From far beyond the space ways, a new dawn has broken upon the world of jazz and music, these rays being cast from the release of the maestro Marshall Allen’s debut solo album “New Dawn.” Heralded as a master of creative music Allen has carved out an unmatched playing style that harnesses pure energy through gripping and unheard-of sounds on the saxophone. Allen famously pioneered the elusive techniques to expel explosive fiery tones and ideas in his improvisation that few, if any, have been able to match.
Allen has spent most of his career as a cornerstone and leader of the illustrious Sun Ra Arkestra, since 1958 he has performed and recorded countless hours of music. However, Allen had never released a solo album until this past Valentine’s Day, with the idea of a solo release being proposed by Week-End Records Jan Lankisch as a way for him to express his voice in its own new unique way. This prompted Allen and longtime collaborator, friend, and Arkestra family member Knoel Scott to pour over Allen’s countless compositions at the Sun Ra Institute house. After carefully reviewing and selecting what pieces Scott and Allen felt embodied the project, recording for “New Dawn” began two days after Allens’ 100th birthday. Knoel Scott’s collaboration and passion for the project helped push its creation, with Scott recruiting numerous Philadelphia Jazz stars and Arkestra veterans to record. As a result of this effort, we are graced by a seven-track jazz masterpiece that not only displays Allen’s compositional prowess but also serves to peer into less seen, softer, intimate parts of his artistic dynamic.
The first full composition “African Sunset” drifts from the sounds of Allen on the EWI (electronic wind instrument) to baritone saxophone and trumpet, providing a soft start that allows oneself to fade into the song and its solos. With the full ensemble sections swirling into a tapestry of sound. Part of what I found most striking upon my listening of this album is the instrumentation used throughout the tunes, more specifically the prominence of strings. Each track boasts a strong string section including violins, violas, cello, and of course bass, in my eyes this choice helps develop extremely rich and complex textures that only bow on strings can achieve. For instance, on the ballad title track “New Dawn,” the strings create an elegant floor of sound in which Knoel Scott can dance upon with his clarinet. The timbre of Neneh Cherry’s vocals sits beautifully within the group as the lyrics guide us on a journey to appreciate The Creators ever flowing and present energy. All together these elements provide an elegant ballad that gives time for one to reflect into the future and let sound wash over them.
The following track, “Are You Ready,” pivots from the previous ballad rocketing listeners into other side of the jazz idiom with an infectious melody and snare hits that ingrain within the ears. “Are You Ready” also gives the listener ripping energetic solos from trumpet and sax that groove you to your soul. Overall, this track serves not only as a change in energy but a great way to observe Marshall Allens’ ability to provide so much in his compositions no matter the feel.
After the enticing first half of this album comes the track “Sonny’s Dance,” an obvious tribute to the one and only Sun Ra, showing his impact on Allen’s style and album. The track feels reminiscent of many Arkestra albums and performances as soloist take a moment to spread “out” then come back in for melodic lines or interaction before soling again. Almost as if one was at Slugs on a Monday night in 1966,“Sonny’s Dance” has the markings of Sun Ra throughout propelling his legacy through artist like Allen that he has inspired.
The penultimate track of the album, “Boma,” introduces yet another player who I honestly did not expect. With a bass line straight out of Ronnie Boykins book and a danceable Latin drum groove, it has that “make you move” factor. In this ten-minute feature, you are guided through nearly every piece of the recording group allowing for true insight into how each sonic element impacts the ears and contributes. As the longest cut on the record, each soloist can fully express the spirit of improvisation through their own voice.
Finally, “Angels and Demons at Play” concludes the album, fully encapsulating this masterpiece and highlights the idea of reflecting into the future. Written by Allen and first recorded for the Sun Ra Arkestra album with the same name this track has been a standard of the band for decades. I believe that it is here in the album that Allen is looking both forward and back, observing the impact of his work on music while at the same time seeing what else he can contribute.
A master of the music, it is my belief that this album displays the influence of Sun Ra on Allen and yet fully expresses his own voice as an artist. A testament to the power of music, I highly suggest this album since no one quite does it like the maestro. On one last high note, it has also been announced that Marshall Allen will be releasing another album of live recordings entitled “Ghost Horizons” from the group he heads with the same name expected out on May 23.