Sun Ra

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Of all the jazz musicians, Sun Ra was probably the most controversial. He did not make it easy for people to take him seriously, for he surrounded his adventurous music with costumes and mythology that both looked backward toward ancient Egypt and forward into science fiction. In addition, Ra documented his music in very erratic fashion on his Saturn label, generally not listing recording dates and giving inaccurate personnel information, so one could not really tell how advanced some of his innovations were. It has taken a lot of time to sort it all out (although {$R...[more]

 

 

While one can't quite call it the Sun Ra dance album, this 1978 recording, made for a tiny Philadelphia record label, finds the Sun Ra Arkestra's rhythm section settling into a steady groove on each of the lengthy tracks, while horns, reeds, guitars, and Sun Ra's keyboards solo in overlapping patterns on top. The title number recalls Charles Mingus' "Goodbye Porkpie Hat" in its slow pace and elegiac tone, while the middle three tracks have livelier beats with playing that often answers to the   [ read more ]

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"Those wondering where to begin when buying their first Sun Ra album, this is it!," declares an Evidence Music press release on their Sun Ra anthology Greatest Hits: Easy Listening for Intergalactic Travel. It also notes that, since Sun Ra never had any actual "hits," the 18 tracks from 15 Sun Ra albums, plus two singles and a soundtrack excerpt, were chosen because they were fan favorites, because they displayed the artist's development over the years 1956-73, and because of "their musica   [ read more ]

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This reissue, prior to the release of many of Sun Ra's Saturn albums on Evidence CDs, was often thought of as Ra's second recording although now several earlier dates have appeared. The music from Sun Ra's Chicago-based band of the 1950s (some of the same tunes, but different performances, also appear on Evidence's Planet Earth/Low Ways) is quite interesting for its ties to the bop and swing traditions are much more obvious than it would be in the near future. Ra's eccentric piano an   [ read more ]

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Subtitled "The Complete Detroit Jazz Center Residency, Dec.1980-Jan.1981" - Super-limited issue of 500 copies of the 28 CDs in custom-made cases with complete track listings and personnel on two large folded inserts.

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Featuring the Astro Infinity Arkestra, Atlantis reveals two very distinct sides of Sun Ra's music. The first consists of shorter works Ra presumably constructed for presentation on the Hohner clavinet. Not only is the electric keyboard dominantly featured, but also it presumably offered Ra somewhat of a novelty as it had only been on the market for less than a year. The second side consists of the epic 21-minute title track and features an additional seven-man augmentation to the brass/woodwi   [ read more ]

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Space Is the Place is the soundtrack to a film that was made but never released, and the tunes are among his most ambitious, unorthodox, and compelling compositions. Between June Tyson's declarative vocals, chants, and dialogue and Ra's crashing, flailing synthesizer and organ fills, and with such songs as "Blackman/Love in Outer Space," "It's After the End of the World," and "I Am the Brother of the Wind," this disc offers aggressive, energized, and uncompromising material. Ra's pianis   [ read more ]

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Sun Ra's music is often described as being so far outside the jazz mainstream as to be less a challenge to it than a largely irrelevant curiosity. But When Angels Speak of Love, an album recorded with his Myth Science Arkestra during rehearsals at the Choreographers Workshop in New York in 1963 and released on Ra's own Saturn label in 1966, is very much within then-current trends in jazz as performed by such innovators as John Coltrane and Ornette Coleman. John Corbett, annotator of    [ read more ]

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There has always been some controversy revolving around Sun Ra, but few of his albums ever generated more discussion than Cosmic Tones For Mental Therapy, which covers half the 12 numbers on this two-LP, single-disc outing. Ra played "astro space organ," and the array of swirling tones, funky licks and smashing rhythms, aided and abetted by John Gilmore on bass clarinet, Marshall Allen on oboe, and arrangements that sometimes had multiple horns dueling in the upper register and other times pi   [ read more ]

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Sun Ra ambles between vigorous hard bop, ambitious, adventurous free jazz, and African and Afro-Latin material on the 15 selections featured on this set of '50s and early '60s tracks. The first half was recorded in 1956 and 1960 and includes originals from Ronnie Boykins and Julian Priester, plus futuristic organ from Ra on "Music From the World Tomorrow" and hard-blowing solos from John Gilmore and Marshall Allen. The second half consists of rehearsal tapes from 1960 with The Arkestra    [ read more ]

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This is a collection of an extremely under documented part of Sun Ra's musical career. These are arrangements for vocal groups that Sun worked with in the ?50s. These are entirely unreleased and unlike all other Sun Ra material. Since the Unheard Music Series strives to educate as well as entertain, this collection also includes a recent interview with the Cosmic Ray's (one of the aforementioned vocal groups) manager regarding Sun's work with vocal groups.

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This collection is somewhat of an oddity in that there are no original compositions from Sun Ra. That said, cornet player Phil Corhan contributes "Dorothy's Dance." As the album initially surfaced in the early '70s, many presumed the recordings reflected Ra's concurrent combo and sound, which couldn't have been further from the truth. Scholars have since placed 1960 or 1961 as a closer estimation of when these sides were documented, using the rare inclusion of Ricky Murry (vocals) as sonic ev   [ read more ]

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Fate in a Pleasant Mood/When Sun Comes Out is a pairing of two early-'60s Saturn LPs that catch the Arkestra in an interesting transitional phase. Fate in a Pleasant Mood is one of the final recordings from the Chicago phase, while When Sun Comes Out is one of the first recordings made after the band relocated to New York. The Chicago period had Ra forging a personal sound using elements of swing and bop, with stellar horn arrangements and propulsive timpani drums. By the time they s   [ read more ]

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