Sun Ra And His Arkestra Live in Cairo, Dark Myth Equation Visitation / Horizon / Nidhamu

 

SUN RA MEETS SUN RA
Facets of a visitation: Egypt December 1971
Extract from Omniverse – Sun Ra by Hartmut Geerken

in 1971 cairo was a sweltering metropolis, the largest conglomeration of people on the african continent. in early december, 1971, i was driving through the pyramid street & its hubbub of taxis, donkeys, camels, water vendors & brown bean vendors, felaches, faces, city people, foreigners, people with carts & on bicycles, but most of them pedestrians – I was driving through a maze of sounds when i suddenly spotted a black hitchhiker indicating that he wanted to be taken along in the direction of the pyramids. that was unusual, because the nubians & sudanese usually don’t hitchhike. so I stopped & it turned out that he was american, just as i had suspected from the way he dressed. he opened the righthand door in back & got in & we talked about all sorts of things, probably about the december weather in egypt & the chaos in the street. & then he casually introduced himself & said, by the way, i’m john … john gilmore. i turned to the right to look at him & continued to do so for longer than i should have, considering the traffic in front of us. i had never met gilmore but i knew his name from recordings & could conjure up the sound of his horn in my mind. in other words, it took quite some time for me to tell him that my name was hartmut geerken (for him, of course, a nobody), but when i added that i owned all the sun ra recordings with his, gilmore’s, wonderful solos, he paused. he hadn’t expected that in the huge metropolis of cairo he would get into a stranger’s car & be told that the driver knew him! so I guess we were both pretty amazed & for me at least it was an epiphany, i had been a fan of sun ra’s music for over 10 years. john wanted to get out at the menahouse, a hotel at the foot of the pyramids & i got out, too, because he told me that the arkestra had arrived just a few days earlier.

i think december 7, 1971, was a wednesday. it will enter the annals of jazz as a historical date, as it was the first time sun ra was in egypt, arriving in the country of his spiritual origins with 21 musicians & dancers. it was to be expected that sun ra would visit egypt, but it was hard to believe that he would be discovered in the menahouse.

it felt strange facing at a man whose music i had listened to for years. he was sitting on a chair in the menahouse hotel entrance hall, wearing a silver helmet & a floor-length, striped synthetic robe & a tunic covered with hieroglyphs. the chair became a throne. around his neck were chains & an amulette. to his left a chrome spiral cymbal, to his right a large brass star shaped like the sun & resembling a monstrance. musicians in bright robes & exotic turbans scattered all over the hotel hall, alone or in groups. the hotel guests were in awe. they tried not to stare & then they stared anyway. an african chief & his tribe? a theater group about to rehearse a play? a magician? someone shooting a historical film? sun ra wanted to demonstrate that he was different from the other hotel guests & that he didn’t feel like he belonged to this class of people. He kept aloof – in his clothing, his gestures & when he talked. no one knew sun ra here in egypt. there was only one egyptian who knew who sun ra was, salah ragab, with whom i had listened to sun ra’s music for years. & then there were maybe two or three other foreigners who knew what it meant to have sun ra & the arkestra in egypt in person.

after the last performance of his tour through europe, in denmark, sun ra suddenly decided not to fly back to new york directly but to make a detour via cairo. a couple of the arkestra musicians referred to this detour as a vacation. first they had only wanted to stay a few days, later it turned out to be more than two weeks. there were some difficulties with the plane tickets. on several occasions i saw one of the musicians walk away with a stack of 22 plane tickets & then return with the same stack. obviously they had been given the wrong information in europe. but sun ra didn’t loose his cool. he used the time to make a movie in the dry desert wind. the bottom part of the huge pyramid of gisa became a stage with several layers. the temple of the pyramid on the opposite side became part of the film’s location. there was a matinee performance at the american university, which was inconsistent if one believed the legend that sun ra wouldn’t play the first note until the last sun rays had disappeared from the horizon. the concert in the balloon theater, a performance that salah ragab had negotiated with the egyptian ministry of culture, was a disaster. only the first four rows of the huge, round & ice-cold tent were occupied (“HORIZON”). shortly thereafter the balloon-theater went up in flames & burned down to the ground. the menahouse, too, where the arkestra had stayed. sonny never heard about it, but the information probably wouldn’t have surprised him, because ‘this is not my people in egypt now…’. during the performance in a nightclub called versailles, sun ra was asked to play dance music. you can imagine how sun ra retaliated by playing overtones. i myself wasn’t there, but afterwards sonny told me that one of the women in the audience became hysterical & tried to drown herself in the nile river. it was sonny’s confirmation that he was on the right track.

i rummaged around in my old sun ra-files & found the invitation i sent to sun ra on june 6, 1971 from cairo after having read in the german magazine ‘der spiegel’ (a lousy article, no class whatsoever) that it was one of sun ra’s dreams to perform right in front of the sphinx. since i was living in cairo at the time it was simply a matter of course for me to invite sun ra & try to make it possible for him to play his music in the land of the pharaos. at the time i was an instructor at the goetheinstitute & neither a danish ambassador – which is what an egyptian tv-magazine said – nor a german ambassador – which is what sun ra said 12 years later in an interview. i made my living as the director for german courses at the goethe-institute in cairo (1966-1972). & this is what i wrote to sonny: i want sun ra to be my guest here in heliopolis / i want to show sun ra the constellations in the sky over heliopolis / I want to show sun ra the pyramids / the nile / & i want him to listen to all the sounds around cairo & heliopolis / if sun ra comes he is welcome / he is my guest … i never received an answer to this letter & when i asked sun ra about it six months later in cairo he told me that he had never received an invitation from me…

if i’m not mistaken, sun ra & i were sitting on the terrace of the menahouse hotel eating breakfast (sun ra: ham & eggs) when he showed me his Berkeley university i.d. card & proudly announced that his real name was ‘sun ra’, just the way it was written there & that it was the only name he had ever known. i noticed his date of birth: there it was, may 25, 1924. ‘myth versus reality’! it was during this breakfast that we arranged a concert that was going to take place in my house in heliopolis the next evening. the name heliopolis ignited sun ra like a spark & he immediately agreed to do the concert. I decided to invite a few paying guests to be able to pay for the concert, but sun ra wasn’t very interested in talking about the financial aspect. i was able to drum up 25 guests & my telephone became a ‘sun ra communication agency’. each of the guests was to pay 75$, which in total turned out to be a bigger fee than sun ra had received in the auditorium at the american university. the official america only agreed to pay for transportation within cairo, a total of 40 dollars for 22 musicians…

our treck from the menahouse in gisa to heliopolis must have looked like a taxi caravan. it was my job to pick up the arkestra in the unfamiliar surroundings. gisa has been a tourist attraction for more than 100 years & it wasn’t difficult to find taxis. most of sun ra’s instruments hadn’t passed customs. military music instruments which had been obtained by salah ragab were already at my house. the slide-projectors belonged to the goetheinstitute. sonny, gilmore, patrick & i led the procession – they were dressed to kill. right before heliopolis, on the long road that leads to the air-port, the exhaust pipe on my car broke off. It was burning hot, but i fixed it with my bare hands – then it broke off again & every time i stopped, the whole caravan came to a halt, which must have looked like a herd of camels stopping to rest. if i’m not mistaken, sun ra didn’t get upset about the difficulties i was having with my car. he was unruffled, pretending nothing unusual had happened, as if things like these were par for the course. it was my impression he thought these mishaps were not even worth mentioning. a long line of cars stopped in front of my house in the sharia omar ibn el khattab in heliopolis & the neighbors were amazed to see the people in their colorful robes getting out of the cars. nothing seemed normal anymore. our arrival was extraordinary & euphoric, like being transported to a higher sphere, everything more transparent than usual. lighter & inspired by the exceptional…

on the way to his first concert ‘on the river nile’ sonny kept asking me whether the place we were heading to was really still called heliopolis, whether heliopolis was still its name today… i had installed a semi-professional tape recorder at home to record the concert. the first thing sonny did was ask not to make any private recordings, hunter was going to tape everything. i disassembled my machine & hunter set up his nagra right next to his drum kit…

what was so amazing was not that sun ra got all of his instruments, including the moogs, through the egyptian customs (if only after the heliopolis concert), where it took weeks for normal mortals to get their transistor radio checked, but that bert shot a super-8-film, alongside thomas hunter’s 16 millimeter film, at the foot of the pyramids in the desert wind that made the robes of the musicians & dancers fly & made them seem weightless like colorful birds, looking as if they had become part of the huge stone blocks & could not alight & that sun ra, at the end of the shooting, said that he wanted to see the super-8-film & we told him that that wasn’t possible because this kind of film couldn’t be developed in egypt, only in europe or the states & he said that he would take care of the matter & we finally gave him the exposed film & that he returned it to us three days later, with a sort of matter of fact gesture – that is what was so amazing. i asked kodak people if there was a mobile developing machine for this kind of film. they said no. appendix, november 14, 1983: quartier latin in berlin. bert brings along the short film & the projector to the concert & during the intermission we all watch what happened in 1971 at the pyramids. sonny looks pleased about this unexpected surprise & the musicians who weren’t been in egypt are impressed by the fact that their colleagues rode camels…

marshall allen checked my percussion instruments. he took one of my byzantine bells that was more than 1000 years old from my percussion environment, i walked over to him & pointed out that these instruments were very valuable & fragile & that you couldn’t use wood or metal to make them sound. allen stared at me for quite some time, as if he felt sorry for me & said that he had noticed, that he wasn’t an amateur & that he played every musical instrument the way that instrument deserved. he had never damaged an instrument. i will never forget the feeling of shame that moment. how could i be so naive. i’m still ashamed…

the concert in heliopolis, the pharaonian ra’s place of worship in the ‘city of sun’ lasted a good three & a half hours. the largest room in my house was just big enough to hold the 22 musicians & the complete instrumentarium & the same number of guests. unfortunately, only two record sides of this concert were released on ‘saturn’ & ‘thoth’ (“DARK MYTH EQUATION VISITATION”, “NIDHAMU”). the arkestra’s stage appearance offered everything one could expect from sun ra: familiar & unfamiliar songs, nondenominational free jazz (almost all of my guests were confronted with it for the first time; it’s not too difficult to imagine the comments, especially the ones made by the official german representatives), three drummers were simultaneously involved in the most intensive rhythms, there were three female & two male dancers, there was a lightshow, there were liquid slides, there was theater & pantomime – everything in the smallest of space, but with the same intensity as if the performance had taken place in carnegie hall. sun ra in heliopolis! sun ra meets sun ra! the ‘equation’ was ideal & the arkestra rose to the occasion. sun ra & june tyson, who were embraced & dancing, kept talking to the guests sitting on the floor. they would seek eye contact with different people & leaned way down to the guests, repeating the word ‘intergalactic’ & there wasn’t a single person present who could resist the magic of the moment. the wind section grouped around the people sitting on the floor & charged them with screaming overtone-orgies. the concert kept getting more & more mobile. some musicians, especially patrick & allen, started moving through the house. The staircase leading to the upper part of the house became part of the action, shreds of shrill saxophone tones emerged from various rooms of the house. my house was virtually ‘musicalized’. a group of six transverse flute players marched out into the garden & around the house, while other accustical things evolved inside the house. but everything seemed to have a connection. today i know that sun ra follows cosmic constellations during his wanderings & dances, movement rituals are based on astronomical constellations. gilmore only played the drums & rarely took up the tenor sax or the flute. words cannot describe what gilmore was doing at the drums. not very many people know that the tenor saxophone player gilmore is one of the most interesting drummers in the world of jazz. sun ra had three instruments at his disposal: my old upright piano that i had bought in cairo (i hadn’t had time enough to find someone to tune it; & it’s audible!), on the piano a minimoog which he played with outstretched arms & a rented tiger-organ. if i’m not mistaken the moog, a glass bowl, a spiral cymbal & stage props were the only objects that the arkestra had brought along. almost all of the instruments for this concert had been loaned to us by the egyptian army. salah ragab was the chief of military music & had been able to arrange it. sun ra’s instruments were still at customs & it was only days later that he was able to get them out, thanks to his impressive appearance which included a long robe, an antenna-shaped crown on his head & the name in his passport, sun ra. shortly after midnight sun ra programmed an extremely loud white noise on his mini-moog. all of the other musicians had already disappeared to the rooms upstairs & sonny was the only one left. then he got up, too, left the still chirping moog & went upstairs, too. The audience didn’t dare move, even when the white noise was hardly audible ten minutes later.

during the performance the kitchen was packed. the oven was running full force & the musicians were exposing their drums to the heat emerging from the oven to achieve the right tension for the skins. other musicians had discovered the homemade jam & bread & started eating. unfortunately, sun ra & i had arranged the concert at such short notice that we didn’t have time enough to cook. i still feel bad about that decades later, but before i was able to keep my promise & cook a fabulous meal for all the musicians, sonny died. plans for their tours were always too crammed to fulfill non-spiritual needs.

while the heliopolis concert was in full swing, two egyptians in european clothing appeared at the door. i hadn’t seen them walk in & i didn’t recognize them, but i realized immediately that they were secret service police whose job it was to observe foreigners & keep tabs on egyptians who had contacts with foreigners. salah ragab was under observation because he was a high-ranking military man but preferred to be a jazz drummer & spent time at our house every day. ultimately he was given the fifth degree & forbidden to have contacts with us. but we were able to exchange information & meet because we were more intelligent than the intelligence service. we applied all sorts of tricks that i can’t describe here because it would take up too much space. but one of my favorites was when salah appeared with the son of gamal abdel nasser one day. he was a jazz musician, too & the three of us played the blues together, while his bodyguards marched up & down the street outside. of course the secret service heard about it, but they were impressed & we got more daring! on the evening of december 12 salah was in my house again – which was still off-limits to him – after a long period of absence to witness the arkestra live. he didn’t stay ‘till the end. maybe because of the police informers? i don’t even want to imagine what the two secret service police thought when they saw the arkestra live…

after the concert in heliopolis was over, everything happened noiselessly. The silence after the moog-noise seemed to continue. everyone talked in a low voice. i had never experienced the like. the musicians & dancers cleaned up my living-room with incredible discipline & in less than half an hour all the instruments & their cases had been stacked in a corner, including the cables, each of which was coiled up meticulously. the percussion instruments of mine that the arkestra had used were all back in place, just the way the musicians had found them. there was nothing in the room that would make one suspect that just shortly before worlds had been destroyed & recreated in this very room. it was almost morning when the arkestra started heading back through cairo to the hotel at the pyramids. patrick whispered something to me as he was leaving. he needed some liquid provisions for the drive home & added that it would be necessary for the battle with the wild animals of the night…

salah ragab had my percussion environment built for me in the late 60s. it was a structure consisting of bronzed water pipes, a cube that looked like a cage & two meters long on which i could hang my percussion instruments (i had about 300 in my collection at the time). you could play them from without & from within. sometimes up to eight or ten people would make music on them. the cube always stood in the middle of my living room & i didn’t clear it away when the arkestra arrived for its ‘visitation’. jarvis was the first one to see his chance & built his drum set up within the environment & thus had an additional set to use. you can hear it on “DARK MYTH EQUATION VISITATION”.

on december 13, 1971, one day after the legendary concert in heliopolis, the manager of the german construction company ‘hochtief’ called me up (he had attended the concert) to tell me how impressed he had been by sun ra. then he offered to improve sun ra’s fee by about 700 dollars. he said he could officially account for it if i would confirm its receipt as the representative of the goetheinstitute. unusual business & moral principles still applied for sun ra, & i accepted without hesitation. the next day the money was delivered to me by a courier, i signed the bill & confirmed the receipt of the money, a donation by the company ‘hochtief’ as a ‘contribution to a christmas party of the goethe-institute’! sun ra looked at me in disbelief when i handed him the money as the second installment to his fee. he seemed to be used to other modalities. the fact that someone voluntarily added additional money to the agreed upon fee was a novelty.

december 1971 was a cold month. cairo is located at the edge of the desert & there the temperature sometimes reaches the freezing point. several times june tyson, her husband richard wilkinson & pat patrick came to my house, where there was a sufficient amount of russian vodka to warm up. june: ‘we are all one family & he is something like a father, bandleader & spiritual mentor all in one.’ – over the years i have read that alcohol was looked down on by sun ra. after the concert in heliopolis sonny drank whiskey from a water glass with a tantric gesture – lots of it & fast. but i never saw him or any other member of the band drunk.

there were two time periods in sun ra’s life that seem to have been of outstanding importance. the one was this first stay in egypt & the concert on december 12, 1971 of which, 12 years later, in an interview he said that it was one of the highlights of his life. the other was the year 1984. he conjured it up again & again in his choruses. in 1984 sun ra brought out five lps on his saturn label & they all have the same matrix number, ‘1984’! in december 1983 & 1984, sun ra was in egypt again (as in may 1983) & from there he flew to another cradle of humanity, athens. the athens concert is the only concert that has been saved on record from the first to the last tone (“LIVE AT PRAXIS” VOL. 1-3). & there’s a photo of sonny at the acropolis! then there was the concert in willisau, switzerland on march 25, 1984; it was one of the most intensive ones i ever heard. the arkestra played as if in a trance. sonny had colored his face bright red, his tunic was red, too & the arkestra was dressed in blue & black. i was told that strong scorpio vibes influenced the energies & colors that dominated this concert. i was also told that from january on all through 1984 a very rare & unusual constellation dominated sun ra’s horoscope, simultaneously three trigones: the positive constellation of his slow, karmic planets were very important all year long. sun ra obviously was aware of this. Informed sources tell me that this was probably an ‘equation’ to the difficult & negative constellation of his birth. so 1984 was an astrological firework that could hardly be surpassed in its intensity.

i roam the crowded mohammad ali street, where there are lots of stores that sell musical instruments, with patrick, tyson, & richard. most of these instruments are used & dusty, european & arabian & african. patrick was especially fascinated by an egyptian one, actually it was a nubian bamboo double reed instrument called ‘argool’ that is blown on both blades. one blade produces a deep & constant general tone, the other one brings out arabian harmonies – in principle like a bagpipe.

the air pollution can only be fought by the music unions, was something I gathered from sun ra’s flow of words while he & I took a walk under the palm trees of the hotel garden during the late morning hours. a kind of peripatos on a southern sand path. a discussion was virtually impossible. sun ra’s flow of words was manic & lasted for hours. a great power forced him to communicate. remarks i made were immediately transformed & included in the world of his ideas. suddenly sun ra stopped & drew a wide line into the sand with his plastic sandal: ‘this is the wall. almost all musicians that are involved in new music are standing behind this wall & can’t cross it to the other side, where i am. but it is necessary to be on the other side.’ he admired john coltrane as a musician & the fact that he had entered a different sphere. of the art ensemble of chicago he spoke with admiration. they had only made one mistake: they moved to paris. that wasn’t good for them. then he used his sandal to write a word into the sand: MUTH. he said it was an old egyptian word for communication & that it was the basis for the word MYTH. he continued by saying that there was a particular explanation for all words. words were like chemical substances. there were chemicals that didn’t show a reaction when they were brought together. others react. that is how it was with words. there was always a possibility that there would be a strong reaction if you brought together two corresponding words. by molding certain texts from these kinds of words new worlds could even come into being. the ‘equation’ of words would have to be discovered. later that evening he wrote the two words LIVE & EVIL on a white paper napkin. he said it was no coincidence that spelled backwards they were the same word. then he stopped abruptly interrupting his monologue, looked up into the palm trees & pointed out the birds twittering & said: ‘they do what we try to do!’

for more than two weeks. usually from morning until evening. once i was to meet patrick at the great pyramid at 5 a.m. we climbed to the top & watched the sun go up. it was cold that morning & pat had on a leather cap. it was the cap he wore when it was hot, too. later on christian arrived, the counsel for the german embassy in cairo at the time who sold angela davis posters & sent her the money. & then bert arrived, a professor for engineering.

i will never forget how i tried to talk sonny into going into the inside of the great pyramid with me. if i’m not mistaken, he always had some strange excuse, like that it was too dangerous, & that he, sun ra, the reincarnation of the sun god, would be entering the pharao’s inner sanction. he seemed afraid. i tried to calm him down. I said that i had often been inside & that nothing had happened. of course that was naive of me! but then, a few days later, i was able to convince him & we started off, we meaning sonny, gilmore, allen, patrick, hadi, hunter (maybe two or three others, my memory is full of gaps!) & myself. i was fully aware of what it meant to enter the pharaoh’s royal chamber with sun ra – steep staircases, high & narrow corridors, low entrances, holes through which we had to climb on our hands & feet. the pyramid was lit for the tourists & we had no problems finding the royal chamber in the middle of the pyramid. an unbelievable number of huge stone blocks surrounded us. we were out of breath & standing in front of the empty sarcophagus in the middle of a relatively small room, next to the air vents that connect the royal chamber to the outside world. we hadn’t been in the pharaoh’s chamber for very long when suddenly the light went out & we were surrounded by total darkness. spontaneously sun ra said: ‘why do we need light, sun ra the sun is here’ & he turned around & started walking down the steps towards the outside. we groped around & followed him… in down beat (1973, no. 21) i found the following statement by sun ra: ‘i went to egypt year before last & i went up into the largest pyramid in gisa. & while up there in the pyramid of khufu, i said the name RA nine times & all the lights in the pyramid flashed on…’ so there are two versions of our visit to the great pyramid of gisa & strangely enough, they don’t contradict one another within the polar structure of thought that is the basis of sun ra’s philosophy. whether the light went out or went on remains marginal. ‘you made a mistake, you did something wrong. make another mistake & do something right!’

it must have been the afternoon of the last day. we were sitting at the hotel bar. for quite some time i had wanted to mention the german kantian philosopher salomo friedlaender (1871-1946) to sonny, whose thinking closely resembled sun ra’s philosophy, even though their origins were so different. in friedlaender’s philosophy mortality is also simply ignored. every person has a ‘sun-ego’ which must be discovered, as most people aren’t even aware of it. they are still asleep & haven’t reached a bright awakening yet. the ‘ego-heliocenter’ (one of the most important terms in friedlaender’s philosophy) is immortal & invincible. ‘the magic ego’ is the title of the last great work of this philosopher, whom fritz perls referred to as his one & only guru (together with his cat). but sun ra didn’t seem to be particularly impressed by my explanations. he kept talking about his own ideas almost obsessively. but maybe he was as close to friedlaender as a person could come. he had to protect himself by overhearing what i had to say…

the night they were to leave i watched sonny, the chief, sitting behind a little table in the hotel hall. a lit candle in front of him illuminated rows of numbers on a piece of paper. my first thought: magic numbers, astrology. but then i heard that there wasn’t enough money to pay the hotel bill. the telephone bill was immense, too. his 21 musicians had made lots of phone calls, like they always did when they were on tour. i know for a fact that once sonny paid the telepone bill amounting to over 1000 dollars with a professional tape, including the rights. – even though it was late at night, i tried to get arabian & german friends to participate in the bill so that sonny & his crew could leave for the airport. they had to pay to be able to leave the building. my friends were reluctant, so i chipped in as much as i could, but it wasn’t enough. one of them kept sneaking outside with something & returning without whatever it was & then handing a few money bills to sonny. sonny would then start adding again. i think june even sold some of her jewelry. she kept laughing & saying: ‘that’s too much! that’s too much!’ sonny didn’t seem too upset about the precarious situation. How often had he gone through this before? the intergalactic constellation cannot be measured by the standards of earthly time… at some point patrick arrived with a large string instrument, a ukrainian bandura & extra strings to replace the lower strings, handed them to sonny & sonny handed them to me, sort of as a security for the money i had given to him. some time when he had money, he said, he would ask me to return the instrument, it was his famous sun harp (“STRANGE STRINGS”). at some point i watched a bus full of people in bright robes & lots of instruments leaving the hotel site in the direction of the airport…

Sun Ra And His Solar Arkestra ‎– Horizon.

01 Theme Of The Star Gazers
02 Discipline #2
03 The Shadow World
04 Enlightenment
05 Love In Outer Space
06 Third Planet
07 Space Is The Place
08 Horizon
09 Discipline #8
10 We’ll Wait For You
11 The Satellites Are Spinning

Credits:

Sun Ra – Keyboards [Rocksichord], Organ [Tiger Organ], Synthesizer [Moog], Upright Piano, Vocals.
John Gilmore – Tenor Saxophone, Percussion, Drums, Vocals.
Marshall Allen – Alto Saxophone, Flute, Oboe, Percussion, Vocals.
Pat Patrick – Electric Bass, Vocals.
Danny Thompson – Baritone Saxophone, Flute, Vocals.
Eloe Omoe – Bass Clarinet, Vocals.
Danny Davis, Hakim Rahim – Alto Saxophone, Flute, Vocals.
Kwame Hadi – Trumpet, Congas, Vocals.
Larry Northington – Alto Saxophone, Congas.
Clifford Jarvis, Lex Humphries, Tommy Hunter – Drums, Vocals.
Vocals – Gloristeena Knight, June Tyson, Verta Grosvenor.

Recorded at The Ballon Theatre, Cairo, Egypt 12/17/1971.This concert was sponsored by the Egyption Ministry of Culture.
Tracks 1 to 3 and 6 to 9 originally released on the Saturn record label. Philadelphia serial number 121771. LP 849 (matrix 12-17-71).
All other recordings on this disc are previously unreleased.

ARTYARDCD008
Mastered by Peter Beckmann
Produced for Art Yard by Peter Dennett
Artwork by Art Yard
Tapes Research by Michael D. Anderson.

Sun Ra And His Myth Science Solar Arkestra ‎– Nidhamu + Dark Myth Equation Visitation.

01: Space Loneliness #2
02: Discipline #11
03: Discipline #15
04: Nidhamu
05: Discipline #27
06: Solar Ship Voyage
07: Cosmo-Darkness
08: The Light Thereof
09: Friendly Galaxy #2
10: To Nature’s God
11: Why Go To The Moon

Credits:

Sun Ra – Keyboards [Rocksichord], Organ [Tiger Organ], Synthesizer [Moog], Upright Piano, Vocals.
John Gilmore – Tenor Saxophone, Percussion, Drums, Vocals.
Marshall Allen – Alto Saxophone, Flute, Oboe, Percussion, Vocals.
Pat Patrick – Electric Bass, Vocals.
Danny Thompson – Baritone Saxophone, Flute, Vocals.
Eloe Omoe – Bass Clarinet, Vocals.
Danny Davis, Hakim Rahim – Alto Saxophone, Flute, Vocals.
Kwame Hadi – Trumpet, Congas, Vocals.
Larry Northington – Alto Saxophone, Congas.
Clifford Jarvis, Lex Humphries, Tommy Hunter – Drums, Vocals.
Vocals – Gloristeena Knight, June Tyson, Verta Grosvenor.

ARTYARDCD009
Produced for Art Yard by Peter Dennett
Mastered by Peter Beckmann
Artwork by Art Yard
Tapes Research by Michael D. Anderson.

Space Loneliness #2, Discipline #11, Discipline #15, recorded at Ballon Theater, Cairo 12/17/1971;
The concert was sponsored by the Egyptian Ministry of Culture.
Nidamu was recorded at the House of Hartmut Geerken, Heliopolis, Cairo, 12/12/1971. Originally release on the Saturn Record label, Philadelphia serial number Saturn 7771. Saturn 7771. Thoth Intergalactic 7771 label.
Dark Myth Equation Visitation originally released on Saturn 1272 Thoth Intergalactic KH-1272 (1973).
TV broadcast at El Cairo 16/12/1971.
Friendly Galaxy #2 To Nature’s God, Why Go To The Moon? recorded at the House of Harmut Geerken, Heliopolis, Cairo, 12/12/1971.

All compositions Published by Enterplanetary Koncepts BMI. All rights reserved © 2017 Art Yard Ltd.

Special Thanks to Sun Ra, John Gilmore, June Tyson, Charles Davis, Marshall Allen, Pat Patrick, Michael Ray, Danny Ray Thompson, Knoel Scott, Elson Nascimento and The Sun Ra Alter Destiny 21st Century Epic Myth Science Cosmic Dream Arkestra band members, Thomas Jenkins Jr (Managing Director, Sun Ra LLC), Michael D. Anderson (Sun Ra Music Archives), Irwin Chusid (administrator, Sun Ra LLC), Quinton Scott at Strut, John Corbett, Paul Griffiths, Chris Trent, Hartmut Geerken, Cornelia Mueller, Val Wilmer, Francis Gooding, Anya Arnold, Siofra McComb, Edwin Pouncey, Jill Tipping, John Sinclair, Leni Sinclair, Rick Steiger, Carey Hamblett, Jimmy Johnson, Chris Cutler, Dave Pelts.

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