Jazz by Sun Ra, Vol. 1 (Sun Song) (1956)

The second major album recorded by Sun Ra and his Arkestra in 1956 (the other being Super-Sonic Jazz) was Jazz by Sun Ra, Vol. 1, released by Transition Records and later reissued by Delmark as Sun Song. All of these tracks were recorded in one session at Universal Recording on July 12, 1956. The line-up for this session basically features the same players who played on the Super-Sonic Jazz sessions with the addition of Dave Young on trumpet and Richard Evans on bass on some tracks. As on Super-Sonic Jazz, the Arkestra here deliver swinging, hard bop tunes which stand out for their futuristic wit and color. Sun Ra scholar Robert L. Campbell writes:

Once you get past the skittering muted trumpets and the dated fanfares, soon to disappear from Sun Ra’s music, “Brainville” is modal hard bop, seasoned with a hint of polytonality. So are “Fall off the Log", “New Horizons” and a number of other compositions on the record. Richard Evans, later a house bassist and arranger at Chess Records, contributed the gospelish “Lullaby for Realville”. James Scales (an altoist whose bright tone prefigures Eric Dolphy), solid bop trumpeter Art Hoyle and trombonist Julian Priester, Pat Patrick and John Gilmore are the leading soloists. Indications of the future are more subtle: Evans’ string bass is offset against Wilburn Green’s electric bass; “Street Named Hell” rumbles with tympani, then closes out unexpectedly on a waltz theme; Hoyle’s muted trumpet and Ra’s organ conjure up pseudo-Oriental mysteries over bells and chimes on “Sun Song.”

  - "Sun Ra - Supersonic Sounds From Saturn"

Jazz by Sun Ra, Vol. 1 (Sun Song) (released 1957)

Personnel:

Sun Ra (Hammond B-3 organ, piano)
Art Hoyle (trumpet, percussion)
Dave Young (trumpet, percussion)
Julian Priester (trombone, percussion)
James Scales (alto sax)
John Gilmore (tenor sax, percussion)
Pat Patrick (baritone sax, percussion)
Richard Evans (bass)
Wilburn Green (electric bass, tambourine)
Robert Barry (drums, percussion)
Jim Herndon (tympani, timbales, bells)

All tracks recorded at Universal Recording on July 12, 1956 and composed by Sun Ra except for "Possession" (comp. Harry Revel, arranged by Prince Shell), "Lullaby for Realville" (Richard Evans) and "Swing A Little Taste (Julian Priester). Original 1957 LP back notes by Sun Ra are shown below in italics.

1. "Brainville"

This ebullient hard bop workout starts with an optimistic "retro-futuristic" texture on baritone sax and muted brass. A short brass ensemble section follows, leading into a series of sunny, syncopated figures with counterpoint accents. Eventually, Dave Young takes a solo on muted trumpet, followed by James Scales on alto sax, Pat Patrick on baritone sax, John Gilmore on tenor sax, and finally Julian Priester on trombone. Instead of a return to the head, the tune abruptly ends on a low pedal tone. Below, Sun Ra describes this piece as a musical portrait of a futuristic utopia (somewhere between Lang's Metropolis and "The Jetsons" I assume...).

Dedicated to scientists, space pilots, those of the medical profession and all others who are of daring mind---- In Brainville, I envision a city whose citizens are all intelligent in mind and action. Every principle used in governing this city is based on SCIENCE and LOGIC. The people are happy and always willing to learn, even from a stranger... All of the institutions stay open 24 hours per day...the places of entertainment never close because people need to be entertained throughout the day. Musicians are called SOUND SCIENTISTS and TONE ARTISTS. Every being is healthy and there is no extinction of being. Yes, Brainville is a wonderful city, and we like the thought of it.

2. "Call For All Demons"

This is alternate version of a song earlier released as a single and later reappearing on Angels and Demons at Play (1973). Taken at a slightly livelier tempo than the single version, a "drunken" piano theme (a little more aggressive here than on the earlier version) opens over a lurching bass line before a somewhat menacing main theme appears in layered brass figures. The song then switches to a cheerful swing blues to feature short solos from Gilmore on tenor, Hoyle on trumpet, Sales on alto, Jim Herndon on tympani and Sun Ra on piano. A restatement of the theme then appears, followed by a brass coda figure under which Ra supports with mischievous piano figures. This composition was eventually "immortalized" as a jazz standard when it appeared in The Real Book song collection.

This is a Spontaneous number which came to me in a flash. It paints the picture of a faraway thought. I like to think of it as a Grecian thought, interspersed with the truths hidden in fairy tales and ancient mythology. In ancient Greece the word DEMON meant living spirit. The Grecians were not an ignorant people, they had both Culture and wisdom. This song is my tribute to them.

3. "Transition"

The theme for this odd, uptempo tune (characterized by aggressive piano and brass accents) modulates in a somewhat unconventional way. The soloists are as follows: Gilmore on tenor sax, Young on trumpet, Patrick on baritone sax, Priester on muted trombone, and finally Sun Ra on piano.

Transition means change... Transition pictures forward-moving, purposeful activity...  the activity is stimulating and enlightening. 

4. "Possession" (Harry Revel)

In this Harry Revel tune (first recorded by Les Baxter in 1948 and here arranged by Prince Shell for the Arkestra), a lush opening figure led by trumpet is followed by sweetly-orchestrated main theme with John Gilmore's tenor sax in front. This song is essentially a showcase for Gilmore's lyrical side on tenor, although the middle section includes a brief piano interlude from Sun Ra. The ending features some nice modulating harmonies for Gilmore to navigate through.

A fanciful, lovely tune composed by Harry Revel. Very beautiful. To me it symbolizes lovers in love. In its original form, it is written as a waltz. 

5. "Street Named Hell"

The theme for this uptempo swing tune is notable for its tympani textures and twisty rhythmic figures. After the opening section, the tympani and drums (Jim Herndon, Robert Barry) exchange brief percussion outbursts over a walking electric bass, after which the aggressive opening theme soon returns. The piece suddenly then closes with a solo piano cadenza (Sun Ra) followed by a softly-harmonized coda section with ornamental motifs on piano, brass and winds.

In the ancient languages, Hell is the name of the Sun. Sometimes the Grecians called Hell, Helios. According to this interpretation, STREET NAMED HELL is STREET NAMED SUN... This number is part of a Suite dedicated to the ancients.

6. "Lullaby For Realville" (Richard Evans)

This cheerful boogie opens with a syncopated bass line (Richard Evans) accompanied by hand-claps and brass accents. After a swaggering main theme on baritone, tenor and muted trumpet, Evans lays down an ostinato bass figure over which the reeds/winds enter in staggered layers. The following solo choruses (over a blues progression) feature Young on trumpet, Gilmore on tenor, Julian Priester on trombone (over a stop time opening rhythm), Patrick on baritone sax and then Sun Ra on piano. The song ends with a reverse of the opening sequence.

A Richard Evans composition and arrangement. Realville concerns real people who live in a very real world. Realville is a Swing version of these people enjoying themselves. Simplicity and charm in a rhythmical form combine to present reality in a sound form. REALVILLE.

7. "Future" 

This tune opens with an unaccompanied Sun Ra piano solo (somewhat in a "classical mode"). It then launches into a fast swing groove, while Ra continues to solo in a bop style over a series of twisting harmonies. After a sequence of jagged brass figures, Gilmore comes in with a breathtaking solo over Wilburn Green's driving electric bass. At the end, the brass section closes things out with a return to the tight rhythmic figures of the opening section.

Future speaks for itself...warmth, Beauty, passion for the superb. THIS IS TOMORROW in prelude... this is the rush and onward sweep of the near future... Like tomorrow, it is elusive at times, but yet always sure in its determination to be fulfilled.

8. "New Horizons"

A piano intro leads to a romantic ballad featuring Art Hoyle on trumpet. A little past the half way mark the bass and drums (toms) begin to percolate, bringing the energy to another level. This tune was originally composed in the early 1950s during some of Sun Ra's initial Chicago years.

A sketch of a new and better day dawning. It is meditative, an expecting mood. What is it expecting? Excitement in an enjoyable form, beauty, and superior love.

9. "Fall Off The Log"

This is another lively swing tune in which brass accents punctuate a modulating main theme. The solo choruses (over a harmony made even more complex by Sun Ra's uninhibited comping) feature Gilmore on tenor, Priester on muted trombone and Patrick on baritone. The tune ends after a final restatement of the theme.

A term well known by dancers. Although the changes (chords) are simple, the illusion is given that they are complicated. The melody is simple, but it does not follow the usual patterns.

10. "Sun Song"

After the opening establishes a mysterious (but luxuriating) mood tapestry featuring bells, drum toms, "cathedral chimes" and shimmering organ tones, a muted trumpet figure (Art Hoyle) soon emerges from the foliage. Sun Ra eventually enters the scene with a "classical" piano solo, after which he switches to Hammond B-3 organ to deliver some "nostalgic" colors. At the end, Hoyle returns with some ornamental trumpet lines to wrap things up. In contrast to the rest of the album, this song is more of an exotic "mood piece" than a swing platform featuring soloists from the bandstand. Interestingly, this is the only piece on Jazz By Sun Ra in which Sun Ra plays electronic keyboards (whereas Super-Sonic Jazz featured electric piano on half of its 12 tracks).

The reach for new sounds, a spacite picture of the Atonal tomorrow...broad in scope, unafraid in rendition...a real example of freedom in melody, harmony, and rhythm. This is one of the songs which they say people will not be able to understand. However, according to Down Beat, one of our greatest artists (Art Tatum) stated: “The public wants something different” (Jan. 9, '57 D.B.). Art Tatum was a great artist indeed because he had faith that people want and will accept something different, at least he never compromised. I, therefore, dedicate this song to Art Tatum.

"Swing A Little Taste" (Julian Priester)
This track (composed by Julian Priester) was originally released on the album Jazz In Transition, a Transition Records sampler album. It was later added to the Sun Song CD edition (positioned after "Future"). This is a cheerful swing tune featuring brass ensemble playing of a more typical strain. Trumpet player Art Hoyle is featured as the first soloist. Gilmore takes the second solo, followed by Priester on trombone. After a brief, accented brass interlude, James Scales takes a final solo on alto sax before a restatement of the opening blues theme.  

Jazz By Sun Ra is frequently cited as the quintessential early Sun Ra album, probably due to its relative availability in the late 1950s and high fidelity production values (in comparison to the concurrent Saturn releases at least). In any case, it holds up to the best of the swing bop records of the era and yet clearly looks to the future in its attempts to push past the envelope of "acceptable" jazz.

Links
2014 Bandcamp Release
Apple Music
Wiki Entry 
Temple.net Entry
United Mutations Entry