LY, organ, bongos, vocals; Pharoah Sanders [credited as ‘Mystery Guest’], saxophones and vocals; James Blood Ulmer, guitar; Charles Magee, electric trumpet; Dennis Mourouse, sax and electric sax; Cedric Lawson, electric piano; Deirdre Johnson, cello; Juni Booth, bass; Don Pate, bass; Art Gore, drums and electric piano; Abdul Shahid, drums; Jamma Santos, tom tom, cowbell, conga, whistle, tambourine, hi-hat; Howard T. King, drums; James Flores, drums; Stacey Edwards, conga; Umar Abdul Muizz, congas, Armen Halburian, congas, bells, percussion.
Meet Ze Monsta: For those who aren’t familiar with the stupefyingly great “Khalid of Space, Part Two,” prepare to be awestruck. It’s a roiling slab of cosmic funk that pushes into the free jazz stratosphere. A heady mix of Terry Riley’s elastic drones, Sun Ra’s mental tones, and James Brown’s sense of groove – interlaced with some serious psych rock textures. It’s a monster. One of the defining kozmigroov tracks. For those who already know, spin it again. Then tell your friends to check it out.
Not So Fast with the Underrated: While “Khalid” is the clear highlight of Lawrence of Newark, the entire album is killer. It’s status has slowly grown over the years, partly thanks to being featured in The Wire’s influential 1998 list of “100 Records that Set the World On Fire (While No One Was Listening).”
A Little Backstory: Those who know Larry Young primarily from his elegant post-bop Unity joint may wonder how the hell he ended up in the day-glo nebula of outer space. Here’s Edwin Pouncey’s astute appraisal from that Wire issue:
Jazz hepsters may have deeply dug Larry Young’s numerous vibrant Hammond organ workouts for Prestige and Blue Note, but those who longed to hear him stretch out that massive sound of his more imaginatively on record would have to wait until the early 70s. Young’s new found freedom, which took off on John McLaughlin’s Devotion and the records he made with Tony Williams’ Lifetime, soared on Lawrence of Newark, where his playing entered another creative dimension. The beating heart of the record is “Khalid Of Space Part Two” — 12 minutes of Sun Ra-inspired cosmo jam that pushes Young and his ‘Arkestra’ toppling over the edge of free jazz freakout to tear a mind-bending solo from the primal fretboard of James Blood Ulmer.
Landscape as Metaphor: The album cover sports Young decked out as a sheik. Beside the obvious Lawrence of Arabia theme, there’s also the subtle insinuation of Newark as a giant desert, a lawless terrain still to be properly mapped. After the riots of the late 60s, this wasn’t an untenable metaphor for the city. The theme also makes this something of a sister record to McCoy Tyner’s great Sahara from the previous year. Instead of the titular desert, that album cover features a rubble yard in the middle of a city.
Afro-Futurism: Then there’s the space theme of the album and the music’s clear cosmic yearnings. The conception owes a debt to Sun Ra, but Young puts his own particular stamp on the proceedings. It reminds us that there isn’t nearly enough African and African-American science fiction. “Khalid” suggests a freaky narrative you might find germinating inside Greg Tate’s long promised sci-fi novel.
Even Nick Cave Digs This Shit: In a recent interview about his Grinderman project, Nick the Knife talks up the influence: “We were doing Nocturama and it was plodding along in this gentle way and then someone downloaded Lawrence of Newark and cranked that up in the studio and it was like, fucking hell. You know, ‘Khalid of Space.’ That’s extraordinary, that piece of music. It basically changed that record. We had a long piece that was trembling on the edge of being used for Grinderman but it sounded so much like ‘Khalid’ we just couldn’t use it.”
The Fabulous Sequel: Sadly, part one of “Khalid in Space” remains missing. But this is one case where it’s hard to imagine that the original could touch the sequel.
Mysterioso: We assume Pharoah Sanders wasn’t officially listed on the album for contractual reasons. Anyone know for sure?
Sun Ra Sez: “All my musicians are drummers.” One of the silent mantras of this album.