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Sun ra and his Arkestra - Jazz in Silouette (expanded edition)"In tomorrow's world, men will not need artificial instruments such as jets and space ships. In the world of tomorrow, the new man will 'think' the place he wants to go, then his mind will take him there." Sun Ra, Jazz in Silhouette album notes (1959)Jazz in Silhouette is the quintessential record of Sun Ra's Chicago period during the late 1950s. Recorded in 1958 and issued in 1959, the albumRa's thirdoffers a coda for the bandleader's bebop hard bop
"In tomorrow's world, men will not need artificial instruments such as jets and space ships. In the world of tomorrow, the new man will 'think' the place he wants to go, then his mind will take him there."
— Sun Ra, Jazz in Silhouette album notes (1959)
Jazz in Silhouette is the quintessential record of Sun Ra's Chicago period during the late 1950s. Recorded in 1958 and issued in 1959, the album—Ra's third—offers a coda for the bandleader's bebop/hard-bop periods, as his interstellar traveler persona began to vividly evolve at the close of the decade. Sunny's compositions here reflect his talent for writing memorable works in the jazz idiom, even as arrangements like "Ancient Aiethopia" point to new directions in amalgamated primitive-futurism. After Ra moved to New York in 1961, he began to explore musical terrain away from jazz conventions. Yet Jazz in Silhouette is resplendent with adventure.
Many of these early works, including "Images," "Enlightment," and "Saturn," would remain staples in Arkestra set lists for the rest of Sunny's life. These recordings showcase the brilliant tenor sax stylings of John Gilmore and introduce the iconic playing of Marshall Allen and Pat Patrick; all three would remain with Ra for decades (as would bassist Ronnie Boykins). On the extended “Blues At Midnight,” each horn soloist stretches out as in a live club performance. Here, Sun Ra and the band radiate the period's Chicago jazz sound, with lilting melodies, intertwining chords, and surprising dynamic shifts.
This expanded edition, issued in vinyl, CD and digital formats, features additional material from the 1958 sessions, along with non-album bonus tracks from the period, some never-before issued, as well as rare stereo mixes. The CD and digital editions feature the full original album in the widely known monophonic mix. The eight album tracks are followed by four bonus tracks, "State Street" "Blues From Saturn," the single version of "Hours After," and another single, "Great Balls of Fire"; all are in mono.
The rest of the deluxe edition—call it Part 2—is in stereo, starting with the album Sound Sun Pleasure (which includes the stereo mix of "Enlightment," a title that appeared in mono on Jazz in Silhouette). This short collection wasn't issued on Saturn until 1970, but the works originated at the same Chicago recording sessions as Jazz in Silhouette. Two tracks feature the sultry vocal stylings of Hattie Randolph, sister of early Arkestra trumpeter Lucious Randolph. The rest of Part 2 features the premiere LP/CD release of five Jazz in Silhouette album tracks in full stereo. Every prior edition of the album had been monophonic. A stereo session tape was discovered by Michael D. Anderson of the Sun Ra Music Archive; five tracks were salvaged (although one is incomplete). The album's second stereo reel, unfortunately, cannot be located.
[NOTE: The 2-LP expanded vinyl edition does not include the full original mono album. Because of time limitations on each side, the four full stereo mixes were substituted for the mono versions; however, the track sequence has been preserved. The CD and vinyl editions also include a lengthy historical essay by Ra scholar John Corbett and additional illustrations.]
This deluxe package also features the original space nymph cover art, which only appeared in cropped and washed-out reproductions on Saturn releases. John Corbett found and preserved the original painting by an artist identified only as "Evans." The colors are more vibrant, and the expanded edition gatefold LP presents previously omitted artwork at the periphery of the untitled painting.
Finally, all formats of this expanded edition restore the track sequence of the earliest Saturn versions of Jazz in Silhouette; every subsequent reissue has reversed the original sides A and B.
—I.C.
— Sun Ra, Jazz in Silhouette album notes (1959)
Jazz in Silhouette is the quintessential record of Sun Ra's Chicago period during the late 1950s. Recorded in 1958 and issued in 1959, the album—Ra's third—offers a coda for the bandleader's bebop/hard-bop periods, as his interstellar traveler persona began to vividly evolve at the close of the decade. Sunny's compositions here reflect his talent for writing memorable works in the jazz idiom, even as arrangements like "Ancient Aiethopia" point to new directions in amalgamated primitive-futurism. After Ra moved to New York in 1961, he began to explore musical terrain away from jazz conventions. Yet Jazz in Silhouette is resplendent with adventure.
Many of these early works, including "Images," "Enlightment," and "Saturn," would remain staples in Arkestra set lists for the rest of Sunny's life. These recordings showcase the brilliant tenor sax stylings of John Gilmore and introduce the iconic playing of Marshall Allen and Pat Patrick; all three would remain with Ra for decades (as would bassist Ronnie Boykins). On the extended “Blues At Midnight,” each horn soloist stretches out as in a live club performance. Here, Sun Ra and the band radiate the period's Chicago jazz sound, with lilting melodies, intertwining chords, and surprising dynamic shifts.
This expanded edition, issued in vinyl, CD and digital formats, features additional material from the 1958 sessions, along with non-album bonus tracks from the period, some never-before issued, as well as rare stereo mixes. The CD and digital editions feature the full original album in the widely known monophonic mix. The eight album tracks are followed by four bonus tracks, "State Street" "Blues From Saturn," the single version of "Hours After," and another single, "Great Balls of Fire"; all are in mono.
The rest of the deluxe edition—call it Part 2—is in stereo, starting with the album Sound Sun Pleasure (which includes the stereo mix of "Enlightment," a title that appeared in mono on Jazz in Silhouette). This short collection wasn't issued on Saturn until 1970, but the works originated at the same Chicago recording sessions as Jazz in Silhouette. Two tracks feature the sultry vocal stylings of Hattie Randolph, sister of early Arkestra trumpeter Lucious Randolph. The rest of Part 2 features the premiere LP/CD release of five Jazz in Silhouette album tracks in full stereo. Every prior edition of the album had been monophonic. A stereo session tape was discovered by Michael D. Anderson of the Sun Ra Music Archive; five tracks were salvaged (although one is incomplete). The album's second stereo reel, unfortunately, cannot be located.
[NOTE: The 2-LP expanded vinyl edition does not include the full original mono album. Because of time limitations on each side, the four full stereo mixes were substituted for the mono versions; however, the track sequence has been preserved. The CD and vinyl editions also include a lengthy historical essay by Ra scholar John Corbett and additional illustrations.]
This deluxe package also features the original space nymph cover art, which only appeared in cropped and washed-out reproductions on Saturn releases. John Corbett found and preserved the original painting by an artist identified only as "Evans." The colors are more vibrant, and the expanded edition gatefold LP presents previously omitted artwork at the periphery of the untitled painting.
Finally, all formats of this expanded edition restore the track sequence of the earliest Saturn versions of Jazz in Silhouette; every subsequent reissue has reversed the original sides A and B.
—I.C.
credits
released June 16, 2023
All tracks produced by Sun Ra
Recorded 1958 in Chicago
Produced for reissue by Irwin Chusid and Michael D. Anderson
Tape transfers by Michael D. Anderson/Sun Ra Music Archive, Joe Lizzi, and Ben Young
Audio restoration by I.C. and J.L.
Mastering by Joe Lizzi
Art Director: Edward ODowd
Artwork by Evans
Cover artwork restoration by Laurie ES; front cover design by Edley and I.C.
Executive Producers for Virtual Label: Peter Wright and John Allen
PERSONNEL:
Sun Ra (piano, organ, celeste)
Hobart Dotson (trumpet)
Lucious Randolph (trumpet)
Bo Bailey (trombone)
Marshall Allen (alto sax, flute, percussion)
James Spaulding (alto sax, flute, percussion)
John Gilmore (tenor sax, clarinet, percussion)
Charles Davis (baritone sax, percussion)
Pat Patrick (baritone sax, alto sax, flute, percussion)
BeBop Sam Thomas (electric guitar)
Ronnie Boykins (bass)
Robert Barry (drums)
William "Bugs" Cochran (drums)
Alvin Fielder (drums)
Jim Herndon (tympani)
Hattie Randolph (vocals, tracks 13 & 16)
All titles composed by Sun Ra © Enterplanetary Koncepts (BMI)
except:
Enlightment (Sun Ra-Hobart Dotson)
You Never Told Me That You Care (Hobart Dotson)
Hours After (Sun Ra-Everett Turner)
'Round Midnight (Monk-Hanighen-Williams)
Hour of Parting (Spoliansky-Kahn)
Back in Your Own Back Yard (Jolson-Rose-Dreyer)
I Could Have Danced All Night (Lerner-Loewe)
Thanks to John Corbett, Christopher Trent, Robert L. Campbell, Matthew Mehlan/Experimental Sound Studio, Gilbert Hsiao, Chris Reisman
All tracks produced by Sun Ra
Recorded 1958 in Chicago
Produced for reissue by Irwin Chusid and Michael D. Anderson
Tape transfers by Michael D. Anderson/Sun Ra Music Archive, Joe Lizzi, and Ben Young
Audio restoration by I.C. and J.L.
Mastering by Joe Lizzi
Art Director: Edward ODowd
Artwork by Evans
Cover artwork restoration by Laurie ES; front cover design by Edley and I.C.
Executive Producers for Virtual Label: Peter Wright and John Allen
PERSONNEL:
Sun Ra (piano, organ, celeste)
Hobart Dotson (trumpet)
Lucious Randolph (trumpet)
Bo Bailey (trombone)
Marshall Allen (alto sax, flute, percussion)
James Spaulding (alto sax, flute, percussion)
John Gilmore (tenor sax, clarinet, percussion)
Charles Davis (baritone sax, percussion)
Pat Patrick (baritone sax, alto sax, flute, percussion)
BeBop Sam Thomas (electric guitar)
Ronnie Boykins (bass)
Robert Barry (drums)
William "Bugs" Cochran (drums)
Alvin Fielder (drums)
Jim Herndon (tympani)
Hattie Randolph (vocals, tracks 13 & 16)
All titles composed by Sun Ra © Enterplanetary Koncepts (BMI)
except:
Enlightment (Sun Ra-Hobart Dotson)
You Never Told Me That You Care (Hobart Dotson)
Hours After (Sun Ra-Everett Turner)
'Round Midnight (Monk-Hanighen-Williams)
Hour of Parting (Spoliansky-Kahn)
Back in Your Own Back Yard (Jolson-Rose-Dreyer)
I Could Have Danced All Night (Lerner-Loewe)
Thanks to John Corbett, Christopher Trent, Robert L. Campbell, Matthew Mehlan/Experimental Sound Studio, Gilbert Hsiao, Chris Reisman
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4.7 ★★★★★
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Product Reviews
★★★★★ 5
Great toy for a very active chewer
Color: Green, Pattern Name: Hammerhead Shark, Color: Green, Pattern Name: Hammerhead Shark
My Pomsky who is 9 months has destroyed every toy we’ve gotten him so far and he LOVES this one. He took to it right from the box and hasn’t let it leave his side since. It’s a very durable, hard, chew resistant material and I have a feeling it’s going to last him a long time. Highly recommend! His smile says it all 😊
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 9, 2026
★★★★★ 5
Durability
Color: Green, Pattern Name: Hammerhead Shark
I have a lab puppy and she LOVES to chew and tear anything that she can up. I bought this being a little bit hesitant by some of the reviews but I will say she has not torn out the squeaker yet,. And it’s pretty loud too (it’s been almost two weeks) and the plastic is pretty durable. The only negative I have to say is the plastic does it sharp ( I’ve almost cut myself on it) but that doesn’t seem to affect her. So overall I’d say this is a great product if your dog needs something durable yet chewable.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 8, 2026
★★★★★ 5
A Huge Hit in My Bully Breed House!
Color: Green, Pattern Name: Hammerhead Shark
I have a house full of bully breeds, and this hammerhead shark toy is by far one of their favorites.
I’ve actually bought a few of them so there are extras around the house — otherwise they’d all be fighting over the same one! That alone tells you how much they love it. The shape makes it easy for them to grab, chew, and toss around, and the squeaker keeps them interested without being obnoxiously loud.
What really impressed me is the durability. My dogs are serious chewers, and we’ve had these for a while now. They’re still going strong, which is saying a lot in this house. The combination of rubber and nylon seems to hold up really well to heavy chewing.
The bacon scent definitely helps keep their attention, and I like that I can add a little peanut butter for extra enrichment. It keeps them busy and off my furniture — always a win.
If you have strong chewers, especially bully breeds, this one is absolutely worth picking up. Durable, fun, and clearly dog-approved in this house.
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Reviewed in the United States on March 4, 2026
★★★★★ 4
Great for puppies
Color: Green, Pattern Name: Hammerhead Shark
Great for a teething puppy but very loud when it hits the floor. It is truly indestructible!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 27, 2026
★★★★★ 5
Great chew toy!
Color: Green, Pattern Name: Hammerhead Shark
Our dogs love them! I have three of the sharks to help them share with each other! LOL
Been crewed on and still look good, long lasting and perfect size for our Golden and Yellow Lab.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 22, 2026