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Sun Ra Arkestra at Great American Music Hall

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Courtesy Harry S. Pariser

By Harry S. Pariser
December 10, 2024
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Sun Ra Arkestra
Great American Music Hall
San Francisco, CA
November 22, 23, 24, 2024

The Great American Music Hall has long served as an anchor of San Francisco's music scene. As jazz bookings here are infrequent, it was great news when the venue welcomed back the

Sun Ra Arkestra

band / ensemble / orchestra
b.1956

" data-original-title="" title="">Sun Ra Arkestra for another three-night residency. Founded some seventy years ago, the Arkestra's jubilance, terrific musicianship and infectious showmanship have earned it a loyal following. The Arkestra's sound artists combine pageantry—complete with a glittering wardrobe—with a wide variety of instruments from baritone sax to synthesizer to Brazilian drums, to create a melange of color, light and sound. The sonic tapestries range from melodious to cacophonous, from reflective to boisterous. All this done as a closely knit unit, because they have been playing together for decades.

Here is how it unfolded that night: There are neither set lists nor charts on the stage. Bandleader and conductor

Knoel Scott

saxophone, alto
b.1956

" data-original-title="" title="">Knoel Scott determines on the spot which tune will be next. As centenarian

Marshall Allen

saxophone, alto
b.1924

" data-original-title="" title="">Marshall Allen (who joined the band in 1957) is no longer able to tour, Scott has taken over the reins. A vibrant and enthusiastic onstage presence, Scott plays baritone and tenor saxophones and conga, sings and conducts the band. He is ably assisted by a longtime band veteran, trumpeter and vocalist

Michael Ray

trumpet
b.1962

" data-original-title="" title="">Michael Ray, who has?toured with?

Kool & The Gang

" data-original-title="" title="">Kool & The Gang along with trumpeter

Cecil Brooks

trumpet

" data-original-title="" title="">Cecil Brooks.

On most numbers, saxophonist

Chris Hemingway

saxophone, alto

" data-original-title="" title="">Chris Hemingway stands to offer up riveting solos on soprano and, less often, alto. Longtime vocalist

Tara Middleton

vocals

" data-original-title="" title="">Tara Middleton has a tremendous voice and stage presence. Mentored by

Wynton Marsalis

trumpet
b.1961

" data-original-title="" title="">Wynton Marsalis, pianist

Farid Barron

piano

" data-original-title="" title="">Farid Barron joined in 2009. Barron plays a rollicking upright piano, a synthesizer from which he generates Ra-like tones and a huge gong. Quite the showman, Barron will even move his piano bench perpendicular to the instrument and lie down on his back to play without seeing the keys, as he did on one number that Saturday evening.

Holding forth resplendently on baritone sax—and, at times, standing up to play it—

Anthony Nelson

clarinet

" data-original-title="" title="">Anthony Nelson performs wearing his trademark Pharaoh's cape. Talented trombonist

Dave Davis

trombone

" data-original-title="" title="">Dave Davis, clad in silvery extraterrestrial gear, solos regularly. A solid group of percussionists—supplemented by Scott's conga and Middleton's claves and (sometimes) Barron's gong—add heady rhythms to the mix.

Horace Henderson

b.1904

" data-original-title="" title="">Horace Henderson, a North Bay resident, holds forth on cello.

How did this marvelous ensemble all come about? The Arkestra's genesis came when Herman Blount,

Sun Ra

piano
1914 - 1993

" data-original-title="" title="">Sun Ra (1914-1993), an Alabama-born pianist, synthesizer player, composer and bandleader, started his Arkestra in Chicago. Maintaining that he had been taken to Saturn, Ra attracted a following of acolyte musicians who lived, ate and rehearsed daily with him in a house in Germantown (near Philadelphia). Many members, to this day, still live there, in the company of the centenarian saxophonist Allen. Members have come and gone over the decades, and some have ascended; but current members have been in the band for years. In recent years, younger players have joined, revitalizing the band, and new recordings are being released. They have a lot of ardent collector fans, some of whom see as many shows as they can.

While songs were repeated over the nights, each evening had its own title, all named after well-known tunes. Friday was titled "Slumming On Park Avenue," Saturday was "Fate in a Pleasant Mood" (a tune which the Arkestra recorded in Chicago in 1960) and Sunday was named "We Travel the Spaceways," in homage to the composition which, along with "Space is the Place," is the tune most associated with the band.

Friday night opened with Scott pounding his conga. Middleton entered stage right to commence "Watch the Sunshine," asking "What is the nature of God?" Scott then introduced "Swirling," the Allen-arranged title tune of their latest release (Strut, 2020). Members from the horn section, including Scott, marched through the audience playing their instruments.

The classic "Rocket Number Nine Take Off for the Planet Venus," popularized owing to its entertaining chants, featured Scott, Ray and Middleton on vocals:

Rocket number nine take off for the planet
To the planet, Venus
Zoom, zoom, zoom, zoom up in the air
Up, zoom, up, zoom, up in the air.

During the two-hours of music, the Arkestra also performed "Stranger in Paradise," "Along Came Ra," "Lights on a Satellite" and "Angels and Demons at Play."

Saturday evening's mood was set by the Arkestra's chanting and singing. Barron added synthesizer stylings to Ra's "Carefree" During "Swirling," Hemingway soloed fluently on soprano. Scott paid to "tone scientist" Ray on "Angels and Demons at Play." Barron soloed rapid-fire on "Queer Notions"—which featured an acoustic bass solo by

Tyler Mitchell

bass
b.1958

" data-original-title="" title="">Tyler Mitchell—and was at the fore again for a version of "San Francisco Holiday." Ray duetted on vocals with Middleton and Killian soloed on cello. Five of the band's seven horn players paraded around the room on "Lights on a Satellite." The evening ended with the customary "We Travel the Spaceways," before Scott and Middleton returned for an a capella duet on "They'll Come Back.": "They'll come back in shining ships of gold, with mem'ries myth untold, and sundry planes of being."

Sunday evening's opener, "UFO," commenced with cacophonous call and response. Next, "Holiday for Strings" featured solos from Barron, Killian and Mitchell. Baritone sax from Scott began "Stranger in Paradise." A piano solo from Barron marked the beginning of the rhythmic "Big John's Special," a composition by

Horace Henderson

b.1904

" data-original-title="" title="">Horace Henderson which featured Barron on piano again. He used his gong for the pulsating rhythms of "Angels and Demons at Play." Scott went to town on the baritone sax and then conducted with gusto. Killian's cello brought in a Chicago-style blues; there is generally one per show, in homage to the band's origins there. Following the customary "We Travel the Spaceways," Scott and Middleton returned for another a capella "They'll Come Back," before the final evening ended and the crowd exited.

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