Sun Ra Arkestra - Jazz in Silhouette (1958)

1.Enlightenment
2.Saturn
3.Velvet
4.Ancient Aiethopia
5.Hours After
6.Horoscope
7.Images
8.Blues at Midnight.


Sun Ra - Piano
John Gilmore - Sax (Tenor)
Marshall Allen - Flute, Sax (Alto)
Charles Davis - Sax (Baritone)
Hobart Dotson - Trumpet
Pat Patrick - Flute, Sax (Baritone)
Julian Priester - Trombone
James Spaulding - Flute, Sax (Alto)
Ronnie Boykins - Bass
William "Bugs" Cochran - Drums.

Throughout their mid-to-late-'50s stay in Chicago, Sun Ra (piano) and his Arkestra established themselves as formidable purveyors of a new strain or sub-genre of jazz. Having evolved from elaborate reworkings of familiar standards, Jazz in Silhouette (1959) presents a collection of originals, building upon Ra's abilities as a consummate multi-tasker — writing, arranging, scoring parts for his band, in addition to performing. He stretches the boundaries of the music to suit the Arkestra, simultaneously progressing his distinct sound. Seminal readings of the quick and complex "Saturn" and "Velvet" are offered with unmatchable dexterity and precision. The latter title comes off like a confused version of "Jeepers Creepers" as Hobart Dotson (trumpet) prominently displays his unquestionable tonality. "Ancient Aiethopia" is one of the more involved works, both in terms of length — running over nine minutes — and the Arkestra's capacity for Ra's compositions. "Blues at Midnight" is another expansive (nearly 12 minutes) outing that, by contrast, is for the soloists rather than full ensemble. John Gilmore (tenor sax), Ronnie Boykins (bass), Pat Patrick (baritone sax), and Marshall Allen (alto sax) all shine behind William Cochran's (drums) solid contributions. Equally significant is the running dialogue Ra maintains during other musicians' leads, directing the ebb and flow with an uncanny fusion of melody and rhythm. Undoubtedly, this is a factor in the freshness the material retains. It is also a prime example of Ra and company in a transitional phase, prior to their full-fledged explorations into the avant-garde.

"Hours After"