Sun Ra And His Intergalactic Research Arkestra ‎- Its After The End Of The World (1970) FULL ALBUM

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Опубликовано: 2017-07-19
Продолжительность: 49:28
MPS Records ‎– CRM 748, BASF ‎– CRM 748 (Germany, 1970) 00:00 A1. Strange Dreams - Strange Worlds - Black Myth / It's After The End Of The World
14:33 A2. Black Forest Myth
22:53 B1. Watusi, Egyptian March
26:34 B2. Myth Versus Reality (The Myth-Science Aproach) / Angelic Proclamation / Out In Space
44:47 B3. Duos

Recorded at the Donaueschingen Music Festival (oct. 17, 70) and at the Berlin Jazz Festival (nov. 7, 70)

Personnel:
Sun Ra - Farfisa organ, Hohner clavinet, piano, Rocksichord, Spacemaster organ, Minimoog, Hohner electra, vocals
Kwame Hadi - trumpet
Akh Tal Ebah - mellophone, trumpet
John Gilmore - tenor saxophone, percussion
Marshall Allen - alto saxophone, flute, oboe, piccolo, percussion
Pat Patrick - baritone saxophone, tenor saxophone, alto saxophone, clarinet, bass clarinet, flute, drum
Danny Davis, Absholom ben Shlomo - alto saxophone, flute, clarinet
Danny Thompson - baritone saxophone, alto saxophone, flute
Leroy Taylor - oboe, bass clarinet
Robert Cummings - bass clarinet
Augustus Browning - English horn
Alan Silva - violin, viola, cello, bass
Alejandro Blake Fearon - bass
Lex Humphries - drums
James Jackson - percussion, oboe, flute
Nimrod Hunt - hand drums
Hazoume - fireeater, dance, African percussion
Math Samba, Ife Tayo - dance, percussion
June Tyson - vocals

Recorded live at the Donaueschingen Music and Berlin Festivals in 1970, this gem ideally captures Sun Ra and His Intergalactic (Research) Arkestra at its most otherworldly self. Individual and collective sounds reach for ears at times beyond human comprehension. The 21-member Arkestra is anchored by its leader captaining keyboards of various frequencies of inter-planetary communication and fresh audible sensations—from his Farfisa organ, “roc-si-chord,” “spacemaster,” Mini- Moog synthesizer, Hohner clavinet and electra, to acoustic piano. Soundscapes vary from Twilight Zone-ish scores (the Moog-heavy “Out in Space”) to African ritualistic percussive escapades (“Watusi”).

Ceremoniously opening with June Tyson’s heavily breathed words spoken as if serenaded from a tropical bird—“dream,” “blackness,” and lastly “a world” swirl into the rumbling and gathering of percussion, brass, and reeds. Flutes, oboe, and a modified bassoon (with a French horn mouthpiece!) performed by Leroy Taylor (aka Elo Omoe) create a modern classical orchestral atmosphere before the swinging beats of drums and trumpet-like scorching alto sax lines carry the momentum elsewhere.

A bass-driven piano introduces dozens of different meters performed on drums and percussion instruments of all shapes and sizes over the Egyptian march of “Watusi.” A near twenty-minute suite culminates in the closing “Duos,” featuring the avant alto sax vocabulary of Marshall Allen and Danny Davis followed by the burly baritone dialogue of Pat Patrick and Danny Thompson. One of the singular and unfortunate drawbacks are several abridged versions either subtly fading into segments or, as with “Duos,” more abruptly. Nonetheless, such a recording as this offers the next best thing to but a sampling of what it must have been like to experience the path that Ra offered his listeners in a live concert, perhaps the most uninhibited platform for his musical message.