There are those nights when the planets align, and the cosmic forces send energy to those who understand how to receive it for translation into the language of sound. The first set of the Sun Ra Arkestra under the direction of Marshall Allen at the Knitting Factory New York on September 29 was one of those rare occasions.

The evening started as always with a sound check hours before the concert, where Jason (the Knitting Factory New York sound engineer who often works with the Arkestra at the Knitting Factory New York) got the balance of the sound just right allowing the intensity of the ensemble sound to flow, but allowing the distinctiveness of each instrument to be heard. Before the sound check, Marshall Allen was in the dressing room preparing a clarinet. I asked him about that, since it has been a long time (probably going back to when John Gilmore was on the planet) since the clarinet was featured in the Arkestra. Marshall commented that he still has to build back his chops on it, but it is something he wants to do so that arrangements and compositions requiring a clarinet solo or ensemble work can come back into the Arkestra's current book. He did have the clarinet on the bandstand all evening, but did not choose to use it, but there are some interesting nights ahead, perhaps on the European tour, to look forward to when this instrument might be added to the mix of the intergalactic sound.

John Ore was there very early, receiving a restrung bow for his bass. The man who did this used some kind of Tibetian "something or other" that gave Ore's bowed bass solos during the evening a new and powerful sound that had the range from a growling to a rhythmic discussion that really made its mark on the evening. Noël Scott has a new alto sax, one with a black bell that contrasts with the brass keys. It is also worth noting that the brand of that new alto sax is a Jupiter. Noël is also hoping to add the baritone sax soon to his arsenal of sound so that the charts that would be helped by a low sax would not go lacking. The broken key on Marshall Allen's alto sax that happened during the August 14 Knitting Factory New York show has been repaired and everything and everyone had a positive energy that contributed to an exceptional night of music. The Knitting Factory New York's Village Voice ads for the September 29 shows mentioned "special guests" that would be appearing. These turned out to be some former Arkestra alumni that have not performed with the Arkestra for some time. Juni Booth on electric bass, Dave Gordon on trumpet, and Craig Haynes on the sacred Djembe from West Africa joined the Arkestra lineup on September 29.

The personnel were: Marshall Allen (leader, alto sax, wood flute, EVI), Art Jenkins (vocals, percussion, miniature megaphone), Ya Ya Abdul Majid (tenor sax), Noel Scott (alto sax, percussion), Juni Booth (electric bass), Dave Gordon (trumpet), Haji (trumpet, flugelhorn), Fred Adams (trumpet), Tyrone Hill (trombone), Dave Davis (trombone), Craig Haynes (sacred Djembe from West Africa), Elson Nascimento do Santos (surdo, percussion), Luquman Ali (drums), John Ore (bass), Charles Ellerbee (electric guitar), and Teddy Thomas (conga drums). The glowing globe that has appeared intermittently at New York concerts, going all the way back to the Carnegie Hall show in 1973, was also on stage.

The first set started with Face The Music that blended into Greetings From The Century of 21. Marshall then took an EVI solo and kicked off Space Is The Place to give immediate notice that this was going to be a serious set. Following this was an improvisational composition that featured solos by Ya Ya Adbul Majid, Tyrone Hill, Luquman Ali (who was very intense the whole evening), Dave Davis, Haji, and Fred Adams. Next, Better Music (Will Create a Better World) was started with Marshall Allen doing one of his patented high register solos, followed by solos by Fred Adams and Charles Ellerbee.

The next chart was one that Marshall told me before the concert that he wanted to premiere at this show, That's The Way I Feel Today, is from the Sun Ra songbook with a new Marshall Allen arrangement. Noël Scott announced from the bandstand that this was a 1940's composition. It had the sound of the Fletcher Henderson band and featured Ya Ya Abdul Majid and Haji. To continue the musical journey, a new arrangement of Lights On a Satellite was done with extended ensemble work by the saxophone section. Ya Ya Abdul Majid did an exceptional solo on tenor, perhaps inspired by using John Gilmore's actual tenor sax which he uses. Marshall then picked up his wood flute to continue this haunting new arrangement. Charles Ellerbee closed the chart with an outside electric guitar solo.

East Of The Sun And West Of The Moon was next up, one of the long standing Arkestra staples that used to feature John Gilmore's vocal. Now, it is Art Jenkins that continues the tradition with a vocal solo that was followed by a hard blowing solo by Haji. John Ore was then featured for his first solo of the night and his bowing work with the newly strung bow talked to everyone and stole this chart. Art Jenkins vocals kicked off the next chart Watch The Sunrise with Marshall taking an alto solo. The brass section did an ensemble riff that kicked off a pulsing exchange that was closed with a power trumpet solo by Dave Gordon.

There was a playful mood developing as the Arkestra then kicked off the big band swing arrangement of Big John Number 2 with Tyrone Hill and Noël Scott soloing while the audience was dancing. Ya Ya Abdul Majid and Fred Adams then soloed, but Marshall Allen's EVI solo was inspired. Yes, an EVI solo on Big John Number 2! With the energies and spirits soaring, the closer was We Travel The Spaceways kicked off by Tyrone Hill's trombone that then was intertwined with Space Is The Place. Charles Ellerbee put an exclamation point on the set with an electric guitar solo that visited space and beyond. The sound he elicited sounded almost like that from a synthesizer or electric organ. When I asked him at the end of the night how he did that, he was as amazed as those hearing it. This is just the kind of unpredictable happening that becomes the norm for the Sun Ra Arkestra under the direction of Marshall Allen.

To try to be objective, this was one of if not the best set that the Arkestra has performed since Sun Ra left the planet. A mighty tough set to follow, but the second set not being able to make the unbelievable mark like the first show, merely was fantastic. A relative term that blows all else away by comparison, but the Arkestra does not meet normal conventions. The second show started with Astro Nation of the United World of Outer Space that shortly became layered with If We Can't Go Somewhere Here, Why Can't We Go Somewhere There. Following this was an improvisational cacophony of sound with Marshall Allen wailing a hot alto solo.

Millennium Star was the next chart with Marshall Allen and Haji soloing followed by the ensemble vocal of most all of the Arkestra on this tune that Marshall wrote for the New Year's Eve celebration that welcomed the year 2000. Blue Set was next up with an electric guitar opening by Charles Ellerbee that kicked this into high gear. Haji took a vocal solo, with Fred Adams on trumpet and Noël Scott on alto adding their solo efforts. Ya Ya Abdul Majid then stretched out on tenor that led Dave Davis's solo. Craig Haynes was featured then on his only solo of the evening, and John Ore did a bowed solo to put the finishing stamp on this blues journey.

Sophisticated Lady opened with John Ore doing a bowed bass solo revolving aroung the Duke Ellington melody and Fred Adams was later featured on trumpet. The next composition was Number 29 which Marshall told me after the show is named such since he has yet to decide on a name. This sounds like an improvisational piece, but of course is not, since Marshall's composition has distinct purpose and direction. A duet between Luquman Ali and Dave Davis are featured. Art Jenkins brought out his miniature megaphone (also known as the "secret weapon") to do a space shout. This will be a very exciting chart to follow as it develops in future performances.

Cosmic Hop from the latest CD A Song for the Sun was the next piece with Art Jenkins doing the vocal, followed by solos by Haji, Dave Gordon, Tyrone Hill, Ya Ya Abdul Majid, and Noël Scott. The Deputy Hotel composition was then performed. This is unique, since is is an unfinished Sun Ra work that Marshall finished and arranged. It features Marshall Allen on alto and Charles Ellerbee on electric guitar.

Happy As The Day Is Long had Tyrone Hill, Ya Ya Abdul Majid, and Haji sharing the solo work. This big band swing chart got the audience grooving. The set closed with Fate In A Pleasant Mood with Art Jenkins on his secret weapon and Marshall breaking out the EVI for a sensational outside space-and-beyond solo. The Arkestra snaked through the audience and ended another memorable night at the Knitting Factory New York.

The European fans going to any of the upcoming 15 Sun Ra Arkestra under the direction of Marshall Allen shows October 17 through November 4 are in for a great time. The momentum of the band is increasing dramatically and should cause some seismic soundwave vibrations on the European continent that will continue the legacy and write some new history for the Arkestra.

—Greg Drusdow

Return to the Review Index	Return to Saturn

---