outsider, in all senses. Even his sexuality is strange -- he was possibly gay but more probably asesxual, and sexuality never seemed to be one of his themes. He taught at Berkeley in 1971 -- Transparency has one of his class lectures on CD and it's extremely cool and very far out. He was generous and cared about his band, and they were devoted to him. In fact, the great Marshall Allen leads the Sun Ra Arkestra in concert even today. (There is a distant possibility that Transparency may try to set up a dual concert with the Arkestra and the Slits somewhere down the line!) I know that he left this mortal coil in 1993, but maybe he's still playing dates on the rings of Saturn and he just left here and went home.

I just wanted to tell you that you really need to track down this new release and devote some time to it. It won't let you down because it's real art. We all know the eternal mantra, "He got what he wanted but he lost what he had." With Ra it should be, "He had what he wanted and he got what he lost." Sun Ra is, in my mind, One of the Gods.

For Eternity!

Sun Ra Article in Print Magazine June 2009

2009-07-30T15:18:00.000-04:00

http://www.printmag.com/current_issue/toc_june2009/tabid/528/Default.aspx

The June 2009 issue of Print Magazine features an article about the book "Pathways to Unknown Worlds: Sun Ra, El Saturn and Chicago's Afro-Futurist Underground, 1954-68" and the graphic-design sensibility Sun Ra and Saturn Records. Below is a short excerpt:

Solar Flare: Sun Ra's album covers were wild, inspired, and a universe away from Blue Note

A world away from the smoky, cellar-jam-session cool of [most jazz] album art, the handmade aesthetic, do-it-yourself ethos, and ripped-and-remixed imagery of [Sun Ra's] album covers and promo materials are of a piece with [the composer's] bricolaged cosmology. Desperate to escape what Ra biographer John Szwed calls the 'racially possessed' America of the Jim Crow years, Ra built an alternate worldview from scratch, cobbling it together from Flash Gordon futurism, mail-order Egyptology, Biblical hermeneutics, and 19th-century occultism. Long before men walked on the moon, Ra knew, in his bones, that he was part of the 'angel race.' Like a trans-racial Marcus Garvey beckoning humankind toward his intergalactic starliner, he urged space migration for black and white alike. The El Saturn graphics are a part of this sprawling star chart, a cosmic Baedeker pointing to Other Planes of There.

thehoundblog: Rockin' With Sun (Ra)

2009-07-24T05:31:00.000-04:00

http://thehoundblog.blogspot.com/2008/12/rockin-with-sun-ra.html

Rockin' With Sun (Ra)

Sun Ra (Herman Poole Blount, b. May 22, 1914 in Birmingham, Alabama according to his birth certificate, Le Sony'r Ra born on Saturn according to his passport) was one of the most prolific and significant jazz musicians of the 20th century. And one of the best dressed. He recorded hundreds of LP's, led one of the finest bands in the world for four decades, composed and arranged countless tunes. He was probably one of the few jazz musicians who could play "inside" and "outside" (ie straight or free-form) at the same time.

For those wanting more info on Sun Ra, John F. Szwed's Space Is The Place: The Lives and Times Of Sun Ra (Pantheon Books, 1997) is essential reading. In fact it's essential reading for anyone interested in jazz or just singular oddballs of the American variety. It's safe to say we'll not see the likes of Sun Ra again. Szwed's study is a good read but it's just the beginning and the study of Ra's career could fill several more volumes easily.

But I'm not the guy for that job, not being much of a jazz critic or historian, the subject of today's blog is Sun Ra's rock'n'roll output. For those who didn't know, Sun Ra was responsible for some truly unique rock'n'roll records. Although they represent a minuscule portion of his recorded output they're all interesting records, and a couple of 'em are downright masterpieces.

Sun Ra's first stab at rock'n'roll was issued on Ra's own Saturn label in 1955 by the Cosmic Rays. In classic doo wop 45 fashion one side was a ballad "Dreaming" and the other an upbeat near rocker "Daddy Gonna Tell You No Lie". Both sides have a pronounced mambo beat and feature lead singer Calvin Barron along with three unknown harmony singers. Sun plays piano, the sides were recorded in Chicago. When collectors kept asking Sunny to re-issue it he couldn't find the master tape so instead issued an a cappella version which was recorded in his living room while rehearsing the group for their studio debut.

A very strange doo-wop recorded was issued under the name of Juanita Rogers & Lynn Hollings with Mr. V's Five Joys on the Pink Clouds label in 1958 and is most certainly Sun Ra's doing. The a-side "Teenager's Letter Of Promises" is an oddball disc by any standard, even Sun Ra's. Juanita Rogers is the Frankie Lymon like lead vocal, Lynn Hollings is doing the strange narration.

Speaking of strange, Yochanan (The Space Age Vocalist) was a Chicago street character that Ra befriended. Yochanan appeared in local nightclubs and on Maxwell Street where he was booked as the Man From Outer Space, the Man From Mars and the Muck Muck Man. He claimed to be from the Sun and appeared decked out in turban (always a good look for a R&R singer), sandals, robes, etc. His performances were both eccentric and wild and as quoted on Szwed's book, one Hattie Randolph remembers catching his shtick in a nightclub in Kokomo, Indiana--"When he started his act and began leaping over the tables, one woman jumped up and shouted, 'He's possessed'! and ran out of the club". One listen to his first single and it's easy to believe.

"Hot Skillet Momma" b/w "Muck Muck (Matt Matt)" attributed to Yochanan (The Space Age Vocalist) is one of the greatest rock'n'roll records I've ever heard. It makes Screamin' Jay Hawkins sound like Johnny Mathis. The world was not ready for Yochanan in 1957 when this disc was issued, and it's probably still not ready. Sun Ra however believed in Yochanan enough to issue another single two years later-- "I'm The One From The Sun" b/w "Message To Earthmen", not quite as wild but still a great record. Saturn issued two outtakes in 1968 when "The Sun Man Speaks" was coupled with an alternate version of "Message To Earthmen".

Not really a rock'n'roll record (this one truly defies classification) is this 1974 recording "I'm Gonna Unmask The Batman" by Sun Ra and his Astro-Galactic Infinity Arkestra. Sunny seemed to have a thing for Batman as he along with a few members of the Arkestra and a couple of guys from the Blues Project cut a Batman TV theme budget LP in '66 which can be found here. Not great but interesting in a cheesy sort of way.

More on the rhythm and blues side is this 1958 Saturn 45 "Hours After" (actually a version of Erskine Hawkins' "After Hours") b/w "Great Balls Of Fire" (not the Jerry Lee Lewis hit) which shows the Arkestra at their bluesiest. This one seems like an attempt to garn some jukebox play around Chicago where the band was based at the time. Also, it's a rare example of Sun Ra recording with a guitarist, in this case Sam Thomas.

My buddy Junie Booth played bass with the Sun Ra Arkestra for many years, he told me when they went to Birmingham, Alabama for Sunny to be presented with the key to the city, midway during the ceremony Sunny turned to him and said "I hate this fuckin' town, that's why I always told people I was from Saturn".

ADDENDUM TO YESTERDAY'S POST: I forgot to mention all of the above 45s and more are available on the 2 CD set Sun Ra: The Singles (Evidence ECD22164-2). It's 49 tunes span three decades and include all the issued Saturn 45's and some alternate takes. Evidence also has fifteen Cd's of Sun Ra Saturn material covering 21 + LP's, many of which are practically impossible to find.

Griffiths, Pat. "A Space Warning from Sun Ra to the Planet Earth." Friends (London), February 2, 1971, p.2.

2009-07-24T05:27:00.000-04:00

http://paranoidmod.blogspot.com/2008/02/space-warning-from-sun-ra.html [original posting]

http://nightofthepurplemoon.blogspot.com/2009/05/sun-ra-space-warning-to-planet-earth.html [reposting has info about article source and smaller file scan]

jazztokyo.com/live-report

2009-07-02T10:09:00.000-04:00

http://jazztokyo.com/live-report/v222/v222.html

少し遅れたが、去る５月２４日に行われた“サン・ラ＝アーケストラ”によるマーシャル・アレン（１９５８年入団）の８５歳誕生日を祝ったコンサートを紹介したい。「一度は、見ておかないと」程度の軽い気持ちで出かけたのだが、期待以上に満足させてくれた“楽しい”コンサートだった。

アレンは、サン・ラが、１９９３年に「宇宙に帰った」後を引き継いだジョン・ギルモアが他界した１９９５年よりアーケストラのディレクターを務めて現在に至っている。

コンサートが行われた“Johnny Brenda's”（www.johnnybrendas.com）は、ジャズというよりロック・クラブで、彼らの本拠地フィラデルフィアにある。勝手に黒人中心の客層を想像していたが、実際は八割強が白人だった。年齢層は、大学生ぐらいから中高年まで、幅広かった。

＄２でオーダーした、味の薄い地ビールを飲みながら待っていると、ギッシリと楽器が並べられた余り大きくないステージに、続々とメンバーが登場。現アーケストラのラインアップは流動的な様であるが、このコンサートは以下のメンバーで行われた：

Marshall Allen - alto sax, flute, Electronic Valve Instrument (EVI)  Yah Yah Abdul-Majid - tenor sax Knoel Scott - alto sax  Danny Ray Thompson - baritone sax  Fred Adams － trumpet  Michael Ray － trumpet Cecil Brooks - trumpet Dave Davis - trombone, french horn, tuba Farid Barron － keyboard  Dave Hotep － guitar Juini Booth - electric bass Bill Davis - acoustic bass Wayne A. Smith, Jr. - drums Lamont Smith - conga drum Elson Nascimento - surdo drum

今では「伝説」となっている１９８８年日本初公演以降に参加したメンバーに混じって、ビル・デイビス（１９６２年入団）、ダニー・トンプソン（１９６７年入団）、ジュイニ・ブース（１９６７年入団）等のベテラン勢も健在だ。

マネージャーのグレッグ・ドゥラスドウ氏のご好意により以下のセット・リストを入手する事ができた：

第１セット

Take Off Planet Earth Dreams Come True Prelude to a Kiss Discipline 27-II Sometimes I'm Happy East of the Sun, West of the Moon Millennium Space Walk Angels & Demons at Play

第２セット

Improv Opening In-B-Tween Body & Soul Way Down Yonder in New Orleans Love in Outer Space Blue Set (with Happy Birthday to Marshall) Reflex Motion When You Wish Upon a Star Interplanetary Music Fate in a Pleasant Mood We Travel the Spaceways

一般的なアーケストラのイメージに近いノイジーな前衛系やファンキーなスペース・ジャズの他、スインギーなスタンダード、シットリとしたバラードがバランス良く配列され飽きさせなかった。しかし、選曲の面白さ以上にバンドの“イキ”の良さが印象に残った。そして、マーシャル・アレンの統率力や「本当に８５歳？」と疑ってしまうほどの“ミズミズしい”演奏やステージングも素晴らしかった。

Sun Ra Events at Philly ICA Museum in July

2009-07-02T10:07:00.000-04:00

The staff of the Institute of Contemporary Arts (ICA) Museum in
Philadelphia have scheduled an exciting series of Wednesday evening
events in July, each of which are Sun Ra related. This is in support
of the Sun Ra Museum exhibit at the ICA in Philadelphia running
through August 2, 2009. All of the below events on July 8, 15, 22, &
29, 2009 are free and open to the public at the ICA Museum, 118 South
36th Street, Philadelphia, PA. Following the Wednesday, July 1
spectacular featuring the Sun Ra Arkestra under the direction of
Marshall Allen, the events will be:

Wednesday, July 8 @ 7:00 pm:

John Szwed - A lecture by the biographic expert on all things Ra

Hear a lecture by John Szwed, the biographic expert on all things Ra.
Mr. Szwed is the author of "Space Is The Place: The Lives and Times of
Sun Ra" (Da Capo Press, 1998). He is an anthropologist, musicologist,
and historian who teaches at Columbia University. Mr Szwed has
authored many significant books covering the personalities and
artistry of jazz. Those who have previously heard John Szwed lecture
on Sun Ra will tell you that this is a not to be missed event that
will include anecdotes, insights, and information that surround the
mystery of Sun Ra.

Wednesday, July 15 @ 7:00 pm:

Outdoor Double Feature: "Brother From Another Planet" and "A Joyful
Noise" curated by Jesse Pires

The 2005 documentary "Sun Ra: Brother From Another Planet" was made by
director Don Letts for the BBC. This 59 minute film has only been
screened once before in the USA and this is its Philadelphia Premiere.
Don Letts, the legendary London DJ who introduced reggae and ska to a
generation of punk rockers, delves into the mysterious world of Sun Ra
in this British, made-for-television documentary. Sun Ra biographer
John Szwed, musician Archie Schepp, and members of Sun Ra's Arkestra
discuss the life and work of one of jazz music's pre-eminent pioneers.
For the uninitiated, "Brother From Another Planet" is a great
introduction to Sun Ra, and for Sun Ra devotees, it is required
viewing.

The 1980 documentary "Sun Ra: A Joyful Noise" was made by director
Robert Mugge, who will be in attendance at this screening and he will
give an introduction to this film. Consisting of explosive live
footage of the Sun Ra Arkestra and fascinating interviews with the man
himself, "A Joyful Noise" is the complete Sun Ra experience. Filmed
in and around Philadelphia and Washington, D.C. when the Arkestra was
living in Germantown, Robert Mugge's documentary captures the group at
the height of its creative powers. Each live performance featured in
the film further illustrates the distinctive alchemy Sun Ra was able
to create with his disciplined band. Ra makes his case for a better
world through music, transcending banal, earthbound realities to
produce a strange and fascinating aesthetic fusing ancient history
with future visions.

Wednesday, July 22 @ 7:00 pm:

Saturn Never Sleeps: Sun-Ra: Lectric a night curated by King Britt and
Rucyl Mills

Saturn Never Sleeps is a carefully curated electronic experience,
created by music producer, King Britt and singer/visualist, Rucyl
Mills combining audio-visual micro-components into a thought altering
world of sight and sound. Live musicians of acoustic and electronic
inventions come together in creating the sonic bubblebath for your
listening pleasure. Visuals add the dimension needed to transport you
into a different place. For this special mission, we are dedicating
the night to reconstructing, in an improvisational way, the sounds of
jazz legend and fellow dreamer, Sun-Ra.

King Britt (electronics), Rucyl Mills (vocals & sampling), Tim Motzer
(guitartronics), Damon Bennet (keyboards & flute), Jason Senk
(visuals), and some very special guests.

Together we will be reducing Sun Ra sounds into a new context while
combining with works by artists influenced by him as well into a night
of vision!

Wednesday, July 29 @ 7:00 pm:

Death's Headquarters: In Celebration of Le Sony'Ra: curated by Ars Nova Wor=
kshop

Featuring performances by two local groups in the avant-garde spirit
of Ra and the Arkestra: Planet Y and Sonic Liberation Front.

"To save the planet, I had to go to the worst spot on Earth, and that
was Philadelphia, which was death's headquarters." -Sun Ra

An expanded 12-member Sonic Liberation Front, the Philadelphia
ensemble acclaimed for their iconoclastic combination of Free Jazz
passion and Afro-Cuban percussion, will premiere =93Jetway Confidential
No.3 (for Sun Ra)=94, a new composition dedicated to Sun Ra and
commissioned specifically for this performance, and perform an
arrangement of Sun Ra=92s =93Where Pathways Meet=94 from 1978=92s "Languidi=
ty"
recording, which featured saxophonist and SLF member Julian Pressley.
This evening will also feature a very rare appearance from Planet Y -
Buchla Music Easel master Charles Cohen and Stinking Lizaveta=92s Yanni
Papadopoulos, best described as "Subotnick meets Sun Ra meets
Schnitzler.=94 (Aquarius Records) In addition, newly-unearthed archival
films will be projected on the gallery walls.

Planet Y: Yanni Papadopoulos (dg-20 Casio digital guitar), Charles
Cohen (Buchla Music Easel)

Sonic Liberation Front: Todd Margasak (cornet), Terry Lawson (tenor
saxophone/flute), Dan Scofield (alto saxophone), Julian Pressley (alto
saxophone), Brent White (trombone), dmHotep (guitar), Travis Woodson
(guitar), Matt Engle (double-bass), Chuck Joseph (Bata drums/drumkit),
Shawn "Dade" Beckett (Bata drums/percussion),
Khari Clemmons (Bata drums), Kevin Diehl (Bata drums/drumkit).

Led by percussionist Kevin Diehl, a protege of Free Jazz pioneer Sunny
Murray, Sonic Liberation Front merges post-bop with traditional
Afro-Cuban Yoruba roots music. While other ensembles have merged Bata
drumming and jazz, none have done it with the vigor of SLF. The band
members are true students of the Lukumi tradition under the guidance
of percussionist/omo ana Chuckie Joseph, a lifelong Yoruba cultural
scholar. It=92s been said a million times that all music originates in
West Africa =AD and by returning the focus to its origins, SLF achieves
a natural eclectism that serves as a fountain of ingenuity. Ancient to
the future, indeed. For this special performance, an expanded 12-piece
SLF performs featuring some of the most notable names in
Philadelphia=92s exploratory music scene including members of the Sun Ra
Arkestra, Make A RIsing, and Shot x Shot.

Sun Ra chronicled in film, lectures & more [philly.com]

2009-07-01T09:09:00.001-04:00

http://www.philly.com/philly/entertainment/20090629_Sun_Ra_chronicled_in_film__lectures___more.html

Sun Ra chronicled in film, lectures & more
Posted on Mon, Jun. 29, 2009
By Shaun Brady

A variety of events celebrating the singular world of jazz musician Sun Ra are being held at the Institute of Contemporary Art (118 S. 36th St., 215-898-7108, www.icaphila.org) to celebrate the exhibit "Pathways to Unknown Worlds: Sun Ra, El Saturn & Chicago's Afro-Futurist Underground, 1954-1968," which runs through Aug. 2.

Admission to all events is free.

John Szwed: Lecture by the author of "Space Is the Place: The Lives and Times of Sun Ra." (July 8, 7 p.m.)

Outdoor Double Feature: Screenings of the 2005 documentary "Sun Ra: Brother From Another Planet" and the hourlong 1980 film "A Joyful Noise," which includes footage from the Arkestra house in Germantown. (July 15, 7 p.m.)

Saturn Never Sleeps: A sonic and visual collage created by King Britt using snippets of Sun Ra music and live experimentation. (July 22, 7 p.m.)

Death's Headquarters: In Celebration of Le Sony'r Ra: Curated by Ars Nova Workshop, performances by two local groups in the avant-garde spirit of Ra and the Arkestra: Planet Y, the duo of Charles Cohen and Yanni Papadopoulos; and Sonic Liberation Front, a 12-piece ensemble combining free jazz with Afro-Cuban percussion. (July 29, 7 p.m.)

In the beginning: Sun Ra. New exhibit explores origins of his music & personal creativity. [philly.com]

2009-07-01T08:55:00.000-04:00

http://www.philly.com/dailynews/features/20090629_In_the_beginning.html

In the beginning: Sun Ra New exhibit explores origins of his music & personal creativity

By SHAUN BRADY Philadelphia Daily News For the Daily News Posted on Mon, Jun. 29, 2009

IN THE OPENING scene of the 1974 film "Space Is the Place," jazz iconoclast Sun Ra sits in a fanciful extraterrestrial garden, decked out in Egyptian-inspired headdress and robes, and bemoans the sound of planet Earth as "the sound of guns, anger, frustration."

His proposal is to create a "colony for black people" on this new planet, a Utopian second chance. He ends by deciding to "teleport the whole planet here through music."

The scene captures, fully formed, Ra's idiosyncratic worldview, a unique philosophy blending science fiction, black power, mysticism, mythology and, of course, music.

"Pathways to Unknown Worlds: Sun Ra, El Saturn & Chicago's Afro-Futurist Underground, 1954-1968," an exhibit on view at the Institute of Contemporary Art through Aug. 2, captures Ra's ideas in their developmental stages. Curated by journalist and jazz critic John Corbett, the show collects artifacts, memorabilia and artwork from Ra's years in Chicago and New York, before the move to what would be come his Arkestra's permanent home in Philadelphia.

"This body of work really represents the formative years of Sun Ra," Corbett explained during a tour of the exhibit. "It spans the period when he developed this persona, this myth-science as he called it, that was very invested in an exploration of space and its relevance for African-Americans as a concrete metaphor.

"By the time he settled in Philadelphia, the persona was more or less set, so this material allows us to look at how he began to construct this identity."

Sun Ra and His Arkestra have long struggled to claim their rightful place in jazz history. Ra's bizarre pronouncements, colorful costumes and sci-fi preoccupations, along with the band's at times chaotic sound, have led many to dismiss the Arkestra as a sideshow, a novelty act.

But rather than the comic-book spectacle that some critics would make it out to be, Ra's personal reinvention was deeply rooted in the troubled times in which he lived.

Born Herman Poole Blount in Birmingham, Ala., in 1914, Ra's name change and claims to hail from Saturn were as much a repudiation of the segregation-era South as they were an attempt at self-mythologizing. His wish to colonize an Afrocentric planet could be viewed as a fantastical analog to the Back to Africa movement.

But Ra's ideas weren't all flights of fancy. As Corbett pointed out during the tour, Ra's Saturn Records was one of the first artist-run record labels.

"This was the birth of the independent music industry, which we now take as a matter of course," Corbett said. "The idea was very rooted in a local grassroots, Afrocentric community of black businesses and designers. They pulled people into the fold to make fliers for shows, to design things for them, to come up with this look that began to incorporate the mixture of space, the Bible and apocalypse, ideas that Sun Ra was leading them to explore."

The fact that this was a venture into the DIY unknown is illustrated by the fact that several sketches and even full designs for album covers on display fail to conform to the square dimensions of an actual LP.

One of the most remarkable objects in the exhibit is a pencil-and-paper collage labeled "Treasure Map for El Saturn," a blueprint for Ra's hopes both practical and fanciful. Amidst sketches of the continents and hieroglyphs are plans for a radio station and recording studio, plus 10,000 acres of land, space for apartments and hotels, "money to fight ignorance" and "food for the hungry."

"It shows his notion of how Saturn Records was going to spread around the world and enlighten everyone on the planet," Corbett said. "That was Sun Ra's stated purpose. He was very concerned about the state of the world in the mid-1950s, both in terms of race issues and in terms of the neglect of beauty."

The collage was created by Alton Abraham, Ra's longtime friend and manager, whose collection makes up the bulk of the exhibit. Corbett salvaged the material after Abraham's death in 1999, when it was threatened with destruction. The exhibit ranges from original art for album covers to business cards, broadsides that Ra handed out on Chicago street corners, even a Christmas card wishing "Better life vibrations" for the holiday season.

While the exhibit cuts off in 1968, the year that Ra moved to the house on Morton Street in Germantown that still serves as home base for the Arkestra, the bandleader's 25-year residence in the city until his death in 1993 makes Philly a logical site for the show.

"There's no place more logical for it to be than here in Philadelphia," Corbett said. "This is the place that Sun Ra finally felt comfortable enough to stay."

Today, the Arkestra is led by alto saxophonist Marshall Allen, who joined the band in the late 1950s during the period represented by the exhibit. Allen reminisced recently about being introduced to Ra's philosophy and how it changed him as a musician and as a human being.

"In the early stages, he had to first change the musicians' and the people's ideas," Allen said. "So whatever he did with those things that you see, he had a bigger job convincing people to open their minds to the space age and independence and creativity. That was hard for musicians with a traditional way of playing, and that was the biggest work of his career, changing the musicians to play his idea of things to come."

Allen will lead the Arkestra in a performance at the ICA on July 1, the first of a series of events coinciding with the exhibit. Upcoming events include a lecture by Ra biographer John Szwed on July 8; a screening of the films "Sun Ra: Brother From Another Planet" and "A Joyful Noise" on July 15; a sonic and visual collage by King Britt on July 22; and performances by Sonic Liberation Front and Planet Y curated by Ars Nova Workshop on July 29.

"When you're younger you dream about you can fly or you can jump 90 feet," Allen said. "But in reality, you have to develop yourself like an athlete. It's the same in the music."

Allen is now confronting the challenges once faced by his mentor as the Arkestra's maestro, a position he's held since 1997.

"It's a good feeling to look back at the beginning and see things when you didn't quite understand them," Allen said of viewing the exhibit.

"It's wonderful to see those things and know that I still got a job ahead of me."

1982 NME Strange Celestial Road Review

2009-06-27T09:19:00.001-04:00

Sun Ra Arkestra Live Dates Summer 2009

2009-06-27T09:05:00.000-04:00

http://www.as220.org/front/2009/06/foo-fest-coming-soon.html

July 1st. Philadelphia, PA, Institute of Contemporary Art
July 4th. Lisbon, Portugal, Setubal/Arrabida World Music festival.
July 10th. Vienne, France, Jazz a Vienne Festival.
July 30th. Sardinia, Italy, Cala Gonone Jazz Festival.
August 1st. Standon, U.K., Standon Calling Festival Poster
August 15th. Providence, Rhode Island, AS220 Festival
Sept. 26th. Durham, NC, Duke University
Oct. 31st. Philadelphia, PA, International House Philadelphia, 3701 Chestnut street, PA 19104

A Wonderful Live Sun Ra Image

2009-06-23T14:54:00.000-04:00

Pathways to Unknown Worlds Unreleased Recordings Setlist

2009-06-23T10:56:00.000-04:00

Jungle Drums (electric piano and solovox, 1953)
Call My Baby (Jo Jo Adams, 1953, Ra arr.)
It's Raining Again (Joe Williams, 1953, Ra arr.)
Just Friends (1957, home)
Egyptian Scat (1956, Budland, w/Hattie Randolph)
Persian Rug (1956, Budland, w/Hattie Randolph)
Untitled (1956, live Budland)
Unreleased (Choreographers Workshop, 1961)
Wake Up America (for JFK) (Ra, celeste, w/Marshall Allen, voc., 1963)
My Children (1961, home)
Unknown Title (studio, 1957)
Celeste Solo (1963)
Miserlou (1955, w/Vernon Davis)
I've Forgotten (1961, Choreographers Workshop)
East Of The Sun (1955, Pat Patrick)
Truth Is Bad (1961, home)
Make Me Feel Good (1955, female vocal)
The Outers (unreleased, 1964 NYC)

June 10, 2009 Vision Festival Setlist

2009-06-23T10:51:00.000-04:00

The Sun Ra Arkestra under the direction of Marshall Allen
June 10, 2009 Vision Festival
Abrons Arts Center, New York, NY

Take Off
Dreams Come True
Discipline 27-II (with cosmo drama segment including Space is the Place & If We Came from Nowhere Here)
Piano solo
? [1960s Sun Ra chart]
Millennium
Way Down Yonder in New Orleans
Cosmic Hop
Blue Set
In-B-Tween
Interplanetary Music
Fate in a Pleasant Mood
We Travel the Spaceways
Hit That Jive Jack

Marshall Allen - Musical Director, alto sax, flute, Electronic Valve
Instrument (EVI)
Yah Yah Abdul-Majid - tenor sax
Knoel Scott - alto sax
Danny Ray Thompson - baritone sax
Charles Davis - tenor sax
Rey Scott - baritone sax
Fred Adams - trumpet
Michael Ray - trumpet
Cecil Brooks - trumpet
Dave Davis - trombone, french horn, tuba
Dick Griffin - trombone
Dave Hotep - guitar
Bill Davis - bass
Juini Booth - bass
Farid Barron - piano
Billy Bang - violin
Wayne A. Smith, Jr. - drums
Art Jenkins - vocals, space megaphone
Elson Nascimento - surdo

More Bang for the Buck: Old Visionaries, New Jazz Venue By WILL FRIEDWALD [Wall Street Journal]

2009-06-23T10:49:00.000-04:00

http://online.wsj.com/article/SB10001424052970204482304574222124215081990.html

More Bang for the Buck: Old Visionaries, New Jazz Venue
By WILL FRIEDWALD
JUNE 13, 2009

The jazz season in New York has, for more than a decade, reached its climax in June and July, and until this year no less than three major festivals arrived in close succession—the Vision Festival, the JVC Jazz Festival and the 92nd Street Y’s Jazz in July series. If New York’s jazzfests resemble a three-ring circus, the center ring traditionally was occupied by the epic JVC Jazz Festival, a marathon two-week event built around well-known contemporary headliners (and even a few smooth jazz and pop stars). To the right was Jazz in July, where the emphasis is on swing and the songbook; to the left, Vision, which focuses on what is variously known as free jazz, experimental music or the avant-garde (none of these terms being entirely accurate).

Since 1996, Vision has been an ambitious annual gathering of musicians, dancers and visual artists that encompasses nearly 50 events over seven nights, and it is much more like a genuine festival—rather than a concert series—than either JVC or Jazz in July. It has consistently positioned itself as a scrappy alternative to the more formal programming at JVC (not to mention Jazz at Lincoln Center); there has never been big corporate sponsorship or even major record-label support. The tickets are easily affordable ($25 for a four-hour evening; www.visionfestival.org), and the shows—up to five in a single night—traditionally have taken place in basements, abandoned synagogues and other scruffy venues on the Lower East Side.

This year, with JVC canceled, there seemed to be a big black hole in the middle of the jazz-festival season, pulling Vision and Jazz in July slowly toward each other and the center. Something seemed amiss when I approached Vision’s new venue, the Abrons Art Center, and found it wasn’t a desecrated churchyard or the like, but a proper theater with a stage and even padded seats: Hearing free jazz in anything fancier than a metal folding chair somehow seems unspeakably bourgeois (if I can’t fold it, I ain’t sittin’ on it). Vision traditionally begins with an “opening invocation” that amounts to a free-jazz version of a New Orleans street parade up and down the aisles; this year it was notably stagebound and somewhat pointless.

Yet the music presented at Vision in its 14th season has, so far at least, been as irascible and antiestablishment as always—not to mention uncategorizable. It won’t do to call this experimental music, because while the major players presented regularly by Vision (starting with its co-founder, bassist William Parker) are always up for trying something new, they perfected their basic approach long ago. It’s not specifically avant-garde, since they’re not bent on creating a style that legions will adopt (in that sense, Wynton Marsalis’s signaling a return to hard bop in the 1980s was much more “avant-garde”). It’s no longer revolutionary, it doesn’t seek to put other kinds of jazz out of business, but it has become a stratum of the jazz (and even contemporary classical) world that is complete unto itself, with its own heroes, traditions and legacy that goes back before Ornette Coleman’s breakthrough “Shape of Jazz to Come” album of 50 years ago.

The stars of the first two nights were alto saxophonist Marshall Allen, director of the Sun Ra Arkestra and the recipient of the festival’s “Lifetime Recognition” award, and violinist-bandleader Billy Bang. This year, his group, Brass Bang, comprised three trumpets, trombone, drums and the leader’s fiddle. Mr. Bang succinctly demonstrated the possibilities of free playing: At the start, the music was playful, like children talking to each other using horns as voices; then it got loud and screechy, almost unbearably so—as avant-garde music is often inclined to get. For a finale, Mr. Bang caught us all off-guard (or even off-avant-garde): He and trumpeter James Zollar offered a unique interpretation of “Take the A Train” in which they seemed to re-create all the rules of music from the ground up, showing how the application of each step can lead to something as beautiful as the great works of Duke Ellington and Billy Strayhorn.

Probably because of the appearance of the Ra Arkestra, the Abrons Center was packed Wednesday night—it’s a lot smaller than the previous venues. Mr. Allen, who, at age 85, is easily the grand old man of the avant-garde, was featured in a rare non-Ra outing with a small group consisting of two saxes (tenor saxophonist Kidd Jordan, the octogenarian free player, was the other), two basses (William Parker, Henry Grimes) and drummer Hamid Drake. In this music, there are no conventional notions of background and foreground, and every sound exists principally in relation to something else. Sometimes, it just seemed like a bunch of guys blowing their brains out; other times, the interaction between Mr. Allen and Mr. Jordan was wondrous to behold.

Mr. Allen’s vocabulary of shrieks and squawks and postmodern saxophonic wizardry was also evident in his set with the full Arkestra—the only ghost band with an original leader who was a supernatural entity to begin with. As always, the 18 members paraded out in Halloween costumes that looked like Mardi Gras on Mars, began with banshee-like howls and overblowing, but then, when they got down to business, created swinging and appealing big-band jazz. Their sloppy but engaging style is based on riffs, a shuffle beat and the blues. There are even familiar chord changes, as on an original pop-style song (“Dreams Come True”) that seemed based on the harmonies of “Jeepers Creepers.”

The Arkestra’s set provided the climax on Wednesday, not least because of Mr. Bang, who sat in with the big band, decked out like an interstellar gypsy. His solos here were perhaps even more passionate than with his own group, and while I’ve seen him look deadly serious in other contexts, here he was enjoying himself immensely—as was everybody in the Abrons Center. This music may have significant sociopolitical baggage attached to it, but it’s also just plain fun.

—Mr. Friedwald writes about jazz for the Journal.

Honoring One Man in 2 Guises By NATE CHINEN [nytimes.com]

2009-06-23T10:46:00.000-04:00

http://www.nytimes.com/2009/06/13/arts/music/13vision.html?_r=1&scp=1&sq=Marshall%20Allen&st=cse

Honoring One Man in 2 Guises
By NATE CHINEN
Published: June 12, 2009

The alto saxophonist Marshall Allen assumed two guises, earthly and celestial, at the Abrons Arts Center on Wednesday night. Appearing as the guest of honor at the 14th annual Vision Festival, he took the stage first in civilian attire, playing freely and fiercely in an aggressive all-star quintet. Later he re-emerged in the spangly vestments of his office — a sequined robe, a priestly hat — to conduct the famously otherworldly Sun Ra Arkestra in a performance that was more strictly codified but a great deal looser-limbed.

Mr. Allen, who turned 85 last month, has been a member of the Arkestra for more than 50 years: he joined the ensemble almost at its origins, spearheading its reed section and faithfully minding the various edicts of its namesake leader. When he took the helm himself in the mid-1990s, after the deaths of Sun Ra and the tenor saxophonist John Gilmore, Mr. Allen set his sights on continuity. He has kept the band together and working, with one eye trained on the legacy of an expressly future-oriented music.

It’s no wonder the Vision organizers chose to give Mr. Allen a lifetime recognition award. The festival, an artist-run nonprofit organization, convenes each year to celebrate the precise set of values that has animated his career. Recent editions of the event similarly honored veteran jazz iconoclasts who had served, at one time, as guardians of a social order. Last year’s recipient was Kidd Jordan, a tenor saxophonist and educator from New Orleans.

Mr. Jordan, 74, played alongside Mr. Allen during Wednesday’s first set, and the contrast was illuminating. Mr. Jordan has an old-fashioned tone in the meaty midregister of his horn, and he trawls his altissimo range with imploring exactitude.

Mr. Allen is much more of a flamethrower: he used his alto as a delivery system for searing, convulsive blasts, running his right hand fast and clawlike across the instrument’s keys. He also coaxed loopy frequencies from an electronic valve instrument, making use of a pitch-modulator knob; its timbre suggested a steelier, less vocal-sounding theremin.

The quintet otherwise featured Vision stalwarts: the bassist William Parker, the drummer Hamid Drake and the bassist Henry Grimes, who doubled on violin. They hurled themselves into the effort, expertly advancing the fervent strain of free jazz that has been this festival’s house style.

Strikingly, that style was largely absent from the Arkestra’s set, which followed an uneventful stand by a group led by Bill Cole, a strident specialist on East Asian double-reed instruments. Mr. Allen focused instead on the rhythmic side of the band’s repertory, featuring songs buoyed by swing and calypso rhythm; often there were snappily cosmic lyrics sung by Art Jenkins or other members of the band. (A few tunes, including “Millennium,” a recent staple by Mr. Allen, occasioned a full-band singalong.)

The Arkestra isn’t the spit-and-polish machine it once was, but its young rhythm section performed admirably, and there were vital contributions from the trumpeter Fred Adams and the tenor saxophonist Charles Davis, among others. More to the point, what the group as a whole delivered was a sensation of boisterous delight. Mr. Allen, with his seemingly boundless energy, had a lot to do with that.

The Vision Festival continues on the Lower East Side through Sunday at the Abrons Arts Center, 466 Grand Street, at Pitt Street, and on Monday at the Angel Orensanz Foundation for the Arts, 172 Norfolk Street; visionfestival.org.

Live At The Paradox Review By Bruce Lee Gallanter, Downtown Music Gallery

2009-06-23T10:44:00.001-04:00

SUN RA ARKESTRA Directed By MARSHALL ALLEN
Live At The Paradox, 2008 (In And Out 77098; Germany)
Recorded at the ZXZW Festival, Tilburg, The Netherlands, on Sept. 20th. 2008

M Allen alto sax, flute, clarinet, EVI; Charles Davis, YahYa Abdul Majid tenor saxes; Knoel Scott alto sax; Danny Thompson, Reynold Scott baritone saxes; Cecil Brooks, Fred Adams trumpets; Dave Davis trombone and tuba; Farid Barron piano and organ; Juni Booth doublebass; Dave Hotep guitar; Wayne Smith Jr drums; Elson Nascimento surdo and percussions.

“I had the good fortune to hear and see the Sun Ra Arkestra last night (6/10/09) at the 14th Annual Vision Fest and they were pretty amazing! This disc was recorded in September of 2008 and it captures the relatively same Arkestra in all of its glory. Commencing with Marshall’s “Space Walk” which features layers of EVI (electronic valve instrument), guitar, piano, occasional horns, bass and percussion, we are slowly heading out to outer space. What I dig about this is the way the Arkestra plays freely yet there is a lovely floating vibe that connects everyone into a cosmic dreamscape. “Discipline 27” has that incredible, magical riff that still stays with me and keeps me humming some thirty years after I first heard it at Soundscape in 1979. The version here is genuinely uplifting, and it segues into another favorite of mine “I’ll Wait for You” from the album ‘Strange Celestial Place’. The Arkestra plays these tunes with a jubilant, swinging spirit that is infectious and most of the horn players get a chance to solo throughout, often playing short, concise and powerful solos. Whether playing Sun Ra’s “Dreams Come True” or Fletcher Henderson’s “Hocus Pocus”, the band illustrates the long history of jazz (big bands!) that makes one feel so good. This recording was from a club in the Netherlands so we can hear folks talking quietly between the songs, which actually adds to homey ambiance. Marshall Allen wrote four of the nine songs here in the Sun Ra vein and plays some extraordinary solos as well. The Arkestra is particularly tight and festive moreso than the last time I caught them (quite a while ago). Considering the large amount of Sun Ra reissues and rarities that have been released over the past few years, it is great to hear some new Sun Ra Arkestra music that is as great as anything we’ve heard from the past! Space is the place indeed!”

- Bruce Lee Gallanter, Downtown Music Gallery

A Sideman In The Limelight: Marshall Allen by Lars Gotrich [npr.org]

2009-06-11T08:37:00.001-04:00

http://www.npr.org/blogs/ablogsupreme/2009/06/a_sideman_in_the_limelight_mar.html

A Sideman In The Limelight: Marshall Allen
by Lars Gotrich

On Wednesday night, the 14th annual Vision Festival (one of the many New York jazz festivals still going on this summer) will honor saxophonist Marshall Allen with a Lifetime Achievement award.

Allen's an interesting case as he's not so much recognized for his own achievements, but the legacy he's carried on -- namely (and solely) that of Sun Ra. Allen traveled the outer spaceways for four decades leading the reed section of Sun Ra's Arkestra. In 1995, he took over its direction when tenor saxophonist John Gilmore passed away, who had picked up the reins when Sun Ra left planet Earth in 1993.

There's much to say for Allen's dedication. Sun Ra's vision was and is too big for this world. Just like the Mingus Big Band carries the torch for Charles Mingus, Allen ensures that the music of Sun Ra still breathes in concert venues, where that vision clearly thrives.

But Allen's individual contributions to free jazz both in and out of the Arkestra are worth note. His collaborations with percussionist Babatunde Olatunji mark some of the first free jazz/traditional African music fusions. And in various groups, he keeps a fire blowing with musicians like Kidd Jordan and fellow Philadelphian Elliott Levin.

Most of all, his pyrotechnic playing style is one that's been emulated times over. Allen told Tam Fiofori in a 1971 interview (later re-purposed for the essential book, As Serious As Your Life) that he "wanted to play on a broader sound basis rather than on chords." Watching and hearing this technique is like lightning and thunder: You see his fingers fly up and down his instrument, but only seem to catch the sound seconds later. For evidence, watch the clip from A Joyful Noise below, which the YouTube uploader correctly identifies as "Marshall Allen from Sun Ra goin' nuts."

Marshall Allen Honored at Visions Festival on June 10th by Ronaldo Oregano [jazzpolice.com]

2009-06-02T10:43:00.000-04:00

http://www.jazzpolice.com/content/view/8348/117/

Marshall Allen Honored at Visions Festival on June 10th Written by Ronaldo Oregano Tuesday, 26 May 2009

“Allen has taken the Arkestra in new directions as its director, all the while maintaining his singular voice as one of the most distinguished altoists of his generation.” – Clifford Allen, All About Jazz

A member of the Sun Ra Arkestra for more than 50 years, and its director since 1995, 85-year-old multi-reed player Marshall Allen will receive the 2009 Lifetime Achievement Award from Arts for Art and the Vision Festival. On Wednesday night, June 10th, Allen will perform two explosive sets of music with two unstoppable groups. In between, Bill Cole and his Untempered Ensemble will honor Allen’s creative majesty with a piece of music written especially for this night.

Marshall Allen has left an indelible stamp on The Sun Ra Arkestra’s body of work and the entire universe of improvised music. In special appearances outside of the Arkestra’s fold, this great musical legend has collaborated with everyone from the pianist Paul Bley to the percussionist Babatunde Olatunji. Born in Louisville, Kentucky in 1924, Allen began playing clarinet around the age of 10, inspired by the music of Benny Goodman, Duke Ellington and Fletcher Henderson. In 1942, at age 18, Allen joined the U.S. Army’s 92nd Infantry, also known as the “Buffalo Soldiers, and played in army marching bands and dance bands. While stationed in Europe, Allen worked with the pianist Art Simmons, jammed with Don Byas, and recorded with James Moody. During his army years, he also took up the alto saxophone.

Following his discharge from the army in 1949, Allen enrolled at the Paris Conservatory of Music, where he studied clarinet with Jacques Delecluse. In 1952, After returning to the U.S., he settled in Chicago, where he began composing and leading his own small groups. After hearing an early Sun Ra demo in 1957, Allen sought out and joined the band (then based in Chicago) in 1958.

“When I met [Sun Ra] he was talking about the Creator, and the bible, and the outer space, and the man on the moon, and all of that,” said Allen. “I’m saying ‘Damn! What is this? I came to play some music!’ But then, I didn’t play right way. He kept on talking about his philosophy, and history, and all that kind of stuff. He was a good conversationalist, so I was listening and listening ‘cause I wanted to get in the band. So I just hung around with him, he’s talking and talking, talking music and everything, …until finally he let me stand up by the piano and be in the band.”

Allen has remained with the Arkestra ever since, first leading the saxophone section with John Gilmore, and in 1995, taking over as director. Noted Corey Kilgannon in the New York Times, “[Allen] grew up admiring the styles of swing-era saxophonists like Johnny Hodges, Don Byas, Willie Smith and Earle Warren but eventually developed an avant-garde style, mastering overblowing techniques, false fingerings, note manipulations and extreme registers.”

Allen still shares the Philadelphia home with the members of the Arkestra, encouraging the same sense of community that Ra had fostered. “If you’re here, you got a place to practice 24 hours a day,” said Allen. “You can create, and you can get the spirit, and you can build a nice band. And then fulfill your own potential and your own career.” Allen sees it as his responsibility to preserve the music and philosophy of Ra and the Arkestra for future musicians and music fans. “I’m carrying it on, and keeping the spirit rolling, and keeping the music rolling. For the next generation, they wanna know what the last generation done, we got the music and things like that for them to see here. So we’re carrying on the tradition.”

In addition to the Arkestra, Allen has recorded with James Moody (1948-1949), Paul Bley (Barrage), Medeski, Martin and Wood (The Dropper), Alan Silva (HR57), Matmos (Supreme Balloon), Babatunde Olatunji (Olatunji), NRBQ’s Terry Adams (Terrible), and Phish’s Trey Anastasio (Surrender to the Air). As a leader, he released a pair on CIMP in 1998--Mark-n-Marshall: Monday and Mark-n-Marshall: Tuesday. Additionally, El Ra Records released two important Arkestra recordings under Marshall’s leadership: 2000’s A Song for the Sun and 2004’s Music For the 21st Century. His most recent work has included small groups: a quintet with William Parker, Alan Silva, Kidd Jordan and Hamid Drake; duos and quartet with Henry Grimes; and performances with John Medeski, Weasel Walter, and Chromatic Mysteries.

“The music makes you cry, and the music makes you happy, the music can do a lot of things to you,” said Allen. “If you’re sick, the music can make you well. The music can take your mind off a lot of worries and stress. So we use all of that, because people need it and so do we. If I do the music for my well-being, and it works, I can give you some, too. So it’s a constant thing, you can’t own the music, and the legacy of Sun Ra, like other great musicians, is that he left beautiful music for us to study and enjoy and improve on.”

The celebration honoring Marshall Allen will take place on June 10th at Abrons Art Center, starting off with a special set led by Marshall Allen (reeds), with Kidd Jordan (tenor sax), William Parker (bass), Henry Grimes (bass and violin) and Hamid Drake (drums). Bill Cole’s Untempered Ensemble follows, and the evening will close with Allen leading the Sun Ra Arkestra with special guests Billy Bang and John Ore.

Abrons Art Center is located at 466 Grand Street, New York City. Visions Festival tickets are $25 per night in advance / $30 day of show / $150 for a full festival pass, on sale now at Abrons Art Center at http://www.henrystreet.org/site/PageServer?pagename=AAC_PERF_future or 866-811-4111. The celebration for Marshall Allen gets underway at 7:30 pm on June 10th.

This article based on a press released compiled by Bradley Farberman.

VISION FESTIVAL 14

2009-06-02T10:41:00.000-04:00

http://www.henrystreet.org/site/PageServer?pagename=AAC_PERF_future

VISION FESTIVAL 14
June 9 & 10 | 7:30PM
June 11, 12 & 13 | 7PM
June 14 | 5PM

In its 14th year running, The Vision Festival is New York’s only summer jazz festival in 2009. It presents innovative music, art, dance and poetry. VF14’s highlights include performances by Marshall Allen and The Sun Ra Arkestra, Peter Brötzmann’s Full Blast, Roy Campbell’s Ayler Project, Milford Graves Quartet, Fred Anderson Trio, Zim Ngqawana, Douglas Ewart, Matthew Shipp, Ernest Dawkins’ New Horizons Ensemble, William Parker Quartet, Joe McPhee’s Trio X, Lisa Sokolov Trio, Jason Kao Hwang’s Spontaneous River (A 25 piece string ensemble), Lawrence “Butch” Morris conduction of poetry and strings, and William Hooker’s live score to Oscar Micheaux’s “Symbol of the Unconquered” (1920). This year’s festival honors a lifetime of achievement by Marshall Allen.

Advance $25 At Door $30 Full Festival Pass $150

MEGAPHONE A Universe of Achievement by Marshall Allen [ALL ABOUT JAZZ—NEW YORK June 2009 11]

2009-06-02T10:39:00.000-04:00

http://www.allaboutjazz.com/newyork/

ALL ABOUT JAZZ—NEW YORK
June 2009 11

MEGAPHONE
A Universe of Achievement
by Marshall Allen

It feels good to be receiving this Lifetime Achievement Award at the Vision Festival this month. Whenever somebody achieves something worthy, it’s great to be recognized for it. The musicians who have received this award in the past include people that I have performed with, know and respect. I have received things like this before, like the Bluebird Award in Germany and some honorary mentions, but this award means a lot. The years have gone by so fast. It seems like yesterday when I first joined the Sun Ra Arkestra in 1958. It is amazing that 51 years have passed. When I stop and think about it, it is like... Damn! When Sun Ra was on the planet, I composed melodies. Every once in awhile, Sun Ra would play one of them. But I mostly put those compositions aside, since we all were focusing on what Sun Ra was doing. After Sun Ra left the planet, I decided to get those melodies together, the ones that everyone liked, and form a book of them. I have 100 or so of these; eight to ten are now in the current Sun Ra Arkestra book. And then there are the things where I redid arrangements on some of Sun Ra’s original charts. Sun Ra influenced me so much with the way he wrote - always making it better or different. And now I, like Sun Ra did, write charts for specific musicians. So, when I get the melody book out, I work on it, put it down for a while, get it back out and use lyrics as a base for developing some of these compositions. Art Jenkins [vocalist and percussionist in the Arkestra] has helped in writing lyrics for these melodies, Arkestra trumpeter Michael Ray has also written some lyrics and Joe Holley, who is a guitar player and friend of mine, has done two or three lyrics like “Millennium”, which is on the Arkestra’s latest CD titled Live At The Paradox on the In & Out label. I usually tell the lyricists what the chart is about and turn them loose to write the melody. My priorities are to keep the Sun Ra Arkestra music alive, the band playing and writing and arranging lead sheets and chords that can develop into future compositions. It is wonderful to have the Arkestra perform again at the Vision Festival. I just try to be creative, letting the spirit take over and play, letting it go and using the vibrations on whatever song it is to play the way I feel and to accompany the overall sound. I use sound to keep me balanced and to give others some good. I still enjoy playing and continue to find it a challenge. I don’t think about it, I just do it, just do the sound. Since 1995, when I started leading the Arkestra after John Gilmore left the planet, I had to get real busy, getting worked out how the Arkestra should play. On some arrangements, I added stuff, including space for freeform, which opens a door into my arrangements and makes it a little different every time we play it. Then I put my thing into each song every time we play it and that keeps things moving forward. I like what I’m doing now. I have to do it the way I have been taught by Sun Ra, since I don’t know everything and the thing is to find which way to go next. Then you can end up doing whatever without thinking about it too much. It was always a challenge to understand what Sun Ra wanted to get out of the members of the Arkestra. Being free, playing the right things at the right time were issues. If you are at a particular spot, you are there. You can think about that, the bandmembers know the music, but then you have to play what you know and what you don’t know. Some days you can be sharp, other days you have to coast. But, to get through all the rehearsals, you can’t worry too much. You take what you have and make the best of it and, above all, keep moving! Rehearsals continue to be important within the Arkestra. I had that drilled into me for 35 years by Sun Ra! You must rehearse to make the team coordinate and feel each other - to do it a certain way. We all do it together in the Arkestra, allowing for individual interpretation. The freeform and solos and the backgrounds are not charted out, so you must rehearse so that you can put the right stuff in each chart together as a band. And you got to keep up with it. Looking back at all of this, the Vision Festival Lifetime Achievement Award is nice for myself; it is so kind for them to acknowledge me. It is wonderful for this to be part of my mission to better the planet and the people through beautiful music. When we are able to give the audience one or two hours to forget their worries, it sure helps. And the music can help transform everyone to a higher plane of being and bring different vibrations that affect others and myself. Bring well being, give something to someone else so that they can get something out it. There is always happiness in the spirit of playing and we look forward to sharing the Arkestra sounds with the people at the Vision Festival.

For more information, visit elrarecords.com/ma.html.

Allen performs at Vision Festival Jun. 10th and will be honored with the 2009 Lifetime Achievement Award. Allen is also at Zebulon Jun. 7th. Allen has led the Sun Ra Arkestra reed section for over 40 years and was a pioneer of the ‘60s avant garde jazz movement. Allen was one of the first jazz musicians to play traditional African music and has appeared with such diverse groups as Phish, Sonic Youth, NRBQ and Medeski Martin & Wood.

Pathways to Unknown Worlds [icaphila.org]

2009-05-29T10:20:00.001-04:00

http://www.icaphila.org/exhibitions/sunra.php

Pathways to Unknown Worlds: Sun Ra, El Saturn & Chicago's Afro-Futurist Underground, 1954-1968 April 24 - August 2, 2009

Jazz pioneer, bandleader, mystic, philosopher, and consummate Afro-Futurist, Sun Ra, (born Herman Poole Blount 1914, Birmingham, Alabama, died 1993) and his personal mythology have grown increasingly relevant to a broad range of artists and communities. "Pathways to Unknown Worlds: Sun Ra, El Saturn & Chicago's Afro-Futurist Underground, 1954-1968" presents a collection of paintings, drawings, prints, manuscripts, ephemera, and video produced by and about Ra and his associates—much of it previously unseen. This exhibition examines how Ra and his dynamic, continually-evolving ensemble, the Philadelphia-based Arkestra, crafted both their otherworldly image and fiercely independent approach to self-production.

Highlights of the exhibition include original drawings for their 1960's albums Art Forms of Dimensions Tomorrow and Other Planes of There, and five newly discovered typed and annotated broadsheets. Until recently, only one such broadsheet was known to exist—the one that Ra gave saxophonist John Coltrane in 1956. The show will also include the unpublished manuscript, The Magic Lie, a book of Ra's poetry, which has become influential in the nascent Black Islamic movement. In addition to these documents, the film Spaceways, by Edward English, will be on view. The film documents Ra and his Arkestra (a deliberate re-spelling of "orchestra"), in 1968, as they prepare to perform at Carnegie Hall.

Early in his career, Sun Ra spent virtually all of his time and energy on Chicago's south side, identifying with broader struggles for black power and identity, and saw his music as a key element in that struggle. As well as Sun Ra's connection to the incipient grass-roots Afro-Futurist movement in Chicago, he also has a connection to Philadelphia. In 1968, Sun Ra brought the Arkestra to Philadelphia, where his band mate Marshall Allen inherited a house on Morton Street in Germantown. The house served as band headquarters until Sun Ra's death in 1993. The Arkestra continues to perform under the leadership of Marshall Allen, who still resides at the Germantown house.

Long admired among fans of progressive jazz, Ra and his personal mythology have grown increasingly relevant and influential to a broad range of artists and communities. His music touched on the entire history of jazz, but he was also a pioneer of electronic and space music, and free improvisation.

Sun Ra developed a complicated persona of cosmic philosophies and lyrical poetry that made him a pioneer of Afro-futurism (a term coined by cultural critic Mark Dery in his 1994 essay "Black to the Future.")

"Pathways to Unknown Worlds" is curated by John Corbett, Anthony Elms and Terri Kapsalis for the Hyde Park Art Center, Chicago and is coordinated at the ICA by Whitney Lauder Curatorial Fellow Stamatina Gregory. This exhibition is accompanied by a catalogue, $25. Institute of Contemporary Art | University of Pennsylvania 118 S. 36th St. Philadelphia, PA 19104-3289 T 215.898.7108 | F 215.898.5050 | contact us

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