. Adventure-Equation .

Inner-Space Entryway?
Myco-mythic meal of inner exploration?
Jungian Eucharist for intergalactic assimilation?

or

Nuclear War?
(It's After the End of the World)

(with Thanks to CB, David Morrison, and the undulating counters of Keokuk's collections)

Sun Ra Side Dish (cosmo-condiment)

Two collections of audience photos from recent Sun Ra Arkestra performances.  First from Melbourne, Australia in June 2011 from our friend, TimN, (via Mona) of Exile on Moan Street, followed by a link to images from the February 11, 2012 performance at the SESC Pompeia in Sao Paolo, Brazil via Les Mains Noires.

 


Marshall Allen on EVI
Melbourne June 2011

Images from 11 Feb 2012
via Les Mains Noires



 

This film offers rare insight of the Arkestra and examines their current work (in the physical absence of Sun Ra) under the direction of Marshall Allen.

This wonderful video is available for sale at a very reasonable price at various sites online.  I had forgotten how much I enjoy watching it and hope that Marshall et al. are enjoying some profits from its release.

Then it happened.

 Clear skies turned grey.

A thunderstorm broke out.

The audience evaporated.

The rain didn’t let up.

The band continued to walk/dance/ play.

I was soaked (no umbrella).

I left the band played.

I returned home wondering if the band was still out there.

Walking/strolling/ playing.

Picture Infinity: Marshall Allen & The Sun Ra Arkestra
Sibylle Zerr
152 pages, paperback
ISBN: 978-3-00-035497-7
Self Published
2011

Half a dozen books covering the life, times and music of enigmatic big band leader Sun Ra have appeared since his death in 1993, aged 79. Detailed biography, collections of interviews, early writings, poetry and street corner pamphlets give substantial insight into his artistic and philosophical roots. Weightier, academic tomes have studied the impact of jazz's most prolific composer on American history and culture.

What these studies have in common—and the very thing that sets Sibylle Zerr's book apart—is that they tend to treat Sun Ra's death as the end of the line, a full stop in the history of the Arkestra, the big band Ra formed in the early 1950s. But as Zerr relates, the band barely paused for breath, continuing under tenor saxophonist John Gilmore until he passed away two years later in 1995. And for the past 17 years the Sun Ra Arkestra has continued to plot its unique course under the leadership of alto saxophonist Marshall Allen.

Zerr—a cultural anthropologist and journalist—has been following Sun Ra's Arkestra since 2003, and brings something of an insider's view into the workings of the big band, and, by extension, the continuing, self-perpetuating legacy of Sun Ra.

At 152 pages, of which 86 are photographs, this is neither a comprehensive history of Sun Ra's Arkestra, nor of Allen. Instead, Zerr weaves the observations and thoughts of Allen and current Arkestra members into the text of carefully crafted essays. A number of Sun Ra's colorful quotations and philosophical utterances-cum-poetry serve as a backdrop to these thoughts and Zerr's own insightful observations. These threads combine to create a vivid picture of a unique musical institution, one sustained by the musical vision and enduring myth of Sun Ra.

"I'm actually painting pictures of infinity with my music," Ra said in 1970, "that's why a lot of people can't understand it." What many people couldn't understand was Ra's esoteric cosmic philosophy, his claim to have been born on Saturn, his self-created myth, and the Arkestra's dressing-up in sequined robes that are part-Pharonic and part-Flash Gordon props. This mixture of Egyptology, cosmology, Afro-Futurism and the neo-hippy message of love and peace probably caused way more confusion than the sweeping musical reach of Ra's Arkestra. Zerr, as an unabashed acolyte, rationalizes this aspect of the Arkestra's personality in relatively convincing terms.

The colorful regalia and seemingly New Age universal view partly explains the Arkestra's continuing cult following, but it also underlines—though not intentionally on the author's part—why Sun Ra remains something of a controversial figure. It's almost impossible to consider Sun Ra's music without the image, myth and countless space metaphors getting in the way. Zerr states—without the slightest hint of irony—"Until today, the musical genius of Sun Ra is clouded in an astral nebula of misunderstanding." Ra, however, was not without a sense of humor, once informing President Richard Nixon he had "24 hours to get off the planet."

In the Arkestra's personal idiom band members are not born but "arrive" on the planet and later "depart." Deceased members are referred to as "ancestors." The Arkestra doesn't arrive for a concert; it "docks" at "4pm terrestrial time." Zerr recounts how some of the Arkestra members believe that current pianist Farid Barron was chosen by Sun Ra, a dozen years after the leader departed. Barron himself says: "I feel that I have been initiated into a sacred fraternal order." Allen's house—and home to Arkestra members since 1968—is called The Ark.

The real strength of the book lies in Zerr's vivid descriptions of the Arkestra on stage and her astute comparisons between Ra's dictatorial running of the band and Allen's more accommodating—though no less focused—approach. This provides a very real sense of the Arkestra's evolution and continuing growth. The musicians' devotion to Ra's musical ethos leaps off the pages and will convince even the most skeptical reader that this is no ghost band, but a thriving organism.

Whilst Zerr refers to the tremendous breadth and almost unparalleled scope of the Arkestra's music, interestingly, the Arkestra members do not readily identify with the term "free jazz": "Sun Ra did not like the word freedom," explains trombonist Tyrone Hill. "He liked discipline. It takes a lot of discipline to play this music. You have to know when to play it free and when not to." 

(continue reading at All About Jazz)

Check out Miles' new Sun Ra compilation over at the always diverse and fascinating

Birds With Broken Wings

Thanks, Miles!!

ESP-Disk’ recently unearthed over ninety minutes of unreleased material from the May 18, 1966 concert at St. Lawrence University in Potsdam, New York and has released the whole shebang on a two-CD set entitled, College Tour Vol.1: The Complete Nothing Is…The discovery of previously unreleased Sun Ra music from the ‘Sixties is reason enough to celebrate, but this release exceeds all expectations. Of course, Nothing Is… is a perfect album in itself, but it was skillfully edited to showcase the more out-there extremes of the Arkestra’s live act. This expanded edition restores the concert’s proper sequence, including some of the old-timey swing numbers and groovy space chants which were omitted from the original album; to hear this edition of Arkestra rip through some of the ‘Fifties-era material such as, “Advice for Medics” and “Space Aura,” is a rare delight indeed! And the second disc is truly revelatory, opening with an unusually expansive, contemplative version of “The Satellites Are Spinning” and going on from there.

This was one of the best bands Sonny ever assembled: Ronnie Boykins and Clifford Jarvis in the rhythm section (along with James Jacson and Carl Nimrod on percussion); John Gilmore, Marshall Allen, Pat Patrick, and Robert Cummings filling out the reeds; and, instead of the more usual trumpets on top, there are the trombonists, Teddy Nance and Ali Hasan, who give the ensemble sections are darker, mellower tone while also being strong soloists in their own right. My only complaint is the interminable drum solos—why, oh why, did Sun Ra indulge Jarvis so? It’s not that I have anything against drum solos per se (although I generally think they’re a bad idea); it’s just that Jarvis always just plays a bunch of flashy bullshit. Excuse my language, but it’s the most appropriate term. Every time he goes off like that, he abandons the truth of the music for the lie of empty technical displays. Usually, Sonny has to finally cut him mid-paradiddle so as to get things back on track. Left to his own devices, I swear he would go on forever.

But I quibble. Disc two includes almost thirty-five minutes of the evening’s soundcheck/rehearsal featuring two previously unknown compositions: “Nothing Is,” a floating, rhapsodic kind of blues, propelled by Ra’s wandering piano, is sometimes countered by long-toned horns while “Is Is Eternal” sets angular piano chords amidst cascading, rubato rhythms over which the horns heave and sigh in densely orchestrated harmony. Brief solo statements break the surface here and there, but this is very much a through-composed ensemble piece that was, apparently, never performed. Interesting. A leisurely romp through the riff-happy “State Street” follows, featuring dueling bari-saxes in the lead and “The Exotic Forest” concludes the disc in what sounds like a rehearsal but, curiously, applause can be heard at the end. Is it merely tacked on? Who knows? Regardless, College Tour Vol.1 is a most welcome addition to the Sun Ra discography, an essential document from this most fertile period.

from NuVoid's Sun Ra Sundays

122. [108]  Sun Ra and his Arkestra

Nothing Is

(Sun Ra (p, Clavioline); Ali Hassan (tb); Teddy Nance (tb); Marshall Allen (as, fl, picc, ob); John Gilmore (ts, perc); Pat Patrick (bars, fl, perc); Robert Cummings (bcl, perc); James Jacson (fl, log drums); Ronnie Boykins (b, tuba); Clifford Jarvis (d); Roger Blank or Jimmy Johnson (d); Carl Nimrod [Carl S. Malone] (sun horn, gong). 

Tour of New York State colleges,
early May 1966

ESP-Disk' 1045, Nothing Is,  was released in 1969.  According to Henry Weld, it was also available on 8-Track tape from ESP in the 1970s.

All tracks were reissued on Base ESPS-1045 (Italy, c. 1981), Boots 2416 (1982), German ZYX ESP 1045 [CD, 1992] and Japanese ESP TKCZ-79126 [CD].  There are two German bootleg reissues: Happy Bird B 90130 from 1983 and Magic Music 30013 [CD, 1990], both using the title Dancing Shadows.  Marco Melaragni points out a French bootleg on ESP Explosive 538.106 (c. 1970).

A bootleg LP reissue of Nothing Is came out in Italy on Get Back GET 1007.

"Dancing Shadows" was also reissued in 1983 on a Saturn anthology LP Just Friends (Saturn XI).

Personnel and date from the ESP jacket.  The second trap drummer (according to Tommy Hunter, the Arkestra often worked with two drummers around this time) is clearly audible but not mentioned in the credits; John Gilmore suggested that it might be Roger Blank or Jimmy Johnson.  According to Patty Waters, the tour included SUNY Buffalo and Syracuse University.

The ESP catalog of 1969 listed a fourth Ra album on ESP 1046.  This never materialized.  According to Bernard Stollman, Ra promised, but did not deliver, a concert recording; no tapes ever came into the possession of the label.
from The Earthly Recordings 2nd ed. Campbell/Trent

College Tour Vol. 1: The Complete Nothing Is...
Sun Ra and his Arkestra
May 18, 1966
St. Lawrence University, Potsdam, NY
ESP 4060 [CD] 2010

1.  Burton Greene Introduction   2:03
2.  Sun Ra And His Band From Outer Space   11:59
3.  The Shadow World   4:40
4.  Interpolation   2:18
5.  The Satellites Are Spinning   1:17
6.  Advice to Medics   2:51
7.  Velvet   8:16
8.  Space Aura   10:26
9.  The Exotic Forest   9:43
10. Theme of the Star Gazers   1:52
11. Outer Space Ways Incorporated   2:24
12. Dancing Shadows   9:45
13. Imagination   0:40
14. The Second Stop Is Jupiter   1:12
15. The Next Stop Mars   0:41
16. The Satellites Are Spinning   9:08
17. Velvet   7:10
18. Interplanetary Chaos   4:35
19. Theme of the Star Gazers No. 2   1:30
20. The Second Stop Is Jupiter No. 2   11:16
21. We Travel the Spaceways   1:42
22. Nothing Is   6:13
23. Is It Eternal   12:37
24. State Street   8:21
25. The Exotic Forest No. 2   4:32

-FLAC-

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HF

In 1984, Savoy Jazz reissued Sun Ra's landmark album, The Futuristic Sounds of Sun Ra under a new title and with new cover art.  For additional information about The Futuristic Sounds of Sun Ra, please revisit this post.

76. [65]  Sun Ra and his Arkestra

The Futuristic Sounds of Sun Ra

Sun RA (p, perc); Bernard McKinney [Kiane Zawadi] (tb, euph); Marshall Allen (as, fl, mor, perc); John Gilmore (ts, bcl, perc); Pat Patrick (bars, perc); Ronnie Boykins (b, perc); Willie Jones (d); Leah Ananda (cga); Ricky Murray (voc); Perc included bells from India, Chinese wind chimes, wood blocks, maracas, claves, scratchers, gongs, cowbells, Turkish cymbals, castanets.

Medallion Studio, Newark, NJ,
October 10, 1961

Recorded in stereo but released only in mono in 1961 on Savoy MG12169, The Futuristic Sounds of Sun Ra.  Bootlegged in France around 1970 on BYG 529.111 (mono).  Reissued in stereo on Japanese Savoy SV 0213 [CD] in 1993.

A 1984 LP reissue on Savoy SJL 1141 was retitled We Are in the Future; Japanese Savoy COCY 75440 [CD], released c. 1990, also used this title.

Also issued on Concert Hall I-1348 (French) under the title Sun Ra during the 1970s.  "New Day" and "China Gate" appeared on Side 3 of the bootleg double LP Monkey MY 40014 (French, 1970s).  "Where Is Tomorrow?" also appeared on the BYG album History of Jazz Volume 9, along with other material pirated from Savoy.  "Jet Flight" also appeared on Franklin Mint 098, a 4-LP collection called Greatest Jazz Recordings of All Time, in the "Contemporary Currents" volume.

On the label of the original issue, "Of Sounds" was misprinted "Of Wounds."  In a truly silly bit of literalism, Savoy SV 0213 [CD] retains the misprint. [this was later corrected - my copies do not retain the misprint.  yotte]

According to Phil Cohran, the morrow was an instrument Marshall Allen built in 1960, before leaving Chicago.  It grafted a clarinet mouthpiece onto a shakuhachi body, producing ancient reed-pipe sounds, bent notes, and siren-like glissandi.

Ricky Murray returned to Chicago after this session.  Willie Jones did not remain with the Arkestra; his place was quickly taken by Sunny's old associate from the early Chicago days, Tommy Hunter.
from Campbell/Trent The Earthly Recordings 2nd ed.

Savoy LP Reissue of The Futuristic Sounds of Sun Ra (1961)
Sun Ra
Savoy Jazz SJL 1141

1.  A1 Bassism   4:01

2.  A2 Of Sounds And Something Else   2:53

3.  A3 What's That?   2:13

4.  A4 Where Is Tomorrow   2:49

8.  B2 Tapestry From An Asteroid   3:02

9.  B3 Jet Flight   3:14

10. B4 Looking Outward   2:49

11. B5 Space Jazz Reverie   4:53

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In November, 1991, Sun Ra played a string of gigs at the Village Vanguard.  Originally, the band was intended to be listed under John Gilmore's name but at the last minute was renamed Sun Ra and his All-Star Inventions.  Recordings from November 13th were released by Rounder in 1992 under the title Sun Ra Sextet At The Village Vanguard.  Thanks to the kindness of our friend, Ritzbird, we can all enjoy two more nights from this run, November 15th and 17th.

If one takes away what he knows, that is the health problems of both Gilmore and Ra, the slowing down of energy due to the passing of time, if one doesn't expect the well known exciting performances of the five decades before, well this is a masterpiece. Everything is cut to the core, the instruments have become voices more than they ever were, and we can feel an intensity that very few artists can achieve after many years of dedication.

Roberto T's reflections on the Rounder Release, Sun Ra Sextet at the Village Vanguard

The Village Vanguard, NYC,
November 15, 1991

There is an audience tape, slightly under 90 minutes, of the first set.  A second audience tape includes all three sets.  Date and location from Michael Fitzgerald and Charles Blass; tunes for the first set identified by Fitzgerald and ct; tunes from the second and third sets identified by ct.  According to ct, the two ballads were improvisations.

730. [474] Sun Ra and his All-Star Inventions

Sun Ra (Yamaha SY22 syn; Yamaha SY77 syn); John Gilmore (ts, voc, announcement); Chris Anderson (p.); Bruce Edwards (eg); John Ore (b); Buster Smith (d, announcement).

The Village Vanguard, NYC,
November 17, 1991

According to Charles Blass, there are audience tapes of all three sets (approximately 180 minutes in all).  The second set (from "Space Aura" onward) and third set take up one 90-minute cassette.  (Or are there just two sets?  This was a Sunday night at the Vanguard!)  Tunes identified by ct.  June Tyson may have made a cameo appearance on "We Travel the Spaceways."
from Campbell / Trent  The Earthly Recordings 2nd ed.

Sun Ra and his All-Star Inventions
The Village Vanguard, NYC,
November 15, 1991

1.  Friendly Galaxy   10:03
2.  ballad/Shadow World   15:43
3.  Ankhnaton   11:04
4.  Love in Outer Space   9:06
5.  ballad   10:47
6.  Space Aura   9:56
7.  Theme of the Stargazers   3:28
8.  Images   1:33
9.  Deep Purple (tape flip)   13:42
10. Retrospect   16:45
11. What's New (tape flip)   24:22
12. Over the Rainbow   1:18
13. Theme of the Stargazers   4:33
14. Autumn in New York   13:35
15. Carefree   19:07
16. Out of Nowhere (tape flip)   9:45

New Links!

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RS1 + RS2 + RS3 + RS4 + RS5 + RS6

HF1 + HF2 + HF3

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HF

Sun Ra and his All-Star Inventions
The Village Vanguard, NYC,
November 17, 1991
MP3 320 kbps

Sun Ra Village Vanguard 17 11 1991 disc 1   1:03:17
     Friendly Galaxy (tape flip)   (0:00 - 29:00)
     Autumn in New York   (29:00 - 43:17)
     Space Aura / piano coda   (43:17 - end)

Sun Ra Village Vanguard 17 11 1991 disc 2   1:08:13
     Carefree (tape flip)  (0:00 - 38:00)
     Lights on a Satellite  (38:00 - 51:35)
     Theme of the Stargazers / We Travel the Spaceways  (51:35 - end)

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02:15  Friendly Galaxy (has tape flip) >
28:49  applause >
29:03  synth and piano intro >
32:19  Autumn In New York >
43:16  applause >
43:18  Space Aura / piano coda >
55:30  bowed bass solo >
58:50  group >
59:13  sax solo (seems to cut in suddenly?) > drums > sax >
62:31  applause >
62:32  synth intro of Theme of the Stargazers >
63:05  applause and announcement

length = 63:17


set 2
00:00  synth intro >
01:46  Carefree (tape flip?) >
33:15  drums >
34:38  group
37:47  applause
38:00  synth intro >
38:51  Lights On a Satellite (40:58 = dead air) >
51:28  applause
51:36  synth intro >
52:07  Theme of the Stargazers >
56:56  vocals (john gilmore)
57:55  group and closing vocals
58:43  applause and announcements >
59:36  synth intro >
60:14  We Travel the Spaceways (with vocals)
67:46  applause and announcements

length = 68:13

“Destination Unknown finds Sun Ra unbowed in spirit and still incisive on piano and synthesizer. The band is exuberant, romping through show tunes and moonwalks." Recorded in 1992 in Switzerland, this was Sun Ra’s last recording on this planet.
-The Jazzloft

Recorded late in Sun Ra's life in concert, this version of the Arkestra was a good one, but far from the band who could make worlds quake in its presence. Featuring Michael Ray, Marshall Allen, Buster Smith, Ahmed Abdullah, Bruce Edwards, and a few others, these 11 men took the music to the people with the usual impeccable arrangements, but without the improvisational fire that was indicative of Ra's band at its zenith. The program of ten tracks, about an hour in length, features well-known Arkestra favorites such as "Theme of the Stargazers," "Calling Planet Earth," "Interstellar Lo-Ways," and "Echoes of the Future," as well as the closer, "We Travel the Spaceways," and the standard nuggets "Prelude to a Kiss" and "S'Wonderful," along with Will Hudson's "Hocus Pocus." The feel is there, but the fire isn't; the groove is in place, but the fierceness of attack is absent; the playing is impeccable, but the chaotic edge has been rounded. There is certainly much to enjoy here if one is listening in a vacuum, but if one has to compare, as one can and should in a line of musical and historical continuity -- especially the one Sun Ra provided so willingly and insistently -- this album pales.
-AMG Review by Thom Jurek

739. [482]  Sun Ra and his Omniverse Arkestra

Destination Unknown

Sun Ra (p, syn); Ahmed Abdullah (tp, voc); Michael Ray (tp, voc); Tyrone Hill (tb, voc); Marshall Allen (as, fl, cowbell); James Jacson (bsn, fl, Inf-d, cowbell, voc); Bruce Edwards (eg); Jothan Callins (eb); Earl "Buster" Smith (d, announcement); Stanley Morgan [Atakatune] (cga); Elson Dos Santos Nascimento (surdo grande, perc).

Moonwalker Club, Aarburg, Switzerland,
March 29, 1992

Enja 7071, Destination Unknown, was released on CD in 1992.  There is also a Japanese CD issue, Enja CRCJ-1017.  All information from the CD leaflet.  Some of the titles are in error; corrections by Ralph Pleshar and rlc.  Also, Marshall Allen is incorrectly credited with a vocal.  The CD appears to consist of one complete set (or nearly so).

Campbell / Trent  The Earthly Recordings 2nd ed.

Phish performs 'Carefree' in Atlanta, April 26, 1994


'Carefree' from Destination Unknown

Destination Unknown (1992)
Sun Ra and his Omniverse Arkestra
Enja 7071 [CD]

1.  Carefree   10:19
2.  Untitled (Echoes Of The Future)   6:24
3.  Prelude To A Kiss   6:50
4.  Hocus Pokus   2:55
5.  Theme Of The Stargazers   6:08
6.  Interstellar Lo-Ways   4:40
7.  Calling Planet Earth   5:41
8.  Satellites Are Scanning   3:31
9.  S'Wonderful   4:56
10. We Travel The Spaceways   4:45

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This recording presents the spiritual and musical explorations of the late Sun Ra in a rare (and relatively quiet and pensive) small group setting; the lone horn player is longtime Ra associate John Gilmore, on tenor sax; and the bassist is John Ore, whose career also included early stints with Cecil Taylor and Thelonious Monk. Recorded live at the Village Vanguard in November of 1991, Sun Ra’s playful synthesizer lines explore standards and originals including extensive versions of “Round Midnight” and “Sun Ra Blues.”

from rounder

The Sun Ra Sextet At the Village Vanguard is an important, if flawed, CD. Recorded in 1991--a mere two years prior to Ra's death--it documents some of Ra's first public appearances after a stroke that seriously limited his ability to play the keyboards, so much so that Chris Anderson was drafted to fill Ra's customary piano chair (succeeding quite nicely) here while Ra adds a sort of commentary on synthesizers atop the rest of the group. The actual gigs were booked under the name of Ra's legendarily underrated tenor saxophonist John Gilmore and, for obvious reasons, the date showcases his playing and reflects his leadership more so than Ra's.

The music captured here is for the most part not that of the freewheeling Ra Arkestra of the sixties and early seventies. Even before the stroke Ra began to include more songs from the standard repertoire alongside his own unique originals in his performances (though his and his band's interpretations were never exactly 'standard'), but this set goes even further, consisting of three standards and two original Sun Ra compositions, the latter including the relatively conventional "Sun Ra Blues." I love the earlier far-out Ra albums, but there's something to be said for this, too--Ra & Gilmore have their detractors who say they are too wild and not grounded in the jazz tradition, but Ra's perfect synth harmonies on "Autumn in New York," and the swinging contributions from the Arkestra's regular bassist John Ore and Gilmore's sumptuous playing on "'Round Midnight" and "'S Wonderful" put the lie to that kind of narrow minded thinking, while guitarist Bruce Edwards adds tasty solos, especially on "'Round Midnight" and "'S Wonderful".

I suppose a Sun Ra collection is incomplete without this recording from near the end of his life, but it is the excellent performance under the spotlight by John Gilmore who recorded sparingly outside of Ra's orbit that makes this an essential CD. Gilmore was simply one of the great saxophonists and this album gives his lyrical side a more extensive hearing than the typical Ra release. Ultimately how you feel about this CD will have a lot to do with how you aproach it. If you make allowances for Ra's physical condition, you will be surprised and touched by how much he can do in his compromised state. If you go into it expecting to hear prime Sun Ra, you may find his playing erratic and tired sounding, especially on "'Round Midnight." But just when you've counted him down if not out, he comes back on the set closing "Theme of the Stargazers" with some cosmic sounds that only he could've conjured while Gilmore recites some of his cosmic poetry for your edification.  

from epinionsdotcom

John Gilmore was slated to be the leader for a small band gig at the Village Vanguard in November, as Sonny thought Gilmore had earned it, but at the last second he turned it back to Sun Ra, and they appeared without costumes under the name of Sun Ra and his All-Star Inventions (Buster Smith, Bruce Edwards, John Ore, Jun Ra on synthesizers, and Chris Anderson, a blind pianist Sonny had known in Chicago).  It was a strange and slightly melancholy event.

John F. Szwed  Space Is The Place p. 375

Sun Ra (Yamaha SY22 syn; Yamaha SY77 syn); John Gilmore (ts, voc, announcement); Chris Anderson (p.); Bruce Edwards (eg); John Ore (b); Buster Smith (d, announcement).

 The Village Vanguard, NYC,

 November 14, 1991

Rounder 3124, At the Village Vanguard, was released on CD in 1993.  There is also a German release on Zensor (ZS 135).  The group is really the All-Star Inventions; the "Sun Ra Sextet" designation is misleading.  The first edition of this discography gave the incorrect date of November 13 for this live recording.  Blass says that much of the material recorded by producer John Snyder suffered from poor sonics and wasn't suitable for release.

It is possible, though a good deal less likely, that some of the material on the Rounder CD was recorded on November 17.
from Campbell / Trent The Earthly Recordings 2nd ed.

This album was also released on CD in Germany in 1999 on the Jazz Door (JD 12125) label.

Sun Ra Sextet at the Village Vanguard (1991)
Rounder CD 3124

1. 'Round Midnight   21:04
2. Sun Ra Blues   16:11
3. Autumn In New York   11:01
4. 'S Wonderful   10:58
5. Theme Of The Stargazers   5:32

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RS

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MF